“Hand” post nine – Juniper

By – Bryn Oh. Visit “Hand” post nine – Juniper for original post.

Juniper

“Juniper! Juniper!”  Flutter whispered excitedly to the figure on the bed who was draped under some blankets.  “I have the final piece to the house with me!”  Flutter watched the head and shoulders under the blanket turn to her voice like some unresolved clay. 
“It is not safe out there Flutter, come under with me.”  Flutter climbed under the blanket with Juniper and held her close as the opened the suitcase to show her.  “So beautiful” said Juniper. “What do you think will happen?” 
     Flutter thought for a moment then replied excitedly while bouncing “I am not sure but I go first tonight!”  The blanket rose a bit above the bed as she bounced and Flutter felt a burst of cold air invade the warm blanket world.   “Oh lucky” said Juniper with just a hint of envy.  “What do Dick and Jane say will happen?”
  “They don’t so we will have to make it up.”  Flutter put the prize back into her suitcase and gave Juniper a hug, before sliding out from the half light of Junipers blanket world.

 The visitor has a few precarious places to navigate before getting to this part of the story.  The first
part involves some old wooden planks assembled to the outside of the apartment building with a ladder to the next floor.   We can see Flutter walking this portion pretending the hand mother gives her help in navigating the rickety planks.  Flutter has naturally done this part hundreds of times and needs no help

crossing to the Slinks building

being the agile girl she is, but what we need and what we want are two different things sometimes. A bit later we cross some long planks spanning a chasm to an old Slinks building, and then we return to another broken window in the apartment building.
     So I am an evil person.  It is true.  These parts are unforgiving and should the visitor fall they must start again unless they have come with a friend who can teleport them back up.  One of my philosophies when creating an immersive environment is that the visitor must feel a sense of engagement to the extent that they fear for the themselves to some degree.  In other stories people could actually “die” in my artwork and would be sent out of the story.  While this one isn’t that ruthless, it can be stressful to walk the wooden planks knowing that a fall would still be

A PowerPet and its owner

somewhat horrible in its own way.  A few people told me they were sweating as they slowly walked these areas and to me that is exactly the kind of engagement and investment I would like in the story.  I really feel that working hard to get something, in this case the story itself, leaves a much stronger impression than being handed something.
   Along the way we find a few more sleepers.  One has long since run out of food in his canister and now sleeps in bones.  On a comfy rug on the floor beside them lays

The Obese man

a dependent Powerpet whose food ended along with their owners and they too lay waiting as bones and computer parts.   In another room is the Obese man.  For an artist it is fairly easy to take a beautiful subject and make a lovely artwork that pleases people.  What some artists crave is to test themselves with an ugly image and attempt to make it beautiful in its own way.  I think perhaps one of the most famous of these attempts was a reaction by Mary Cassatt to a comment by Degas where he said “What do women know about style?”  they were great friends and he was a rather caustic personality.  Mary took an unconventional

Mary Cassatt

subject and through her skill as a painter made it beautiful.  Degas later bought it.  I was thinking of this because yesterday someone sent me a comment on a flickr picture taken of the Obese man which said “Les trucs de Bryn me mettent toujours dans un sacré malaise. je trouve ça limite malsain…. my opinion!”The translation from French to English being something like Bryn’s stuff always puts me in a state of discomfort. I find it unhealthy limit …. my opinion”  I realize this comment was meant to be a negative attack, but I couldn’t help but be pleased.  I don’t think an artists job is to try to make people comfortable.  The story behind Hand is not meant to be comfortable but to have social commentary on a range of topics.

We move along and see a candle with an ant trapped in amber.  Clicking this brings us to the story of Elliot Amber.  I am going to talk about Junipers comment
“What do Dick and Jane say will happen?” and Flutters reply “They don’t so we will have to make it up.” at a later post.  It is an exchange that

Elliot Amber

makes more sense at the end of the story and, as with most of my work, requires the reader to revisit earlier pages to see connections.

     Juniper is a character seen in previous works such as Imogen and the Pigeons and the Singularity of Kumiko.  Each character that I create is a representation of a part of me.  They are not all of me, but a sliver, or a piece.  Juniper has a poem which defines her which you can see in the machinima below.  She hides from the world as people do in many forms around the world, but also, as is my focus, in the virtual space.  This is not meant to be critical of those who hide, the beautifully broken.   I have never been one to blindly swallow the comments of those who suggest the virtual space creates this.  The simplistic mind uses a broad brush to define others.  Juniper may be seen as being broken, but to me she possesses heightened empathy and an a sensitivity lacking in others.  She doesn’t want to Twerk nor does she need to be seen by everyone.  She sees and craves the root or heart of a maelstrom which spins and obstructs, she sees past the world and its distractions to the one simple thing she desires most.  To hold hands under the blanket with someone she loves.

“Hand” – post eight – Advert Spider

By – Bryn Oh. Visit “Hand” – post eight – Advert Spider for original post.

(part five) Advert Spider

Flutter and the Spiderbot

     Flutter opened the door to a room finding an Advert Spider clinging to the outside of the apartment building.  When it saw her it began projecting an advertisement upon the designated wall inside the room.  “Oh hello spider” said Flutter in a familiar sort of way.  “Greetings Ms Flutter, may I say, with all due respect, that you are looking a bit tired today?”
     “I think, perhaps, you need a bit more “You” time Ms Flutter.  Are your children brimming with curiosity and asking endless questions?  You could always enroll them in Retelevise, a 16 week program which will imprint your child onto a device or media such television, social media or general media.  This will return the “You” time to your day so you may relax in a VR and drink a coffee.  And are those wrinkles around….”  Here Flutter interrupted the advert spider.  It was important not to let them get on too much of a roll.  You could make friends with them, in a limited sort of way, but today she was too excited and wanted to get home.  “Thank you spider, but you know very well that I have no children.  I don’t really even know what you are talking about”  The Advert Spider, long bereft of adults to advertise to, still attempted to fulfill its programming.  “My apologies Flutter, have a wonderful day and I will speak to you soon when I have even more exciting opportunities for you!” 
“By the way Ms Flutter,” Spiderbot continued “do you have spider points?! you can redeem them for….”  But Flutter had already left the room.

A Spiderbot projecting for Flutter

      A theme that regularly runs through my work over the last ten years or so has been the aware
machine.  A man made machine that recognizes and interacts with the humans around it.  Some are more advanced than others such as the Rabbicorn and Mr Zippers who could love or the Daughter of Gears who was the human mind of a young girl inside a machine.  Others like the Veralynnbot fulfill their programming yet still possess

an attachment to humanity.  The Spiderbots in this part of the story are Government sanctioned advertising robots that are permitted to walk apartment buildings and project advertising onto designated walls.  As it says on a plaque attached to their back “It is a serious offense to obstruct or disable the HomeAdvertiser”.  At this stage in their society advertising bombarded the population in most forms similar to how we are, yet they found that too many were not reading the passive advertising so it was permitted to allow a more “engaging” variety… the Spiderbot.
     Flutter knows and spends time with all the Spiderbots as well Veralynnbot and others.  Had she not been in a hurry to get home she might have chatted with the bot for a while in a limited way.  The Spiderbot can have a conversation but it must try to advertise within a certain amount of time.  It may even try to interact with the Veralynnbot or the sleepers in their pods.    The Spiderbots have been roaming the city since its collapse trying to promote the paid advertising of its obsolete society. 
     In this work, as with others of the past, advertising can be found in various spots of the story.  I

use advertising as a means to help define and elaborate on the society within my stories rather than spend time in the actual narrative describing it.  It helps fill in parts to the greater whole without having to unnaturally fit too much of that type of description into the text of the narrative.  The visitor to my story can shape a view of the society on their own.  An important thing for me when creating an artwork is to not simply force the viewer into a passive state where I tell them a story and they simply listen such as in most other mediums.  The viewer uses their own creativity and explores in any way they like as an active participant.  They interact with the work rather than are told what to think and the culture and society they come from often helps shape their interpretation.  Hand has had about 15,000 visitors so far, and all from different parts of the world.  What I have discovered with this story and many others is that someone from Japan, for example, sees different things in the narrative than someone from Germany, the middle east, Africa or a tiny hamlet in Sweden.  It is a shared experience which, in some cases, has the person beside you interpreting it in a very different way than you are.

“Hand” – part seven – Milkdrop

By – Bryn Oh. Visit “Hand” – part seven – Milkdrop for original post.

      Leaving through a creaking fire escape door the visitor climbs the metal stairwell up to the next floor.  In one room lay another sleeper.  A naked man with a faint smile on his face, due to something pleasant no doubt occurring in his virtual life.   Often the rooms the sleepers are found in are completely barren of all expected furnishings.  There are few with book shelves, stoves, fridges, entertainment screens or even

furniture for hosting a guest.  The rooms are now functional spaces to hold the pods.  Apartment buildings already are an inefficient use of space when compared to the pod apartments.   Across the hallway into another room we find part four of the story.


Flutter walked into a room to discover a pale boy sitting upon a giant white moth.  A little rabbit hopped about pestering them both.  “Oh mother this is Milkdrop, he is the Singularity

Milkdrop and Flutter

AI”  She paused a moment as though arranging her thoughts.  “He is more like a person than the Advert Spiders and Drones, but he is not like the other kids.  He is very nice though, he makes games for us like Turing Weekend or Turing pups and kittens.  We have to pick which things are real or pretend.”  Flutter smiled to Milkdrop “Milkdrop this is my mother.”  
     The Singularity AI looked upon Flutter and replied earnestly.  “That is a plastic mannequins hand taken from the Christmas display window at Robins clothiers,”  He paused for a moment.   “However, it is a pleasure to meet you Hand.”
“Mother come pet the moth, it is so soft and powdery.”   Flutter caressed the moth gently with the

Milkdrop from Singularity of Kumiko

hand.  The moth barely reacted having been petted countless times before.  Flutter stood up.   

“Well goodbye Milkdrop we must get back, I have finally found the lost piece to the home, and I get first pick tonight!” 
 

“Goodbye Flutter, goodbye Hand” replied Milkdrop.

     You may have recognized Milkdrop from the Singularity of Kumiko or The Gathering artworks.  In the Singularity of Kumiko he appeared later in the story when the doctors feared the introduction of Mr Zippers, her childhood PowerPet, to her induced coma didn’t go as planned.  He was a mysterious character who we now discover is the physical representation of the Singularity AI

Milkdrop from The Gathering

which controls everything.  Essentially Humanity entrusted its future to a mind that grows exponentially.  The advancements and inventions arrived rapidly but while Milkdrop began is life programmed to be close to human in its goals and morals, exponentially it changed its perceptions on what was best for the world.   Milkdrop determined that it might be prudent to start over again where humans were not destructive parasites on a planet, but something more benign with less materialistic and violent goals.       Humans created a concept called an economy which dictated decisions that were detrimental to their habitat, yet they ignored the planet and its natural sustainability to house life.  Strangely backwards.  The planet, being indifferent to that which grew upon it, had developed a fine balance, over time, that had allowed for life to exist on its surface.  Milkdrop truly appreciated this remarkable and unlikely balance that allowed for humanity to exist, and determined that humanity should follow first the biological laws of the planet before the man made laws whose importance was vastly over rated by humanity.  This, Milkdrop felt, required a reboot.  A reboot that required a gentle euthanasia of the affected population.  Flutter and the other children were the Adam and Eves or perhaps the Dick and Janes of the new world.

“Hand” part six – Pod Girl

By – Bryn Oh. Visit “Hand” part six – Pod Girl for original post.

time lapse with embrace

      The visitor follows Flutter across the broken antennae and jumps to the roof of Robins clothiers.  From there we walk across some wood beams into a broken window of the apartment building.  The rest of the story takes part in this building as you climb.  Some rooms are fairly empty.  An old bed or cupboards with cans of food.  Some furniture but in general most are quite deserted.  Flutter goes to one room where rests a pod person.

     Flutter continued her routine by stopping to visit one of the pod people.  She looked upon the girl and squeezed the plastic hand within her own comfortingly.  She could almost feel the hand continue up into a warm embrace as she looked upon the still form.  “She looks a bit like me, and I like to think that she could be my mother.. but I don’t remember.  Birdy says that she is his mother but they don’t look anything alike.”  She said dismissively.  “She is sleeping and dreaming in her other world.  They are all like sleeping beauty,  I have kissed her before but she doesn’t wake”.
     “You see the jar on the side mother?  That keeps the sleepers alive,  and we eat those too.” said

Flutter taking on the role of a teacher patiently explaining something to a child.  “They don’t really taste like much, but just a little on your finger and you won’t be hungry for a month.”  The woman was naked for comfort, yet decided to sleep still wearing the latest fashionable hat.  Flutter watched her for a few minutes then continued ” If the food canister runs out for a sleeper then they die not long after.  My mother still has lots in the bottom and she will come back to me before then… I know she will.”
 
 Most of the kids have long since grown accustomed to the pod people in the various apartments.   The kids live and play around them, relegating them into a type of living furniture, but many, out of the corner of their eye or in quiet times such as now with Flutter, many will watch the sleepers with longing. 

“Hand” part five Drones and the Dreaming class.

By – Bryn Oh. Visit “Hand” part five Drones and the Dreaming class. for original post.

Part two

     Flutter picked her way through the quiet empty city.  Past the Rebirth store and VR Podworld.  Curious Drones occasionally flew down to take her picture, thinking, with their simple AI, that they were camouflaged by their kites and dead birds.  They tried to disguise themselves by tying objects they knew were sometimes seen in the sky, to their aging metal bodies.  Behind her lay a broken cell phone, and nailed to a telephone pole was a digital Jesus.  An artist’s

social commentary now lost and forgotten.
    “Mother you must always look both ways when crossing the street,” Said Flutter wisely.  “because…” and here she faltered at a loss as to why, seeing as she had never witnessed a moving car.  “Because.. well so that you know where you have come from and to see where you are going.”  Flutter climbed the boxes and walked balanced across the downed TV antennae towards her home in the apartment building.  Beside her stood row upon row of pods for the dreaming class, as the working class often derogatorily referred to them in the early stages.  Everyone though, eventually, became a sleeper.

 
The visitor, when reaching the surface, will find themselves regularly bombarded by drones who will circle trying to get the best vantage point for a not so discreet picture.  The drones were used for surveillance in the city and were given a limited AI to take these pictures.  Their programming was to catalogue and monitor the population but to do it in such a way that people wouldn’t really notice and become alarmed.  Their AI left alone to fill these directives considered camouflage as the best option.  In the story there are four different drones with camouflage. 
There is a kite drone which you can see in the image above with the pod apartment building.   There was the Cardinal Drone who has attached a dead bird to itself to try to pretend it

is simply a bird flying by.  The butterfly drone has found a Blue Morpho butterfly and sneaks about with it as its cover.  And finally there is the balloon drone who is attempting to appear as a balloon lost to the hand of a small child and now innocently floating about the sky.

Flutter uses the mannequin hand as a surrogate mother.  She talks to it as though talking to an adult, she works out her thoughts and ideas and imagines the hand attached to an attentive listening mother.  Flutter has come across a great deal of information about what the world

used to be like, she knows old sayings and references to many cultural things such as television, Internet and so forth.. but she has never seen many and has an abstract view what they are.  An example is her telling the mother that they must look both ways before crossing the street.  She knows the saying but doesn’t really know why you would bother to do that.  There has not been a working car in her memory

so she doesn’t realize that it something a mother would tell a child for their safety.  Flutter interprets
the saying as it relates to the precious thing she has searched for and now holds in her luggage case.  She looked everywhere for this prize and when combing the city she didn’t want to search the same areas twice. 

     The visitor, when exploring my work in general, needs to stop and observe their environment.  Those who do will discover a series of boards and boxes leading up to a broken antennae spanning two buildings.  This leads to the next stage in the story which takes place in the main apartment building.  When crossing the antennae the viewer will see in the background “Ocean view” a Pod park or pod living space.  It doesn’t actually have a view of the ocean as all the pods face inward but

that is not important as all the tenants are comfortably within their VR world unaware of the false advertising.  As I mentioned before the residents of the world now live, love and work within a virtual space.  They no longer need the expense of renting or owning a spacious house or apartment, they have food canisters that last years so they need not buy fridges, freezers, stoves nor entertainment

such as TVs.  They have simplified their lives as all good self help books would suggest you do.

     If the visitor walks up the steps to peer inside the pods they may find a few living sleepers but the majority and now filled with those who starved when their food canisters became depleted.  Their skeletal remains still in poses of relaxed comfort often with blankets and pillows.  Much how we disparage the “desk job” or “grunt” in our work environments the early adopters who worked in the virtual space were looked down upon by the working class and dubbed the “Dreaming class”, but as time went by all eventually became sleepers.

“Hand” part four – The hand that holds

By – Bryn Oh. Visit “Hand” part four – The hand that holds for original post.

The mannequin

Across the street from the Subway, Rebirth store  and PodWorld is the first scene to the story for Hand.  The street has become overgrown with weeds as the city declines yet many of the things which rely on solar power still persist.  The lights in the shop windows perpetually wake and sleep each morning and night.  The advertising billboards ceaselessly rotate searching for an interested eye.  The tethered

telephone poles march in ranks to the horizon, their purpose forgotten.

 At Robins clothiers, against the blue background of a broken display window we see the girl from the subway.  She has placed her suitcase on the ground and has stepped past the  shards of glass to stand before a mannequin.  Here begins the story.


   The young girl was known as Flit to some and Flutter to others.  Today she had discovered, on her explorations, a long sought after treasure which she now had safely packed within her suitcase to bring home.  On her way back she stopped by the mother mannequin, as she so often did.  The mannequin still stood within the broken shop window, her clothes long rotted away to the wind and

the rain.  On the ground beside the mother lay her display mannequin child, broken and forlorn.  She stood endlessly looking upon her fallen child, hand stretched out never to hold again.
     Flutter watched the mother wistfully for a while, as she always did, but this time she slowly, hesitantly, approached and then gently detached the mannequins hand to hold within her own.
     In Flutters imagination the hand was not severed at the wrist but rather continued up an arm to

A mothers hand

a warm smile and soft crinkled eyes.  

“A mother has freckles in her eyes that match her children’s” Flutter murmured.  “She would put mittens on your hands when it’s cold.  And if you cry out in the night, she is always there.  Always.  That is a mother.”  

Flutter held the mothers hand and her precious suitcase in the other.  “Come mother it is time to go home.  Everyone will be so excited.”

“Hand” – part three Telephone Jesus and the falling man

By – Bryn Oh. Visit “Hand” – part three Telephone Jesus and the falling man for original post.

  

Flutter

 
I know I said we would start Flutters story this post, but I actually have to talk about a few other things first which are part of the social layering of the society for the narrative.  While the overall story is for a very close but alternative version of our world, it does over lap.    Across the street from the Rebirth Store you will notice Flutter walking towards some ramps and boards which lead into the apartment building.  I think I have mentioned in previous posts about creating a composition using the “eyepath” to lead the viewers attention to different focal points.   In a static image the eyepath is easy to use but with a virtual space where the viewer might

Telephone Jesus
Duck lipped selfie

look at a scene from many different angles it is a bit more tricky.  Some might notice a stone sculpture haphazardly nailed to a telephone pole.  Different things point or lead to it and should the viewer stand before him and follow his gaze they will see he looks down upon a broken cell phone.  A piece of detritus from the past.   I think the social commentary of the telephone Jesus is self explanatory so lets move on to the cell phone.  People who are familiar with my work know that interaction is an important element in my creations.  You have to click on things to find other layers or hidden parts.  The cell phone is one such thing.   When you click it you will be teleported to the last image taken on the phone..  a selfie. The selfie is of a girl making duck lips in front of the burning Twin Towers from 911.  The duck face or duck lip selfie was a craze for a while and it has already passed actually.   We are now in the time of the Fish Gape selfie.  I imagined this after reading about a trend where people were taking smiling selfies around dead people.  At accident scenes etc.  The total lack of empathy and the … I guess emotional detachment?  A type of desensitization that maybe comes from the over saturation of similar content we find online.  Over the last ten years we have seen the simon cowells and that angry chef guy and others who TV has engineered into a type of hero.  Trump in a way is a product of that.   So the Duck lipped selfie comments on a person who could take such an image of themselves to post imagining that it is something others will “like”.  You can see behind her a tiny dot… again if you zoom in and touch you will discover the falling man.  Building the falling man was one of the more difficult things I have had to make.  It is a man who gracefully falls to his own death.  He almost appears calm and at peace.  I tried to find out who he was, so I could then understand if he was there delivering something.. if he worked there, if he had a family,

The falling man

girlfriend, parents and grandparents.  I wanted to know who he was but he remained a mystery.  I have not found anywhere that identifies him, he is an anonymous falling man.  He falls and perhaps his life flashes before his eyes as they say it does.  Maybe he has regrets, things he wishes he could have said or done.  In the end though, within the social mediaverse he is a prop for the duck faced selfie. 
Ironically people would “like” his death.

“Hand” – part two

By – Bryn Oh. Visit “Hand” – part two for original post.

Vera Lynnbot

     When you come up from the dark and damp subway you emerge to a warm city basking in a sunset.  To your left is a familiar character if you experienced Imogen and the pigeons and The Singularity of Kumiko works previous to this one.       She is a Vera Lynnbot.  This particular one was hired to sing to Kumiko as she lay in her coma.  Their programming was designed to entertain humans and that was their sole purpose.  When the population began to disappear they would wander around looking for people to sing to.  At the start of the Imogen and the pigeons story we were shown the Vera Lynnbot standing and singing beside the last remaining computer which housed the digital memories of Imogen.  Imogens memories were the last remnant of the human race, and as such it was where she stayed.

Singbot Advert

     Across the street from the Subway is the Rebirth Store.  One of the themes for the overall narrative, which began almost ten years ago with the Daughter of Gears, is the concept of the Technological Singularity.  The idea behind the singularity is that an AI is created with a type of intelligence.  But the thing is that even if it begins with a basic intelligence it has the ability to grow at an exponential rate.  So for example.  Imagine a competition.  A group of the top 20 scientists in the world against a basic AI with little experience.  The contest is to build a spaceship that can fly to another galaxy with people on board.  They have one year before the results are due from each group.  The top scientists get to work and each have a lifetime of study behind them they are the top experts in this field… the AI has no experience.  So the AI creates a virtual environment that matches real life.  Same physics etc.  It begins to learn the same things the scientists studied and puts the virtual space on say 10x the speed of real life, like putting a movie on fast forward,  and the AI need not sleep.  Long story short the AI can catch up and surpass the top scientists fairly quickly in the test virtual space.  Not to mention it also keeps upgrading itself and the virtual space too.  Maybe it can increase the speed to 100x real life?  To 1000?  So at the end of the year it has spent hundreds of years in study to build the space ship.  Its design is far superior the top minds of just a year ago, in fact it makes their design seem like a childs in comparison.
      In my stories the Singularity has arrived and essentially people have left the singularity AI to run everything.  “All we need to do is play” said Iktomi to Kumiko.  Since it learns exponentially the AI comes up with remarkable inventions daily.  One such invention allows us to record our lives and mind digitally onto a computer to later be put into a new body, essentially creating immortality (which in my story is not invented yet).  So the Rebirth store collects lives and keeps them for the day when we can install these memories into new bodies.  Since the memories are stored digitally as a language

they can now be “edited”, and Imogen and the pigeons as well as the Singularity of Kumiko show two different views on whether ones memories should be edited and changed.  Imogen lost her daughter and in her story she edits her memories to change that outcome and bring her daughter back to her.  In the Singularity of Kumiko .. Kumiko is in a virtual space within her real life coma after a car accident, and has to decide if she wishes to have her memories recorded.  She feels that a life shouldn’t be edited and that emotions like happiness can only exist when they have sadness
to compare with.  For her views please watch the Singularity of Kumiko machinima.  The Singularity of Kumiko is a prequel to Imogen and the pigeons with Kumiko being the daughter that Imogen lost.  Kumiko is lost because she decides not to record her life digitally and to stay in her coma where some unexpected things happened.  She dies in her coma and so cant be reborn. 
     So we see a decaying city but we don’t yet know why.   When wandering around the ground level

you might come across  deer returning to the city or little relics of a time that is now fading away.

Across the street from the Rebirth Store is a new theme to the story world I have created.  It is called PodWorld and it sells virtual reality pods for people to live in.  At this time people have begun to live, love and work within the virtual space.  Originally those who lived and worked in the VR were known as “sleepers” in a derogatory fashion, but as time progressed almost everyone began to live in pods.  I imagined a type of evolution where the human race didn’t evolve any longer physically with their bodies, but rather the mind moved forward on its own.  Our bodies became place holders and our mind lived the perfect existence in the virtual space where we looked as we wished to, where our intellect had the might of the Internet behind it, where, essentially, people built their own Heaven.  Society no longer needed a house and furniture, entertainment systems and all that added expense… they just needed a pod to house their bodies in sleep.  They then had the choice to purchase food canisters of different duration so they need not be bothered to log out of this world.  Some bought ten year food canisters, while others

got five or the basic package was one year.  In this story the world fell apart 8 years previous and so only those who purchased a ten year food canister are still alive in their virtual spaces.  The rest perished when their food and water ran out, oblivious to the collapse of their previous world.
     This is the world you enter when you come out with Flutter from the Subway.  It is a story which requires the visitor to piece together clues to build an understanding of the society, and for those who are familiar with my previous work, they will add new layers to what they already know.   In the next post we will begin progress into Flutters story.

“Hand” – part one

By – Bryn Oh. Visit “Hand” – part one for original post.

     When the visitor begins the story of Hand they appear on a Subway platform in the dark.  Behind you stands a water damaged angel statue, and before you sits a cold and damp platform long abandoned.

  A Subway car sits over flooded tracks in a state of decay.  On a bench sits Flutter, or as some call her Flit.  The other kids call her this because she moves through the city quickly from place to place like an agile swallow in the sky or at other times she seemingly has no direction at all much like the erratic broken flying of a moth. 
     Flutter sits on the bench holding a suitcase tightly to her chest.  Inside is something precious to her which she has looked to find for a long time.  She has been traveling along the subway lines and tunnels to different stops searching for something which she has now finally found.  We discover her resting on a bench listening to the ambient dripping of water in the unnatural quiet of a place that, in another time, was bustling with people who also flitted and fluttered about the city.  Flutter and the other children live in this world almost as anthropologists trying to piece together what it used to be like.  They bicker and debate with each other what the old world used to be.  They have never seen a moving Subway car nor are they aware that the escalator in the background moved on its own rather than being a static set of stairs.   There are hints

all over the city of what it used to be like, and they have all developed a nostalgia for this imagined world.  A nostalgia that should be so foreign to children.  There is one thing they all desire more than anything else, and Flutter has found and carries it back to them in her battered suitcase.

The visitor walks up the steps of the escalator and comes out to the bright world above.  A juxtaposition similar to the unearthly quiet of a once bustling subway.

“Hand” – walk through

By – Bryn Oh. Visit “Hand” – walk through for original post.

    Over the next several posts I will be doing a walk through for my new artwork “Hand”.  If you have not seen it yet then don’t read these as they will contain the entire story and explanations of my thought process and design elements.   This first post will just be the arrival room where you set up the windlight and so on.  I am also going to explain a few useful building tricks.  

      So as with all my work over the past several years you will need to adjust some settings to see it

as it was designed.  First things first though.  In the picture to the right I have turned on transparencies so you can see invisible things.  You do that by holding down ctrl and alt at once then clicking T while still holding down the ctrl and alt.  Anything invisible in a scene can now be detected as a red semi transparent object.  The red in this picture shows two layers of walls.  In each wall is a Hud (a display that appears on your screen like a window)  and you will be asked to join an experience.  If you have already joined the Bryn Oh experience from previous builds you wont be asked to do so again.  This just applies to new people to my work.  When you walk through the wall the Hud will be added to you automatically if you have accepted the experience.  The experience essentially removes the step of people having to go to a kiosk and buying a hud when they then attach to their avatar.  This experience bypasses that and directly attaches a Hud to you. 

There are two walls because if the sim is busy and people are quickly walking through the first wall it can sometimes miss people, so the second wall is a backup to catch those it may have missed.  Now you walk up to some directions on the wall.  Directions are a necessary evil in my work.  I hate directions and I imagine so does everyone else.  That will be the nice thing with Sansar as things just appear as you plan them with no messing around.  Anyway, these directions are quite simple compared to how things used to be several years ago.  When people came to my work then they would have to set up the windlight manually with pages of numbers to insert… if you are on Firestorm viewer the windlight will just appear for you.  The windlight is important as the shadows themselves are part of the composition of the artwork.  The contrasting line between a dark shadow and the light will often help direct the visitor to important narrative elements.  As an artist I would naturally like the visitor to see the work as I designed it, however I realize that people like to change the windlight and take pictures for flickr, so these are directions for a windlight whose
shadows enhance the overall composition of the work.   Same goes for ambient sound.  If you are listening to music then you will miss the ambient sound which heightens the immersion.  

     The picture to the right shows two boxes that sit inside a wall.  It is a confusing picture because it is a bit tricky to show that.  So what I have done is angled the camera so that it breaks through a solid wall to show the two boxes with text on them.  People can not see these boxes normally.  Why put boxes with text on them behind walls you ask?  A good trick to help with rezzing textures or text is to introduce those textures before people come to them.  So when you arrive and are setting up the directions for the windlight your viewer is seeing these text boxes even though you are unaware of them.  The text on the box is the text that appear in the hud at different times in the story.  So you are taking these textures into your computers “cache” and then at a later time when the text appears they will appear instantly with no blurring to rez.  The next trick is to use the same concept for sound.  What I do is put the ambient sounds I will use within the build playing in the arrival room with the sound set to 0.  So you wont hear them playing but your computer will.  So for example in the Singularity of Kumiko where there was lots of voice narrative, all of it was silently playing in the arrival room so that when you got to a long portion of dialogue it played smoothly the first time.  If I had not done this then the first time you would hear the voice talking it would be broken and jerky with large portions silent.  This happens the first time as your computer puts it into cache.. and then if you listened a second time it would sound much better… but who listens a second time?  Best to avoid making people do that.  This trick also works if you were to say make an animated sculpty.  I once made a plastic bag caught in a tree that was blowing vigorously in a wind.  You do that by making one sculpty with a bag shape, then make a second sculpty with different bag shape and so on until you have maybe eight shapes to cycle between.  There is a script that will cycle between sculpty textures and thus create the impression of movement.  Putting the sculpty textures out for people to rez will prevent the bag from getting all warped the first time they see it.  Sadly this only works with sculpties and not mesh as far as I know.  Ah yes I forgot to mention, I also use windlights for different altitudes.  So for example on one floor of the apartment building the windows are boarded up… so when you climb into these rooms the windlight changes from the sunlight one to a very dark one to give the impression of a gloomy dark floor.  I do the same with the subway where you arrive.  It is very dark down there but when you walk up the escalator to the city the windlight changes by altitude so that it turns to the sun.  This gives the feeling of coming out of a dark place to a lit one.  This again only works with Firestorm and provided you don’t change the windlight from the original.  Once you change the windight it seems to stop this feature from working.   Anyway I think I am done for the first part.  For the next posts I will just talk about the story itself.