The Aesthete and the Amateur Part 2: “House of Memories”

blog dept-A&A

by Heavy Writer, edited by Eleanor Medier

(Please see the in-world release or download Sim Street Journal#4 for more photographs, articles, and functionality. Also available on MARKETPLACE).

An ongoing series of discussions between an unlikely fictitious couple—a professional art critic and her wise fool truck-driver husband: CONTINUES FROM PART 1.

Moeuhane Sandalwood, “Shadow of a Nightmare Past” from “House of Memories”

Heavy: “Who would like to live in a glass house—or is this an ice house? I must admit, this is one of the coolest things I have seen in SL.”

Eleanor: “It is very cool!!! COOOL AND COLD!”

Heavy: “But I’m not sure if I can call this art. If we call every crazy build in SL ‘art,’ we will have a lot to cover! And look how I get lost. I feel claustrophobic!”

Eleanor: “This is definitely art! It looks like a drawing that l am inside. It is like a memory—the way a memory is sketchy—how we dream of things in flashes, not complete.”


Heavy: “This is a trap for innocent avatars! Honest working avatars that get stuck in an ice cage—or frozen to death. If I would name this, I would call it ‘Trapped in Your Illusions.’”

Eleanor: “That must be part of the point. There is writing on the mountain side. It says ‘My mind is playing tricks on me.’ The room you are in is moving, things are shifting.”

Heavy: “My mind is playing tricks on me ! You got to be on drugs to enjoy being inside this house. You are just trapped, sweetheart, in this illusion. It is nice looking on the outside, but inside, it is a nightmare. It makes me think of those bad Hollywood productions, when you are chased by a ghost and each door is locked; each direction is a dead end. If this is a dream, it is definitely a nightmare for me! I try to go out, but I get even deeper inside. This makes me think of Dante and his Divine Comedy, when he was entering Hell, a poster said ‘The ones who enter should leave any hope behind.’ It is much easier to escape from Alcatraz than to leave this house! I don’t even know where I am—for for a second you believe you know where you are, then you make a step, and it all changes. In certain angles you think you found the exit, then bump your head into another wall!”

Eleanor: “You have to find the hole in the wall—like a Twilight Zone episode. Look for the doorways dear. You must admire the geometry and layout, though. It is a very formalistic approach, and distinctively monochromatic. It is even cubistic, but in a gestural, expressionistic way.”

Heavy: “I give up trying to find the way out. If you still want a husband, give me a teleport and get me out of here. [Eleanor sends a teleport invitation and he joins her on the path leading up to the house.] Thank you for saving me from that black hole. This can be much more fun in real life, if done in ice. Then, you won’t have much trouble finding your path.”


Eleanor: “SL is a good medium for this concept—sketchy, softer, amorphous, with that recollection quality—even haunted—like trying to remember a childhood home, or somewhere you stayed a long time ago. It offers a lot of emotion. What about the violinist on the first floor? He is a ghost, a partial memory.”

Heavy: “He just got frozen there like I was about to, if I didn’t have you outside. I dare you to go back inside again—go to the bed on the third floor and come out. Lets let’s see if you can emerge in this lifetime!”

Eleanor: “Ok, here I go!” [She scampers inside to the first flight of stairs, looks around on the second floor for the next stairs, finds them. Like a mouse in a maze, she scurries upward and discovers the bed as if a piece of cheese.]

Heavy watches her from safely outside: “For a second I thought you built this house—you went inside like you walk into our own house! It looks like you are familiar with the space.”

Eleanor: “No, I never went inside before. This is no problem dear. Here is the bed, and I sleep [and lays down].” Do you see what happens? The walls change to black and there are faces in the dark.”

Heavy: “Are those butterflies flying around?”

Eleanor [smiles at his incessant optimism]: “No dear, they have eyes and teeth—like goblins.”

Heavy: “They can be butterflies too—that depends on what you like to see. I prefer dreaming of butterflies than faces with big long teeth! Actually, it is much more fun for me to cam in than actually go in.”

Eleanor: “I like the inside—there are things to discover. Now lets see how long it takes me to get out.”

Heavy: “Take your time.”

Eleanor finds the shortest path down both flights of stairs and out, joining him immediately outside on the path]: “Hi dear—no problem!” [She smiles victoriously.]

Heavy: “Darn you are good! How come you don’t get lost? You lose your way all the time ordinarily—or maybe because you don’t pay attention—your head is always in the clouds—or in the art.”

19-SSJ#4-moe chairs

Eleanor: “I could see the doors, dear.”

Heavy: “And I always think I’m the smarter one. At least I’m not blond—but you are—blond, I mean.”

Eleanor: “Yes I am, in SL, anyway.”

Heavy: “When you went inside I thought this will be a fast divorce without lawyers [grins.].”

Eleanor, irate: “You thought I would be lost in there forever? And you would just leave me there??”

Heavy: “Yes.”

Eleanor: “Seriously?? You would abandon me? Some husband!”

Heavy: “But I must admit, you are smarter than me this time. Don’t worry sweetheart, I give credit for achievements.”

Eleanor: “Thanks.”

Heavy: “Look at the many small houses around this big one, falling down the hill. Among so many dreams and goals we can have, we pick one and we make an obsession of it. Such an obsession is bad because it traps you. This house is just an obsessive dream or goal, and we discard the others.”

Eleanor: “It has an openness because of the transparencies. We question where we are and what we are doing. Nothing is certain and we must always re-evaluate where we are, and where we are going.”

Heavy: “Transparency is appealing from outside, But once you are inside, it is too late, and you are trapped. Looking out, you see that you might have chosen something else, but it is too late, you are trapped inside.”

Eleanor: ”No perception goes further than your physical possibilities.”

••••••••••••••••••••••••••CONTINUES IN PART 3

This is an ongoing series  as Eleanor and Heavy continue to make their way through the virtual cultural landscape.

Published monthly in complimentary versions: in-world and online.

(Please see the in-world release or download Sim Street Journal#4 for more photographs, articles, and functionality. Also available on MARKETPLACE).


Contributions are encouraged if covering topics relevant to the real world readers.
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