Tuesday, August 29, 2006
Eileen McTeague sends her regards.
We recorded our real life voices yesterday for the movie trailer, which you can see HERE. I am the woman who answers the door, and talks on the phone in a red dress. The trailer is very well done, conveying the mood of the film, without giving away the ending.
Wednesday, August 23, 2006
Saturday, August 19, 2006
Osprey put one of the comics on her site, so I got all worked up thinking ... I SHOULD DO THAT! So here is Captain Atom. Strangely, my little "site-a-day" calendar waited ten days after Nagasaki Day to print this little gem. The first response was in August of 1945, with a pulp book announcing the opening of the Atomic Age.
Tuesday, August 15, 2006
The doctor used a big stainless steel syringe, and it looked like an instrument of torture. He carried it in his black snap-shut leather doctor bag when he made house calls. If I had some fever or bacterial infection, out it would come, full of penicillin. It may have saved my life, but I will never know.
The polio epidemic was in full swing then. Every summer, children were kept out of public swimming pools. Victims were kept alive in "iron lungs", where they had to see their visitors by looking into a mirror that reflected the visitors' faces to them, because they were completely paralyzed and had to spend their lives lying on their backs in a steel tubular machine, while mechanical bellows worked their lungs.
There was no vaccine that worked. There was, however, a SHOT. Gamma globulin was tested and seemed to prevent paralysis to some extent.
Dad rounded up my two younger sisters and me and herded us to the hospital, about two blocks from the house. We hated shots in the first place, and this one was reputed to be absolutely horrendous. We all screamed and cried and pleaded, to no avail. He took us to a room in the hospital, where we were told to relax, so that the shots would not hurt as much. Of course, I clenched my little buttocks into mounds of granite. The shot hurt like hell, of course!
We did not get polio, thank God, or maybe, thank gamma globulin. When the Salk vaccine came out, we were injected in long lines at school. Ah, but the Sabin vaccine doses were given in sugar cubes. I much preferred that method.
Monday, August 14, 2006
Anyhow, Mom said she and her brothers and sisters called these grandparents Mimmi and Pippi. What wonderful, affectionate names!
Emma LaFleur is still a mystery figure. In later years, Mom claimed she came from France, only passing through Canada. In fact, she said, Emma came from Paris (giving the family a touch of Parisian grandeur).
Whether Emma was a woman of the Ojibway, or of the Parisi, she added that air of mystery to the family roots, and it is welcome.
Saturday, August 12, 2006
Dancoyote Antonelli: I call this edifice Modernist Marvel. It is 200 meters tall. I worked with 3 architects to get what I wanted. I call my work Hyperformalism. http://spensley.com/hyperformalism. I build my own museums because galleries are too small for my work. I think many artists make a mistake with scale in Second Life. The proportions compared to the avatar figure are not the same in Second Life as in Real Life.
DC: Much of the work I am displaying here is in private collections. I do not sell copies of my work, so it appreciates in value like real art. Because it IS real art.
EC: Of course it is.
DC: I have sold nearly half a million in 4 months; all original work.
EC: People rip off art all the time here, not to mention textures etc
DC: I have countermeasures.
EC: What do you do?
DC: For instance, [someone] has been photographing my work in Second Life and publishing the photos.
DC: I have asked her to stop twice; but now let me show you what I made. See that?
EC: Ah, a watermark.
DC: It is a script. It detects her avatar and puts up the shield when she is around. However I have levels of countermeasures, down to Adobe watermarks embedded in the work. This is the painting she photographed last. See the moire? It is [there] for two reasons: an aesthetic layer, and for copy protection. It gives it life in a way, and protects it in a way too. Please don’t get me wrong; I’m not paranoid, I just aim to be on top of this issue in Second Life, as I am in RL. Professionalism is very important to me in the arts. I have to do both [business and artwork] and do them well.
EC: This [painting priced at L$65000] is only $216 in Real Life money, which seems really reasonable for an original piece.
DC: Thank you for understanding.
EC: how would someone keep it in Real Life? If something should happen to Second Life, for example?
DC: How would someone keep a Real Life work after a fire in their home? It is the same thing. Collectors have rights in Second Life.
EC: Do you construct ways to show this sort of work in Real Life?
DC: I am working on museum shows. I do not fancy the Real Life gallery scene for this work
EC: These would be outstanding in Real Life, large size.
DC: I am a museum artist. It is cost prohibitive; a 42-inch Plasma is 10K, way too much.
DC: … and I do work in Real Life; other work.
EC: What medium? Or media?
DC: I am a polyartist, Enjah. I work in all mediums: audio, video, performance, conceptual, etc. I am a 20-year dilettante.
EC: I feel a bit intimidated. I am just a simple painter. My family and I have had health problems, so painting has not been really feasible recently and I miss it.
DC: Health trumps art, sadly … and make no mistake; I put my relationships before art.
EC: I think it is better that way … for me it is. People talk about artists who wrecked the lives around themselves, like they deserved to do that, which I think is absurd.
DC: I don’t subscribe to that bunk. Your responsibility as a human far exceeds your mandate as an artist.
EC: I guess when I said I was intimidated, I really meant I am intimidated by conceptual art itself; I don't know how people come up with the translation between a philosophical concept and the actual event or piece. I have plenty of philosophical beliefs, but I have NO CLUE how to put them into images.
DC: I am a new breed of conceptual artist; not like the mean spirited. I put them in action in a simple way. Hyperformalism is about wonder; it is about transcending anthropomorphic concerns. [It is] about optimism and [the] hope that there is more. It is not mired in the sordid human condition. It reminds us that we can be lovely, we can be ethereal.
DC: See the yellow bands on my arms and legs? They are a symbol of emancipation.
EC: Emancipation of whom, from what?
DC: From Real Life; from the bonds and limitations of our Real Life preconceptions and prejudices. We are born without gender or race in Second Life. I like that very much. It is a teaching place that clearly illustrates that gender and race are constructs. Do you know Judith Butler?
DC: She's a philosopher at Berkley [whose work] I read and study. [It] is all about the gender construct and debunking it.
EC: Well there are biological events in the lives of men and women that are different.
DC: Your sex is one thing … gender is another.
EC: I really like a lot of these pieces, but I doubt I could spend the kind of money you ask; I would have to think a long time about it.
DC: People do … and I put everything back into Second Life. It is not about the money for me. I employ a dozen people. I employ scripters, builders, architects, publicists. I have work in 50 locations in Second Life. I have been inworld for 4 months, but doing digital art with fine art intent since Photoshop 1.0. I am on fire because in Real Life my digital work is misunderstood. People think it is files or graphics. In Second Life my digital work becomes the fine art I have always intended it to be.
DC: Have you seen my logo? See the 6th finger? It symbolizes the mouse cursor; our intervention into the metaverse. The black hand is something from cave paintings Lasceaux 16,000 years ago.
EC: Black? I remember them being red,
DC: Hehe, black shows better. The ancient artists were just like us, using new technology.
EC: The hand is an important symbol.
DC: and the sixth finger is crucial. It represents scripting.DC: I perform as Dan Coyote. I love coyotes and what they symbolize, and try to do honor to the name. However it is also a narrative pun, as you must realize already.
EC: Er, um, no.
DC: … for Don Quixote. I am also a knight errant
EC: … and you are tilting at …?
DC: I am tilting at Intellectual property
[Dan demonstrated part of his Second Life dance performance, which is described at sl-art-news blog.
DCi: I am performing at Fryes museum in Seattle and hope to do so at the Queens museum in October In NYC.
EC: Wow, thank you Dan, I really enjoyed my tour and interview
DC: I am honored to meet you Enjah
[EC: Aw the honor is mine
DC: thanks for supporting the arts in Second Life.
Thursday, August 10, 2006
hi! I am Elle Michabo, diva. In this costume, I am portraying a 60s woman of fashion. Note the beehive, the tight pants with the open-fronted skirt. I made my costume, all but the sunglasses and shoes, which I bought from two geniuses of Second Life.
Tuesday, August 08, 2006
This is a comment I made to a Hiroshima post on AlterNet:
I was born 10 months after Hiroshima and Nagasaki. Therefore I was conceived when the nuclear clouds had dispersed around the globe. I cannot escape ... every year on August 6, and August 9, I feel the tragedy; I imagine that the atomic cloud that moved around the world became part of my body as it formed in my mother's womb ... those people are part of me.
My Generation ... the gap ... in grade school, and again in high school, teachers remarked that we were different, those of us born after WWII. We WERE different. We had no innocence, no somnolent sense of security in the world around us. We were haunted by The Bomb.
People who grew up later, as in 10 years younger than I am, or more, may not dream of the flash, but I do. I awake unsure if a nuclear bomb exploded nearby or not.
I think there is a positive result in certain ways. During my lifetime there has been more and more contact between people of all cultures ... the threat of global extinction from nuclear war (and various other threats that bombard us daily) ties us together in a way that helps us see our commonalities.
Wednesday, August 02, 2006
Tuesday, August 01, 2006
Edward is a detective in Second Life. Here he is at his desk. For those of you who do not know ... in Second Life, the residents MAKE all the objects. I made the desk, the lamp, the phone book, the phone, the blotter, the map, the legal pad, and of course .... Ed's appearance.
Clive is a murderer, folks. He appeared in the mystery I wrote called "Murder at Gormley Castle". He was portrayed by Edward Manray, who also played the lead! Osprey had to stand in for Edward when they finally fought on the parapet of the castle and Clive fell to his death.
What I am really good at in Second Life is creating character avatars. My posts below show a few of them, and I intend to post more. The angry child was delightful to do, a change from all the bland characters. She is a young, restless graffiti artist. I could not think of how to explain her at the time I created her, shot a photo of her and posted that pic. She now has a pierced nose and an ear cuff. She will get tattoos.
Jean Frolic, seen below in Eileen's Roles, is a tad forgetful and sloppy. Her clothes do not match and her bra peeks out of her blouse. She was a witness in a news article in Second Life, exposing Emma Metropolitan's secret past.
If you do not understand something about a post, or Second Life, or my characters, please do not make assumptions about me ... just ASK!
Eileen McTeague, star of stage and screen, grants an interview. "This is how I usually look, luscious and appealing."
Eileen McTeague as Jean Frolic.
Eileen McTeague as Trixie Slade, the victim in "The Dore Trolley Murder"
Eileen McTeague in "From the Shadows", a Second Life play by Enjah Mysterio, from a concept by Osprey Therian, who also did the set design.