đŸ‘¶ Portraits

Cette page est consacrée aux portraits et interviews réalisés sur SL ou RL

This page is devoted to portraits and interviews done on SL or RL



Interview with Arrehn Oberlander for

By Ayrne Greymoon

Arrehn Oberlander is the creative force behind MetaHarpers. And what might the MetaHarpers be you may ask. One, they are a powerful suite of applications, the MetaHarper Show Tools and MetaHarper ChoreoHUD, that put amazing creative controls into the hands of theater and dance groups to allow for movement of avatars, rezzing and derezzing of sets and props, lighting and camera controls and many more creative theatrical elements. Two, they are cutting-edge collaborative art and multimedia theater venues, the MetaHarpers Immersive Theater and Gallery, Nova Theater, Harper Woods and the Miramare Exhibits. And three, and perhaps most importantly they are a group, the MetaHarpers Cabal. The MetaHarpers Cabal is “a casual, non-profit, easygoing group of individuals who seek out highly imaginative works in Second Life, contribute our own when the mood strikes, and explore how virtual worlds enable new fusions of technology and art.”

This last bit there, the fusion of technology and art is what I find most compelling about Arrehn’s story. The MetaHarp icon itself, Arrehn says “comes from an idea I had long before joining SL, of using a futuristic musical instrument as a symbol of art and technology expressed together as something more than the sum of either part.” I am so happy that he has agreed to share some of his thoughts with us for the AWA Presse blog.

AG: For someone who seems to me to have become a jedi master at all things SL tech, were you ever a noob? What were your first months like on the grid?

AO: Thank you for asking! Although I had modded and developed other virtual worlds before SL, SL was not like anything I had experienced before. So yes, I was all new to SL when I started, and that was a good thing. Having no fixed expectations helped me be open to new types of creative possibilities unique to the platform.

I remember being told that there were powerful, boundary-pushing sets of in-world content creation tools. This is a technically difficult feature, so I was keen to give them a try with my own hands. As soon as I registered my avatar I remember spending multiple hours tweaking my system avatar appearance in a welcome area, only to discover later that there were skins, hairs, and other major customizations that made my initial careful tweaks instantly obsolete. This mixed blessing of surprise, excitement, and laughter over misplaced effort turned out to be a repeating theme. SL continues to offer rich creative potential, but it’s not always straightforward how to find it.

AG: What advice would you have for someone who is interested in building and creating in SL?

AO: That’s a tough question for me, because I would very much love to say that you can jump right into the world and start creating whatever you like immersively, using the in-world gadgets and building tools. That’s my personal dream, but currently this is only partly realized in SL. Some aspects of content creation in SL such as scene composition, avatar show choreography, programmatic behaviors (i.e. scripts)  can be done immersively while logged in as your avatar, surrounded by your social network and visually surrounded by your design environment. This is my personal preferred way to create. However, many other aspects of digital content creation only really exist in traditional desktop forms, particularly creating mesh clothing, furniture, motion capture animations, and advanced texture images.  So my advice would be, if you know any digital content creation tools already, experiment with bringing what you know into SL. If you are new to digital content creation, then plan to create things that are easy to do inside SL first. Then, as you explore further, try one or more traditional content creation tools that personally catch your interest, such as 3D modeling tools, graphics and photo editors, audio and video editing software, and the like.  Most of the time whatever digital content creation skills you learn outside of SL, you can bring into it to excellent effect. There are communities inside SL that will help you find paths to learning digital content creation whatever your budget and background.

AG: What originally inspired you to make the MetaHarper Show Tools?

AO: MetaHarper Show Tools started as my own contribution to helping people create choreographed SL events. Around 2013, CherryBlonde Scribe asked me to help create a large, ambitious 90-minute dance adaptation of Aba Baireid’s book, ‘Le Cirque de la Nuit’. Early on we decided to create as much automation as possible to simplify the manual demands of such a performance. Most of the choreography tools at this time could not be operated by anyone other than the owner, so it was difficult for choreographers to share their work, or for a performing group to work together as a cooperative team, and I thought this would be worth changing!

At the time, the ‘dance show’ format was a rare thing in SL, very few people were doing it, and the genre had little exposure. After the ‘Cirque de la Nuit’ show was done, I thought making automation tools available would help encourage both more content and help spread awareness of what I considered to be a new type of art in SL.

The MetaHarpers SL group is all about encouraging practice and appreciation of imaginative art, so the automation tools were built under that name, and many of the group members from past projects contributed substantial skills and tools of their own, and before we knew it, we had a large collection of highly useful choreography tools!

AG: At the risk of provoking philosophical musings and requests for blue cheese martinis, what do you think it is in your RL that has you creating and doing what you do in SL?

AO: I see you’ve been reading my profile! There are plenty of RL skills that influence what I’ve done in virtual spaces. Working in the software development industry is certainly a large one. Without that experience I wouldn’t have been able to work on the Firestorm viewer, or get MetaHarper Show Tools off the ground and feeling like a unified, organized system. My personal education has taught me the value of open, accessible technology, and I try to pass that forward.

AG: What is your vision of a complete immersive theatrical experience?

AO: If you ask me, one of the magical parts of VR worlds, like Second Life, is that your avatar can do things beyond the limits of your human self, such as dancing for hours like a pro without getting tired, flexing various superpowers, or simply collecting a costume wardrobe that would cost a small fortune.

We see how fun it is for actors to express all these abilities at a live staged performance, and I personally believe that the audience should be able to join in the fun as well. In RL it’s impossible for this to happen without the preparation, the skills, the training, etc. But in virtual words, these same limits do not apply.

My personal vision is for audience members to feel as if they are part of a performance. This might mean simply feeling like they are in the same place and time as the actors, surrounded by the same scenes, or it might mean audience members are actually used as part of the cast, in some way.

I don’t believe there is one single way to make this happen, but a combination of approaches that leverage senses as our technology allows. This should be exciting, fertile ground for experimentation!

I have seen people already start to experiment with what it might look like, tightly choreographing an entire audience to a story or theme. Jenna Dirval, Cordelia Cerise, Lindy Hopper, Fifi Oh come to mind as people who have experimented with that format recently.

The “Outpost 2242” and “Pirate Day” dance shows that Guerilla Burlesque puts on are great examples of visually placing the audience right into the main scene, making them feel like they are in a different place along with the actors, not just watching a different place. The Monarchs dance group do similar kinds of visual immersion on a grand, full-sim scale.

I am sure there are others I have missed!

AG: The fusion of art, theater and technology is central to the MetaHarper story. What do you think this becomes going into the near future of virtual reality?

AO: We are really a small group of tech-art activists. As virtual theater becomes more popular, larger commercial groups may join in, and we may find other niches to explore. There’s never a shortage of opportunities, I’m looking forward to finding some.

AG: Do you think that Second Life will continue to be viable as the various other virtual reality platforms develop?

AO: I’m astounded that Second Life continues to be as viable and vibrant as it is, 18 years after public launch. That’s ancient for the computer game industry. I think it would be an essay of its own why it has not yet been surpassed by a clear and obvious successor platform, but I don’t believe it is a technical hurdle. It is technically possible to build a much richer, larger, powerful, content-creation-enabling virtual reality platform. Why no one has done so yet may be more due to our legal structures and funding sources.

That said, I’m very interested to see if the future does hold a platform that is as friendly to immersive content-creators as Second Life has been. It’s overdue!

AG: What have you seen on SL that just completely blew your mind?

AO: The original surrealist/sci-fi/fantasy builds by artists working under the group ‘Rezzable’ were the first ‘WOW’ moment I can remember in Second Life.

Later, it was some of the choreographed SL music video performances by Ellie Criss and Slappy Doobie. Some of those were like watching a produced music video, performed live, with all custom for-purpose tools. I was impressed both technically and artistically at the same time.  Many other people are doing similar excellent work now, the dance choreography scene has become very large and popular in recent years.

More recently I have to say the entire experience of the annual ‘Fantasy Faire’ event, from the full-sim custom builds to the entertainment shows to the art auctions. When you take all of those things as a whole, it’s a WOW.

Art Blue and JulietteSurrealDreaming also put on events that are consistently impossible to predict in advance. They have their own form of immersive theater going on, they like to turn their audience into part of the performance art.

I’m sure there’s many other things just as WOWing, but I couldn’t possibly list them all here!

AG: What are some of your favorite sims to visit on the grid?

AO: Favorite regions
 Well, I do like my neighbor sim, “Idle Rogue”. They host live original musicians and have regular dance shows. They also change the sim around every season to feature some new feature open to the community.

I like the Blake Sea and all the adjoining areas. Everyone needs to find some open space now and then, and the Blake Sea might be as close as SL has to this concept.

The new SLEA regions are cool. There’s new exhibits there every few months and it is a good place to go for inspiration or just to meet people.

I like visiting Hangar’s Liquides for that dark future, cyberpunk vibe. The design there is excellent.

I also am a bit of an SL archeologist, I like to visit some of the original mainland cities, infohubs, and water areas and see the types of easter-eggs that previous Lindens, Moles, and others left behind for us to discover.

AG: What topic haven’t I asked you about, that you’d like to say something about?

AO: Since you asked, and if you can forgive me a small soapbox– I spent a few years working with the Firestorm Viewer team, getting that viewer off the ground and being part of the team there. The concept of open-source software, and its long cultural gift to us all, is something that improves our SL user experience every day. The original decision by Linden Lab to make their viewer open source enables fantastic third party viewers with features we’ve all come to love.

I’d ask that people thank the third-party viewer developers, testers, and support staff when they have the chance. Whether it’s Firestorm or another viewer, these people do heroic things for all of us. Also if Linden Lab asks for your general feedback at some point, please thank them for supporting third party viewers.

I was disheartened that most next-generation virtual worlds, vying to replace Second Life do not offer a place for community client or code development. This is one of the great strengths of SL that we might not realize how valuable it has been, until it’s gone.

Thank You!


Mai 2020

Germain Boilot
par Moo Meili

A 50 ans, Germain Boilot Ă©tait fatiguĂ© de chercher une rĂ©ponse Ă  « la » question qui le taraudait depuis des dizaines d’annĂ©es.
Il créa un supercalculateur de 5000 pétaflops* et lui posa la question suivante :
– « Que suis-je ? »
Et attendit.

40 ans plus tard, Ă  la fin de sa vie, il alla voir le supercalculateur et lui demanda :
– « Alors ? »
Le supercalculateur lui répondit :
– « Reviens me voir dans 20 ans, je n’ai pas encore fini mes calculs. »

25 ans plus tard, Germain habitait alors un nouveau corps et se faisait appeler alors Francis. Il retrouva le supercalculateur et lui redemanda :
– « Alors? As-tu trouvĂ© la rĂ©ponse ? »
Le supercalculateur lui dit de nouveau :
– « Reviens me voir plus tard, je n’ai pas encore fini mes calculs. »

L’affaire et les incessantes retrouvailles durĂšrent longtemps, Germain/Francis changea de vies, de corps et de noms des dizaines de fois.

1000 annĂ©es passĂšrent, le supercalculateur n’avait cessĂ© de calculer pendant que Germain/Francis passait de corps en corps…

Et un jour, vivant dans le corps d’une femme de 75 ans s’appelant AnaĂŻs, proche de changer encore une fois de corps, elle lui posa la question rituelle :
– « Alors, quelle est ta rĂ©ponse ? »
Et elle entendit alors pour la premiÚre fois autre chose que la réponse habituelle :
– « J’ai cherchĂ© plus de 1000 ans, je suis sĂ»r d’avoir maintenant trouvĂ© la rĂ©ponse Ă  ta question.
Voici ma rĂ©ponse Ă  ta question « Qu’est-ce que tu es. » :
– « Tu es une Ăąme immortelle et tu possĂšdes un corps ».
Juste avant de tomber en panne, le supercalculateur rajouta deux mots :
– « Pas moi..! »

Anaïs ayant enfin sa réponse, décida de quitter son vieux corps avec joie quelques jours plus tard.

Une journée aprÚs, une petite Sarah naquit quelque part sur la planÚte Terre, pas loin de Fontainebleau en France.
Ses parents s’Ă©tonnĂšrent de la voir gazouiller et sourire tout le temps.

Moo Meili – Mai 2020 – Second Life.
A mes immortelles ami(e)s de Second Life, nous nous reverrons tous et toutes.

*1 pĂ©taflop (FLoating Point Operations Per Second) vaut un million de milliards d’opĂ©rations de calcul par seconde.
Actuellement, en 2020,  le plus performant des calculateurs sur cette planÚte fait 200 pétaflops.


JANVIER 2020 – Portrait Ă©crit par Cecilia

« Je n’arrive pas Ă  comprendre que la vie des gens soit sous la menace constante d’autres gens. Je ne comprendrai jamais et je trouve ça terrible. Ne me dites pas que c’est au nom de la Patrie. »

Sophie Scholl (9 mai 1921- 22 fevrier 1943)


Sophie Scholl est nĂ©e le 9 mai 1921 a Fochtenberg dans le Bade Wurtemberg dont le pĂšre est le Maire. Elle et ses trois frĂšres et sƓurs sont Ă©levĂ©s dans la foi protestante par leur mĂšre trĂšs croyante. Son enfance fut heureuse.

En 1932, la famille dĂ©mĂ©nage a Ulm. A l’avĂšnement de Hitler et du parti Nazi en 1933, les enfants Scholl, enthousiasmĂ©s par les jeunesses hitlĂ©riennes, s’y engagent malgrĂ© la rĂ©probation de leur pĂšre fervent pacifiste.

En 1940 elle devient garde d’enfant. Puis de 1940 a 1941, faisant parti de la ligue des jeunes filles allemandes, elle fit son service du travail obligatoire dans l’agriculture. Elle parvint a garder malgrĂ© l’interdiction de possĂ©der des livres, les confessions de St Augustin. Quant Ă  son frĂšre Hans, lui, en tant qu’Ă©lĂšve mĂ©decin, fit son service sur les fronts de l’ouest et de l’est en tant qu’infirmier.

Au printemps 1942, Sophie intĂ©gra l’universitĂ© de Munich pour y poursuivre des Ă©tudes de philosophie et de biologie.

Hans revenu de front de l’est et ayant vu les atrocitĂ©s provoquĂ©es par les soldats allemands crĂ©a avec son ami Hans Shmorell le mouvement de la Rose Blanche, pour lutter contre les Nazis et Hitler. Sophie les rejoignit pour les aider Ă  distribuer des tracts et envoyer des lettres un peu partout en Allemagne.

L’arrestation et le procĂšs

Le 8 fĂ©vrier 1943, ayant imprimĂ© leur 6eme tract, ils dĂ©cidĂšrent de le distribuer Ă  l’universitĂ©. Ils les dĂ©posĂšrent par petits tas dans les couloirs et devant les portes, et comme il en restait, Sophie monta au deuxiĂšme Ă©tage et les jeta par dessus la rambarde qui surplombait la cour intĂ©rieure. Mais Sophie et Hans furent repĂ©rĂ©s par le concierge qui les arrĂȘta immĂ©diatement et les mena devant le recteur de l’universitĂ©, Celui-ci appela la Gestapo

Hans et Sophie furent interrogĂ©s sĂ©parĂ©ment. Devant l’enquĂȘteur, elle nia les faits donnant des rĂ©ponses plausibles Ă  chaque question. Mais la gestapo avait trouvĂ© la machine Ă  Ă©crire et la ronĂ©otype dans leur local. La gestapo arrĂȘta aussi un de leur ami, Christoph Probst. Hans fut le premier Ă  avouer. Apprenant cela Sophie dĂ©clara Ă  son interrogateur : J’avoue faire partie de la Rose Blanche, mais aussi je le revendique… Mon frĂšre ne m’a jamais entraĂźnĂ©e dans cette histoire, c’est moi qui l’ai rejoint. J’assume parfaitement ce que j’ai fait !

Le 22 fĂ©vrier, les 3 jeunes gens furent amenĂ©s devant la premiĂšre chambre du tribunal du peuple prĂ©sidĂ© par Roland Fr Eisler, un nazi fanatique et sadique. Ils furent jugĂ©s pour haute trahison, propagande subversive, complicitĂ© avec l’ennemi, et dĂ©moralisation des forces militaires. A la fin du procĂšs qui dura 3 heures, on demanda Ă  Sophie si elle avait quelque chose Ă  ajouter. Elle rĂ©pondit ceci : Aujourd’hui c’est nous qui sommes Ă  cette place, mais demain ça sera vous !

Ils furent condamnés à la peine de mort.

Le soir mĂȘme, malgrĂ© la lĂ©gislation allemande qui imposait un dĂ©lai de 99 jours avant l’exĂ©cution, ils furent tous les trois guillotinĂ©s. Sophie passa la premiĂšre.

Ils sont enterrés tous les trois cÎte à cÎte dans le cimetiÚre de Perlacher Forst à Munich

Fin 1943, la rĂ©sistance allemande rĂ©ussit Ă  faire parvenir le 6Ăšme tract en Angleterre qui fut larguĂ© en millions d’exemplaires au dessus de l’Allemagne,

6Úme tract :

Etudiants, Ă©tudiantes, la dĂ©faite de Stalingrad a jetĂ© notre peuple dans la stupeur. Les morts de Stalingrad nous implorent. Dressons-nous contre l’asservissement de l’Europe par le national socialisme et pour la libertĂ© et l’honneur.

Filmographie / la rose blanche :



JUIN 2019 – June 2019

Bernard « Pretty » Purdie … The Drummer (Ebcy)

C’est en pensant Ă  Cecilia qui est batteuse et parce que j’adore et admire cette incroyable indĂ©pendance des gestes, et cette capacitĂ© de dĂ©synchronisation, des mains, des doigts, des pieds, commandĂ©e par un cerveau chef d’orchestre. Lui lĂ  en plus il commente, il transmet …Chapeau l’Artiste.

It is thinking of Cecilia who is a drummer and because I adore and admire this incredible independence of gestures, and this ability of desynchronization, hands, fingers, feet, controlled by a brain conductor. Him, in addition, he comments, he transmits … Hat off the Artist



MARCH 2019

Roos Gartner’s Second Life Wonderland


Roos Gartner interviewed by Joss Floss, 23rd March 2019

On 7th April 2019, Flossify Gallery will launch an exhibition by innovative SL/RL artist Roos Gartner entitled “Anderson in Wonderland”. She has given me permission to ask a few questions for the AWA Press blog.

Joss: How did you discover Second Life and did you come here with the idea of being an artist?

Roos: I was invited by friends to take part in a mixed reality performance organized by the art.think.box, a group closely connected to the Avatar Orchestra Metaverse. Must have been in 2008 or so.

Joss: Could you tell us briefly the story of your Second Life?

Roos: The performance was a very inspiring experience for me and also very confusing. As a traditionally trained artist, making etchings and paintings, I was overwhelmed by what seemed a complete new domain for artistic expression. Later I decided to develop my avatar as protagonist and virtual artist and start my voyage into the unknown.   

Joss: How long have you been making art in Second Life and what were your most exciting moments as an artist?

Roos: Creating things is my way of dealing with the world, so I guess the beginning is the tweaking of my avatar and developing a certain style. I started immediately using Second Life as a medium for image and sound, learning to build. What excites me most is when, during a certain project, something unexpected happens that somehow lifts the whole piece to a new level, making it far better than I had hoped.

Joss: You seem to enjoy interaction with other creative people in Second Life. Could you tell us a bit about that?

Roos: It is wonderful to be involved in co-creation projects where people mutually inspire each other. Often it’s also a matter of expertise, for Anderson in Wonderland I needed a huge rabbit with a slow moving media-skin. My friend Carina made the mesh in Blender, a horrible complex program that she seems to master effortlessly, unlike me. Also the video screen playing a loop with 4 frames per second, without the need to activate your media button in the viewer… my friend Dr Soni Avileva did that. The wonderful music by Deceptions Digital inspires me and all the people who join me in the various video scenes, it is so often the interaction that makes it complete.


Joss: Your art goes beyond the conventional domain of static pictures or sculpture. What do you see the role of art being today and do you think that Second Life provides an innovative space for advancing art?

Roos: I do not know if the role of art changes much over time, and I doubt if there can be a more or less advanced form, something is art or not… I think it always deals with freedom of expression, rituals and poetry. The beauty of Second Life is the fact that a huge variety of artistic traditions meld together, not just the visuals with sound or music, or time based events. The innovative aspect lies in what you call immersion, where you can enter an alternative reality and experience things like distance and proximity.

Joss: News presenter Anderson plays a central role in your current Flossify Gallery exhibition. Why is that?

Roos: First of all I think he is a stud and it looks like he is damn smart. At the same time he is CNN’s primary news anchor with connections to the CIA, filtering what the public should see and what not. In the exhibition he is a sort of God mediating between two polarities in the presentation, the natural and the artificial or if you like the personal inner-world and the anonymous politically driven social order. I can imagine him throwing a disk, for ever frozen in white marble. The presentation confronts him with a bizarre over-sized rabbit, which is not a rabbit at all. I thought that would be fun.

Joss: Your real world creative process overlaps with the virtual world one in quite a natural way. Do you see that as a continuum?

Roos: I certainly do. My practice is best seen as « storytelling ». I like to mess around with all kind of stuff, paint, clay, wood, carton board, video, sound, words. I combine these things freely and build my personal world with it, using online media to share it with anyone interested.

Joss: What are your favorite Second Life activities when not engaged in making art?

Roos: I totally adore soaking in a Japanese onsen bathing alone or with friends. There is one confession to make, the trouble with creating and thinking of creating is that you can never really stop doing it, but I do try sometimes.

Joss: After spending quite a few years in SL, do you have any regrets about that and is there anything that you would have done differently if you had to live that over again?

Roos : I would love to have made other mistakes, fortunately there is still time to do that in the near future *grins*

Joss: What would be your best advice to an SL noob interested in becoming an SL artist?

Roos : Develop a routine, doing things exactly the way you want them to be done… archive them in some way to keep track.

Joss: And finally, if you could invite one RL person (living or dead) to SL to live with you on a desert island, who would it be?

Roos: Ohhh only one… that would make me rather lonesome because it would definitively be my creator, otherwise I would turn into a soulless pixelated robot.

Joss : Thank you very much for taking the time to answer these questions 🙂

Follow Roos Gartner on Twitter and Flickr:





NDLR : Nous donnons ici la parole Ă  notre chroniqueuse Joss Floss qui a souhaitĂ© soutenir un artiste, KAKE BROEK, banni de Second Life, selon elle et de nombreuses autres personnes qui le soutiennent, de façon injustifiĂ©e.  La rĂ©daction d’AwApresse n’est pas responsable des propos tenus dans l’article et l’interview ci-dessous qui n’engagent que leurs auteurs.

We give the floor to our columnist Joss Floss who wanted to support an artist, KAKE BROEK, banned from Second Life, according to her and many other people who support it, without justification. The writing of AwApresse is not responsible for the statements made in the article and the interview below which are binding only on the authors.

Kake Broek 
 an interview with “the Banned One”

Article and interview by Joss Floss

Banished since 2013 of SLB sims because this overhead speech bubble!

Banished since 2013 of SLB sims because this overhead speech bubble

Banning someone is a great way to make them famous. D.H. Lawrence’s lasting fame was sealed when his book “Lady Chatterley’s Lover” was put on trial for sexual obscenity. The unexpurgated book later appeared in print and became a bestseller, bringing fame and widespread recognition to D.H. Lawrence. So will it be the same story for SL’s banned resident Kake Broek ?


City Chic

The brilliance of Kake has been widely admitted. Second Life art critic Kate Bergdorf called Kake’s exhibition at Lollygagger Gallery in 2016 “great art” and “an important exhibition”.


Cajsa Lilliehook, another art critic and SL art promoter made a rave review of Kake’s work during his 2017 exhibition at the Fermate Gallery. She wrote: “Sometimes when you come across a new artist, there is this shock of recognition. I felt that when I first discovered Kake Broek’s work. Not that his art is like anything I would do; I am not that imaginative. It’s not like anyone else is either. It is not the style I recognized, it was the sensibility, seeing the absurd in contemporary life and challenging us to laugh, even when what we laugh at is painful.” This article by Cajsa includes an interview with Kake and provides a good introduction to his work.


Kake’s work has been exhibited in several exhibitions at the Fermate Gallery in the Amsterdam sims organised by Starshine Halasy. The gallery has currently organised a retrospective exhibition in concurrence with the ongoing protests about kake’s ban form Second life and can be visited here:


But Kake’s main output is found on Flickr where, under the pseudonym of Adolf Chaplin, Kake has published more than 1900 images, each one a bright satirical gem. They show his skill for satire, his advanced Second Life building craft and his irrepressible artistic individualism. His world view is essentially a punk one which pokes fun at authority and censorship. What is more, since his first flickr image in 2010, he has been a fully-formed artist with his satirical vision already in place. In his own words he is a: “situationist punk artist with second degree humour”.


The last 6 posts on Kake’s Flickr stream, however, are concerned with the termination of his Second Life account and they make unhappy reading.

Inner Circle Security Services

Inner circle security services

They include long comments from himself and his supporters who have tried to contact Linden Labs, only to be rebuffed with notices telling them that “we are only able to discuss account matters with the owner of the account. Please have this person contact us if they are having issues with their account.” Meanwhile, Kake himself has tried to appeal the decision to terminate his account and received a reply: “upon further examination of your case we have determined that the permanent closure of your accounts was justified and correctly applied. The evidence shows that you have severely or repeatedly violated the Second Life Terms of Service or Community Standards, and therefore your account and any alternate Second life accounts are now permanently inaccessible.”

While the letter from Linden Lab mentions evidence, it does not reveal what that evidence is. Therefore when Kake is invited to appeal the decision providing “relevant information that you believe would clarify the above violation” it is not clear to what information his appeal should be addressed.


Kake Broek protest by Dekka Raymaker

So what was the “evidence” on which Kake was banned from Second Life? The grounds used for banning him were “misrepresentation as a Linden”. Kake believes that the misrepresentation referred to were the following: “his profile note”, an overhead text which read “I’m not a Linden” and a bot which travelled beside him named “Phil Linden”.


The banning of Kake Broek has generated a wave of protest among Second Life artists and the story of his banning has been widely covered in the Second Life press:


Support has come in different forms, and in some cases, satirical ones. SaveMe Oh, a long-time SL artist, made her own satirical protest by encouraging Linden Labs to extend the use of abuse reports so that “we can endlessly accuse and crucify each other, the only way a company can be profitable without having to do the dirty work.”


In her article she reproduces a Linden Lab violation notification which she herself received in 2008 which mentions that “Group names or titles containing the word ”Linden” are an example of Misrepresentation.” Apart from notifiying her of her violation, Linden Lab took no further action on that occasion, a notable difference to the case of Kake.

Following the banning, SL installation artist Dekka Raymaker has made a large sculptural work in the form of a carousel which is situated in Amsterdam sim. It bears the words “If it ain’t Broek it ain’t worth a Linden” and “Bring back Kake Broek”. It also satirises in various ways the Linden charges of “misrepresentation as a Linden” and is watched over by the infamous “Phil Linden bot”.


Further, on 6th June 2018 there was a well attended group protest at the Amsterdam sims in Kake’s support. This is the sim where Kake has displayed his satirical art in a number of exhibitions:


The protest splattered the news of Kake’s banning across Flickr and widened general awareness of his situation. Then, as if to rub salt into the fatal wound of his account termination, Kake was also banned from Second Life’s official Flickr feed. It was as if Linden labs were trying to silence him as an artist.

In August 2018, I asked Kake a few questions about how he felt following the termination of his account by Linden Lab.

Sturmführer Linden

StĂŒrmfĂŒrher Linden

Joss: Looking back on your Second Life, how did it feel to live under the Linden “dictatorship” for so many years?

Kake: A private commercial company is not meant to be a model of democracy, however, up until not too long ago I did not realize how much Second Life is nowadays, in effect, a radical totalitarian organisation. But every one will form their own opinion whilst warning and unquestionable death penalty, upon fallacious and laughable arguments just for « falsely identifying oneself as being a Linden Lab employee, a representative of Linden Lab, an official Mentor volunteer for Second Life or otherwise claiming or acting as if you are in position of authority within Second Life », turns out not to be a great example of democracy, moreover far outweighs some real authoritarian regimes. It should be noted that « Employees of Linden Lab are easily identifiable in-world by their avatars’ last name and that “the company makes a strong effort to maintain transparency among its employees and to the general public » as Wikipedia says about Linden Lab. That statement needs some examination and clarification. Aside from this consideration, except for a few people with mental disorder and other paranoid bullies, who can take it seriously that Kake Broek, who was notoriously nothing more than a facetious clown, really led an ambitious virtual life of usurpation and misrepresentation?

Joss: What was your favourite fantasy to live out in Second Life?

Kake: Only quietly taking pictures for my Flickr, helping newbs around and nicely making fun of ridiculous stuck-up digital people, that’s my inworld way.

Joss: Your Second Life death (termination of your account) must have been a terrible shock. Do you think it may have caused you any psychological damage?

Kake: For sure that’s an unexpected turn of events and I will never forgive Linden Lab for having done this cowardly termination. But on the other hand it’s an opportunity for a new start. A third life is awaiting. Then, I plan to visit the Winchester Historic Firearms Museum of San Jose and there seems some nice restaurants in Little Italy, so the story goes on and the rest will follow in San Francisco Chronicle 1st headlines.

Joss: Judging by all the props in your pictures, your inventory must have been huge and very valuable. Do you have any plans to sue Linden for appropriating your belongings?

Kake: My Second Life identity, thousands of pieces of purchased stuff, collectors’ items and souvenirs, so much invested daily time and money, all quickly removed by one Linden click. Anyhow, now this page concerning 11 years of my life has been turned. I keep the support from my friends, and that’s the most important thing!

Joss: Within Second Life there are sims which promote the roasting of naked women on spits or the sexual fetishization of hanging. Other sims allow sex with animals, sex with mutilated women or race-hate rape. What do you think about a company that profits from such “anything-goes” mentality?

Kake: « O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, that has such people in’t! » (William Shakespeare, in « The Tempest ». 1611). Ya know, this « Your World. Your Imagination » realm is nothing more than the exacerbated mirror of reality, and therefore in it are the worst and the best of human nature.

Joss: Would you like to see Linden release a Kake Broek avatar as part of their standard avatar range?

Kake: That would be an irony indeed! But, in fact, Kake Broek was born in 2007 as a City Chic, the first afro default avatar, and so if he was customized and twisted, if his main skin was bleached, throughout the years he has remained ever the same dude wearing his original shape.

Joss: If you were dictator-in-chief of Second Life for one day, what special edicts would you inflict on the citizens of Second Life?

Kake: Gosh! Well, that’s exactly and precisely a perfect question for this sub Linden contractor aptly pseudonymized Abnor Mole who killed Kake, so don’t hesitate to contact him about that. For my part, I have no inclination to any form of coercive power, so in other words, to be involved in the grid management that’s the least of my worries. To paraphrase Pierre Morin & Eric DelavallĂ©e (in « The manager listens to the sociologist ». Paris : Eyrolles-Edition d’Organisation, 2000), l must comment that « Power does not simply boil down to authoritarianism ».

Joss: Is there anything more you wish to add?

Kake: In the course of November will be a new photo exhibit on Amsterdam sim (http://maps.secondlife.com/secondlife/Amsterdam/20/161/25) and I ‘ll publish some new post mortem pictures on my Flickr focused on North Beach massacre, this will be my Second Life testament
  My dear fellows, « Beware the Mole People! » ;~}

The Puzzle Palace

The Puzzle Palace

To return to the original question with which this article began, it seems quite sure that the banning of Kake Broek by Linden Labs has launched Kake into a new sphere of celebrity and notoriety within Second Life. What is more it is allowing him to become known beyond the hermetically sealed world of Second Life by bringing his story onto the internet where it can be read by a much wider audience. In time, it seems likely that his fame will spread and that he will be seen as an artist who outgrew Second Life. Already the spotlight is turning on Linden Labs to explain themselves and the way they treat their customers, the users of the Second Life world. In most democratic societies, warning and penalties are inflicted before termination of life. The most advanced democratic societies realise that termination (or death) is not an option as it puts blood on the hands of society. The lack of a public show of evidence in the case of Kake Broek, the absence of any kind of democratic trial, the authoritarian judgement of termination and the absence of willingness to listen to Kake’s many supporters paints its own deeply unsettling picture of the people running the Second Life world.



Obituary: Second Life Photographer Jamisson Burnstein

by Joss Floss


Jami on Second Life

Jami was a perfectionist in both how he presented himself in SL and in relation tothe pictures he made. In addition to the many hours he spent scouring the Second Life grid for dramatic subject matter, he must also have spent many many long evenings adding the final touches to his pictures with image editing software. He prided himself on the precision and detail captured in the very large files he uploaded to Flickr. It was an honour to host a rare exhibition of his pictures at Flossify Gallery in March 2015: « Burnstein’s Travels… Voyages in Second Life ».

Burnstein's Travels

Jami loved the element of fantasy in Second Life whether it was visiting a medieval village lost in time or a float-in-the-clouds steampunk realm. He would usually dress in the correct style for the sim and get to know the builders, recording their names next to his pictures. He was a keen fancier of women, cars, boats and trains but also appreciated the beauty of Second Life art installations and captured many beautiful interpretations of these works.

Jami was a very loyal friend to many people. He made a habit of calling his friends and sharing updates of life in RL and SL. For several years he kept a photographic studio at Flossify parcel, however, he remained quite aloof from the life at Flossify, preferring to explore the grid or dance to the music at Mumtaz where his partner of many years, Josephine Hotshot, entertained the guests as DJane.

To remember Jami and to share some of his best Second Life photography, I have made this selection of some of his most beautiful Second Life pictures which I hope you will enjoy. Just click on the link below to navigate to the Flickr gallery.



MAY 2018

THE Jed Luckless Interview BY Joss Floss

Affiche jed Luckless 2018

Jed Luckless is a jam-band inspired musician who performs music online and in the NYC area. An improvisational style and diverse repertoire provide concert experiences filled with an eclectic mix of music and lots of positive vibes.

Jed plays shows across Secondlife, often as part of seasonal or themed tours that visit many venues in a short period of time. He also broadcasts his shows on Facebook Live.

10th_street Lower east side festival

Lower east Side festival Jed Luckless

Music and info can be found at www.jedluckless.com.

We are looking forward to welcoming Jed Luckless to La Fabrik Club on 13th May as part of his European tour. Before this gig, Jed has agreed to answer a few questions about his life as a musician in Second Life.

Joss : Jed, my first question is, are you experienced ?

Jed : Have you ever been experienced ? Not necessarily stoned, but, beautiful.

Joss : I know you have made at least one previous European tour. What excites you about coming to Europe ?

Jed : The idea began because I would meet many people in SL who were on European time and could not make it to my shows. I wanted to be able to play for them. So I decided I would go to their time zones, and that’s how the first Europe tour came about. And i met so many wonderful new friends and visited many new places. It really *felt* like I was traveling across Europe – I even missed some shows due to time changes and « travel delays. « This time around I’m excited to visit friends we met last year and play some familiar places, but we also added some new places and I can’t wait to make some new friends.

Joss : Do you also make tours to other parts of the world ?

Jed : I’m not sure when I started bringing « tours » into SL. I was playing with my band JLB, and I started creating tour posters that combined gigs in RL with shows we were streaming from our studio. Things like like Spring Tour 2013 and Fall Tour ’13. But my first big solo tour in SL was the « 300 » Tour in 2014, which celebrated my 300th show performed in SL. It was eight shows in one month across Secondlife and it had a fancy tour announcement (which is another tradition that continues today).


I’ve done a lot of seasonal tours since then as well as specialty tours like the « Roll Over » tour, the « Winter Rocks » tour and the « Back Again » tour most recently – but none of these are based on parts of the world. Maybe I need to do a South American tour next year!

Joss : What is the most unusual or memorable gig you have ever played in SL? Could you tell us a bit about it please ?

Jed : Oh my gosh. There are so many. I think La Fabrik will be show #477 (that’s since 2009) – and the majority of those were in Secondlife. Every year we do a Halloween show with a different theme and those are always unusual! We’ve had pirates, cowboys, dinosaurs, heroes – the most unusual Halloween might have been the « space » themed year we did at DarkStar when I flew around in a space ship and played the entire « Dark Side of the Moon » album.


A really memorable show I played was at a new venue called « Rock & Race » in Secondlife, a mix between Red Rocks and Daytona Speedway. They had races there and wanted to have rock concerts too, so they invited me there, and we had an incredible show with an amazing light show over the rocks. It was one of those shows where the vibe was just perfect and the music was rockin. I played so hard that night I actually injured my finger. The weird thing is the next day (or so) we woke up, and the venue was gone.


Joss : About your music, I know you are principally known as a guitarist. Do you have a large collection of guitars and do you use more than one when you are doing a gig ?

Jed : As most guitarists, I have too many. And I don’t use many of them nearly enough. Some of them only get used when I record new albums. I use a variety of them to get different tones from song to song. When I play shows in Secondlife, I typically only use my acoustic electric Ibanez (« black beauty ») and I have a backup version in blue (« baby blue »). When I play RL gigs with the band I use a Gibson les paul semi-hollow. electric guitar. Only a few times have I had two guitars on stage with me and switched between an electric and acoustic – it usually requires too much space and takes too much time and effort. Maybe someday when I have a bigger stage and more roadies!

Joss : Could you tell us about your song writing please? What is your process for writing a song ?

Jed : The process varies – sometimes it starts with words or an idea, other times it starts with the music. Sometimes music and lyrics coalesce perfectly and it’s magical. Other times it can feel uninspired and tedious. One thing I learned along the way is that a song can be anything – there are really no rules. Realizing this opened up a lot of fun possibilities. Typically I enjoy writing things that have detailed rhyme patterns and traditional song structures – songs like « Still In Luv With U » or « The Freeze. » But it’s fun to remove some of that pressure and write ditties like « Quarter To Four » or instrumentals like « Wunjo » which is more a riff than a « song. »


Joss : In your music making, you have been influenced by The Grateful Dead, a band formed in 1965. It’s now more than 50 years since the bands creation and they are still playing large concerts in the US. What aspect of their music do you think is responsible for this continued popularity ?

Jed : Great question. I wasn’t even born in 1965. And I only got to see the Grateful Dead (with Jerry) a handful of times in the late 80s and early 90s. But I wasn’t « on the bus » yet back then – it wasn’t until I started playing the music that I understood the power of the catalog of songs. I think that’s one thing that keeps the music alive today – the vast and varied body of work the Dead created lives on and continues to be fun to play and listen to, over and over. I strive for that kind of diversity and depth in my own catalog. Secondly, I think it’s the unique socio-musical experience that occurs at a concert. The fact that every show you go to will be different and unique. Different songs. Different people. Different places. But the same feeling – joy, freedom of expression – love. The same holds true for some other bands like Phish, and that’s what I try to achieve at my shows too – no two Jed shows are the same. Of course, the crowd is a big part of what makes this possible. I’m lucky to have some of the best fans in Secondlife – the Jed Heads!

Joss : Which of The Grateful Dead’s albums do you enjoy the most today ?

Jed : I’m really more of a Phan than a Head. I grew up on Phish, beginning in 1992. They are not that big in Europe – they did a Europe tour in the 90s I think. once. and never went back. My first Phish album was « Picture of Nectar. » I heard the first few notes of « Llama » and i was hooked ! I didn’t get into the Dead until later. As far as studio albums go, I like « terrapin Station » and I’m partial to « american Beauty » and « Aoxomoxoa. » But I really prefer live Grateful Dead. Playing in The Band jams, Stella Blue’s, Drums & Space…1973, maybe 77…that’s the sweet stuff for me.

Joss : Are you nostalgic about the 1960s and 1970s? If you could turn back the clock of time, would you go back there again? And if so, for how long ?

Jed : Haha. Well Austin Powers is a great movie, I will grant you that. It may sound corny, but I’m actually pretty happy right where and when I am. But if I *could* go back and see any band…it would be a toss up between the obvious choice of « Led Zeppelin » in 1973 and the more obscure choice of « Genesis » in 1975 performing the « Lamb Lies Down on Broadway. »

Joss : Do you think there are aspects of the 1960s counter culture (I’m thinking about LSD use, improvised music and protest music) which are relevant to young people today ?

Jed : Well as you mentioned, the music is alive and well today, with Fare Thee Well and Dead & Company bridging counter-culture with pop-culture. But somehow it seems watered down and not really tied to protest or social awareness anymore. For that you might have to look to Hip Hop.

Joss : Are there some newish bands today that you feel are continuing in the footsteps of The Grateful Dead ?

Jed : I mentioned Phish above, they are considered the main « descendants » of the Grateful Dead tree. But there is a whole ecosystem of jam bands that are following the path. There are so many great players out there playing in this type of improvisational song-driven mode. Bands like Moe, String Cheese Incident, Umphreys McGee – these are some of my personal favorites.

Joss : You do a lot of fund-raining in SL. Were there particular events that inspired this ?

Jed : Fund-raining. I like that haha. Make it rain! I think the first real benefit show I did was the 2009 Holiday Revue which raised money to fight hunger in America. We continued that tradition every year, and still do, each year with a different charity. Last year we supported Wikipedia. The year before that was for Children in the hopsital. We try to mix it up from year to year but it’s always a great cause and one of the funnest shows of the year.


Joss : After spending quite a few years in SL, do you have any regrets about that and is there anything that you would have done differently if you had to live that over again ?

Jed : I am so thankful for what I have in SL and grateful for all the support I receive from friends and fans. I really cannot imagine what my life would have been like without SL. It’s given me an enormous platform to create art, build a community and make lots of great friends. So i don’t regret much. I will say that when I chose the avatar name Jed Luckless, i didn’t realize that nearly ten years later it would be an entire « brand » and that there would be many people in my life who only know me as Jed. Even my mom and dad call me Jed now.



Joss : And finally, if you could invite one RL person (living or dead) to SL to live with you on a desert island, who would it be ?

Jed : Haha. Tough question. Maybe Mary Ann from Gilligan’s Island since she knows how to make those delicious coconut cream pies. But if I could meet one person from the past it would probably be my great-great-grandfather. He was a bad-ass naval war hero in the American Civil War and I bet he’d be fun to have a beer with.

aieul de jed

Jed Luckless ‘s great great grandfather

Joss : Jed Luckless, thank you very much for sharing your thoughts. We look forward to hearing you play on 13th May at La Fabrik club from 9pm until 11pm (French time).


APRIL 2018

* Star Gazing with Lanne Wise *

Currently, Lanne Wise is showing her work at the Flossify Gallery in Second Life. She has given me permission to ask a few questions for the AWA Press blog.

JOSS : You have told me that your exhibition at Flossify Gallery is your first in Second Life. I’m quite surprised about that as you have been around for a few years in SL and your Flickr stream is full of beautiful images. Could you tell me why it has taken you so long to show your work in a gallery?

08_bardeco brady street

Bardeco – Brady Street

LANNE : I have shown a few images here and there. Group shows. Some very nice small spaces in the Windlight Gallery But this is the first time that I have had a one -person exhibit in SL. Why? Thinking about it, there are a few reasons. When I first came to SL I spent most of my time on education sims (because I sometimes will bring students inworld) or listening to music. I became very involved in the club scene and spent years running clubs that featured primarily house music, which I love. I was able to meet DJ’s from all over the planet and learn more about the music than I ever expected. I took a lot of pleasure in creating flyers for those events – and spent a lot of time doing that as well. I was always documenting what I was doing in SL, and as the camera tools became more accessible – I became more interested. The work evolved, and was noticed by others.

JOSS : I don’t know much about your acitivities in Second Life, but I see that you have a parcel of land called Bebu. Could you tell me a bit about this land and about your avatar in Second Life? What kind of activities do you get up to and does this inform your artistic creation?

LANNE : Bebu is the name of the last club and small gallery that I had regular events at. It is also where I shoot a lot of images. I love people that take a parcel of land and really explore the creation of space. (I am old enough to remember the moving environments by AM Radio, I watch for the work of Nur Moo, Brynn Oh and Cica Ghost. I regularly visit kate bergdorf’s North, Jacky McPherson’s NorderNey and of course KeKeland or anything else my good friend Terry Fotherington decides to work on. I am an avid reader of Inara Pey’s blog.)
So I’ve been (very humbly) playing around with that as well. I guess Bebu is a work in progress. These days I host parties once in awhile and Terry Fotherington’s images are currently in the gallery. I am a practicing artist and educator in RL, and this has taken up more time than usual this past year. When I log in these days I try to catch up – with new environments, galleries and other forms of content creation. (And take images of course!)

JOSS : Your Flickr feed is quite varied with pictures in different formats and styles. Are you satisfied with the way Flickr displays your work and have you tried other formats for presenting your pictures?

LANNE : I have printed some of my images and used them in my RL studio practice. I love Flickr because of the SL community that posts there. I am probably oblivious to many other opportunities and formats because I don’t pay attention.

JOSS : Turning to your pictures, could you tell me something about the process of creation. First of all, I see a deep interest in nature evident in your work. Is that a conscious choice?

LANNE : Yes. Nature in RL and SL is important to me. I have lived in and around the Great Lakes region of the US all my life. Fresh water and forests – I spend a lot of time in the woods. My process? I tend to shoot a lot of images in SL – way more than I ever use. The same as RL, for every 20 images you take, there may be one or two you can use.

JOSS : Secondly, it appears as if you are sometimes using post-SL image manipulation techniques. Is that the case and if so is your approach always different and experimental or do you have some favoured techniques?

LANNE : I use every photo app I can find to work with images after I take them. Except for photoshop which I find too cumbersome. Some of my favorite apps are Hipstamatic, PicMonkey, Procreate and IC Painter. I think my approach is flexible. I know I have a “style” but I just do the work and don’t think about that.

JOSS : I know that you have also written a blog in the past that draws freely on associations that range from art to philosophy, to music, to design, to couture, to novels, to poetry and back to SL. All of that suggests a considerable depth and eclecticism in your knowledge and personailty. Does SL allow you to draw the disparate threads of these elements together in some way?

LANNE : Ah the blog. I love posting – but it is also one of those things that take time away from other things – especially during the academic year. For the most part, I have kept my RL and SL separate. The blog is a place where I can dance back and forth and around these two worlds a bit more freely – at least it feels that way. SL allows fast access to environments and ideas that I might not be aware of otherwise
.at least not in a way where I can teleport over and walk around! There is so much to examine and think about – SL seems to free up my thinking
.and pull it back together in unexpected ways.

JOSS : How do you feel now after this full scale exhibition at Flossify Gallery? Do you feel as if it has opened any new creative vistas for you?

LANNE :It’s funny because I was surprised how nervous I was at the opening. I totally trusted Joss to curate and install everything. I was really interested to see what her vision would be – and I was blown away by the way she presented the work. It has made me feel both empowered and encouraged to continue.

31_@ terry's


JOSS : After spending quite a few years in SL, do you have any regrets about that and is there anything that you would have done differently if you had to live that over again?

LANNE : I have loved my time in SL – and still do. I tend to be a fairly trusting person, so learning how naive I was about the way some people present themselves or deal with others was a learning curve. I’ve made some really great friends through SL and met some of them in RL . Others have drifted away for one reason or another and I miss them. It’s been a journey – I wouldn’t change anything.

JOSS : What would be your best advice to an SL noob interested in becoming an SL artist?

LANNE : Find something you love to do and keep at it. Visit the LEA sims on a regular basis. Read blogs. Practice. Meet other artists.

JOSS : And finally, if you could invite one RL person (living or dead) to SL to live with you on a desert island, who would it be?

LANNE : What a great question. Only one person? Hmmm. This is a cop out I know, but I have no idea. I think I would prefer a dog – or a horse.

JOSS : Thank you very much for taking the time to answer these questions.


Jeudi 30 mars 2017


Awapresse a rencontrĂ© la cĂ©lĂšbre rĂ©alisatrice et vidĂ©aste Moo Meili, suite au remarquable film qu’elle a rĂ©alisĂ© lors du concert-tribute Ă  Kim Wilde (avec Deborah Beaumont). Awapresse a voulu savoir comment on rĂ©alisait un film sur Slife (Second Life), et les projets vidĂ©os Ă  venir de Moo Meili.  Entretien humour et technique avec notre vidĂ©aste du virtuel.

RachMoo_001.png interview

Rachelle & Moo Meili au bar de la Fabrik durant notre entretien

Rachelle : Peux-tu te présenter pour les lecteurs du blog qui ne te connaissent pas encore ?

Moo : Oui bien sur, je suis belle, intelligente et riche et rouquine aussi ; depuis 10 ans sur Slife.

Rachelle : Et quels sont tes points d’intĂ©rĂȘt sur Slife, Ă  part le sexe ?

Moo : je ne bois pas, je ne fume pas..le sexe ? c’est quoi ça ? sinon, ben le fric, le pognon, l’oseille, la friche, etc.

Rachelle : En effet tu es passionnée par beaucoup de choses.

Moo : Enormément. Et entre deux chÚques, je fais des films.

Rachelle : Pourquoi la vidĂ©o ? tu cherchais un moyen d’expression sur Slife ?

Moo : Bonne question, merci de l’avoir posĂ©e. C’est une façon de saisir ce qu’on ne voit pas Ă  l’oeil, une façon de prĂ©senter les choses et de les arranger. Tout cela dans un contexte tranquille mais percutant.

Rachelle : Percutant ? Peux-tu préciser ?

Moo : Par exemple la subtilitĂ© de la vitesse du vent entre les barreaux d’une chaise. Et bien quand on filme un barreau de chaise, on le voit rĂ©flĂ©chir quand on regarde bien. Oui oui, tout le monde ne voit pas ça comme ça.

Rachelle : ça laisse pensive.

Moo : Justement, mes messages Ă©vitent de faire penser. Ils montrent simplement les choses autour de soi. Par exemple dans ce merveilleux film sur les fesses de DĂ©borah.

Rachelle : Depuis combien de temps fais-tu des films sur Slife ?

Moo : Quoi ? ah pardon …Et bien laissez-moi vous rĂ©pondre. Depuis je crois le mariage de Keran avec Judy, c’est Ă  dire 2010.

Rachelle : Tu n’en es pas Ă  ton coup d’essai donc.

Moo : Exactement, déjà deux oscars au palmarÚs de Connes.

Rachelle : Quels thĂšmes abordent-tu dans tes films ?

Moo : Donc, le mariage, la musique, l’amour, la danse, l’image. On me propose tous les jours des films de sexe .

Rachelle : ça représente combien de films ?

Moo : Environs 25 films au total.

Rachelle : Et aucun film Ă©rotique ?

Moo : ça ne paye pas assez et aucune proposition convenable. Un nain m’a mĂȘme proposĂ© deux millions de lindens (monnaie en vigueur sur Slife, ndlr). J’ai refusĂ©. j’ai une Ă©thique moi madame.

Rachelle : Nous n’allons pas nous Ă©tendre sur cette notion de « convenable ». Sinon, comment travailles-tu ?

Moo : Et bien, je travaille assise, parfois debout, mais uniquement pour aller chercher une biĂšre.

Rachelle : je veux dire techniquement, est-ce que c’est facile de faire des films vidĂ©os sur Slife ?  faut-il maĂźtriser certaines techniques ou logiciels ?

Moo : Non, ce n’est pas facile, car Slife est un jeu en rĂ©el, c’est Ă  dire connectĂ© en permanence. Et donc internet ne peut pas (actuellement) et facilement expĂ©dier toutes les informations de l’image qui est sur l’Ă©cran. L’oeil humain perçoit environ 25 images/seconde. La vidĂ©o suit cette norme. Pour cela, le film est de 25 images/sde en Europe et 30 aux USA. Seulement il y a un problĂšme. Ce qu’internet permet. Alors nous n’avons pas rĂ©ellement 25 images/sde, mais bien souvent que la moitiĂ©, ce qui donne des hachures dans le film, surtout si je bouge avec la camĂ©ra.

Rachelle : Mais ça change quoi par rapport Ă  un film vidĂ©o normal, de You Tube par exemple, que j’amĂšne sur Slife ?

Moo : Les images de You Tube sont des images de la vie rĂ©elle, donc normales si j’excepte les dessins animĂ©s. Slife n’est pas une image normale. Slife fournit en moyenne 12 images/seconde.

Rachelle : Faut-il un logiciel spécial pour faire un film vidéo sur Slife ?

Moo : Il y a dans les viewers (sorte d’interface qui permet d’accĂ©der Ă  l’univers de Slife, ndlr) un utilitaire qui nous permet de faire cela. Il faut en fait tout simplement « capter » l’Ă©cran ou une partie de l’Ă©cran. C’est une camĂ©ra.

Rachelle : Et ensuite je suppose qu’il faut monter les images, mettre de la musique, synchroniser tout ça.

Moo : Oui , c’est ce que je fais.  Il est possible de capter une image de 1280×720 pixels, ce qu’on appelle du HD720. Ensuite il faut monter les images. Voici un exemple de table de montage :

MMP_Kim Wilde

Moo : J’importe donc mes prises de vue. Dans cette exemple, il y a environ 80 prises de vue diffĂ©rentes, une quinzaine de titres diffĂ©rents, et cinq emplacements diffĂ©rents et un effet spĂ©cial.

Rachelle : Je ne pensais pas que c’Ă©tait si compliquĂ©.

Moo : tout cela bien sur respectant la lecture sur l’Ă©cran et une synchro avec les acteurs.

Rachelle : combien de temps passes-tu en moyenne sur un montage de film ?

Moo : Par exemple pour le film de Kim Wilde, je pense avoir passé plus de 5 heures de montage sans compter les prises de vue.

Rachelle : Ce film est le plus rĂ©ussi techniquement parmi ceux que j’ai vus de toi.

Moo : C’est exacte c’est celui dont je suis contente techniquement parlant.

Rachelle : Est-ce que tu as déjà pensé à faire des vidéos sur les grands projets de Slife comme le Burning Man festival ou la Convention Sci-Fi qui se déroule en ce moment ?

Moo : Non, pas vraiment pour deux raisons principalement. Je ne parle pas anglais et je n’ai qu’une seule camĂ©ra. Je veux dire par lĂ  ceci : je monte un film en prĂ©voyant dans ma tĂȘte au moment de la prise de vue quel est le risque d’ĂȘtre raccord avec une autre position (de la camĂ©ra, ndlr). Si j’avais un second camĂ©raman ou woman, ça serait dĂ©jĂ  deux fois plus facile.

Rachelle : Donc il te faut une autre caméra  et une personne pour la manipuler.

Moo : Exacte, et je suis en train d’en former une.

Rachelle : Mais deux caméra ne vont pas compliquer les choses au moment du montage ?

Moo : Bien au contraire, il suffit de suivre un plan et d’ĂȘtre en contact par iMs (conversation privĂ©e sur Slife, ndlr) au moment de la prise, tout cela en direct.

Rachelle : et tu souhaites aussi rencontrer un ou une buildeuse (crĂ©ateur d’objets virtuels sur Slife) pour un projet de camĂ©ras mobiles c’est ça ?

Moo : c’est aussi exacte.

Rachelle : L’appel est lancĂ©.

Moo : Les plans Ă  dĂ©placement horizontal sont trĂšs chiants Ă  faire car il y a beaucoup d’Ă -coups. Les plans de rotation sont pires. Beaucoup de choses me sont interdites. Du moins dans la qualitĂ© d’image que je recherche. Je teste des HUD (systĂšme scriptĂ© d’interaction sur Slife, ndlr) pour cela.

Rachelle : S’il y a des gens intĂ©ressĂ©s pour travailler avec toi, tu es d’accord pour les former et pour leur expliquer ce que tu recherches, notamment pour ta machine Ă  camĂ©ras ?

Moo : Bien sur, Ă  partir du moment oĂč nous avons les mĂȘmes horaires de conection.  J’ai une idĂ©e trĂšs prĂ©cise de ce que je veux et mĂȘme un schĂ©ma.

Rachelle : Quels sont tes projets de films ?

Moo : J’aimerai faire le film d’un groupe des annĂ©es 60, des Beatles au fĂ©minin par exemple et sinon, plus personnel, un film sur les beaux coins de Slife avec une musique qui vous emporte.

Rachelle : tu as une chaine You Tube je crois ?

Moo : oui la voilà : https://www.youtube.com/user/MooMeili77

Rachelle : Est-ce qu’il y a autre chose que tu souhaites dire ou prĂ©ciser ?

Moo : Et bien que mes vidéos plaisent bien dÚs fois. Le film sur les Rockbitch a été vu plus de 1000 fois. Un vrai succÚs. celui sur Janis Joplin aussi . Presque 1000 vues aussi. Il y a eu des fours, comme la vidéos du nain qui fait un striptease. Je cherche aussi un ou une scénariste pour un synopsis. Un truc à mettre en image. Le plus difficile est de trouver des gens intéressés par le sujet et qui savent bosser.

Rachelle : Tu cherches une personne capable de faire un synopsis, avec les plans, les découpages et tout ça.

Moo : Oui, capable de travailler avec moi sur un sujet/scénario/synopsis marrant. Des paroles en sous-titrage. Beaucoup de boulot en fait, mais un véritable film.

Vidéo du tribute-concert de Kim Wilde réalisée par Moo Meili :


20 janvier 2017 -Expo RETROSPECULATION- l’interview de l’artiste Rachelle

Capture.PNG(EBCY Clift): merci Rachelle pour cet interview, je sais que tu n’en accordes pas souvent, si je peux te tutoyer ?

(Rachelle Tremmor): oui tutoyez-moi bien sur, je suis restée simple malgré mon génie

(EBCY Clift): c’est important de partir sur de bonnes bases pour cet interview. Racontez nous simplement comment vous est venue l’idĂ©e de cet inĂ©dit sur SecondLife ?


(Rachelle Tremmor): et bien c’est en dĂ©couvrant un Ă©cran de connexion Ă  internet Ă  partir de SLife que je me suis dit qu’il y avait certainement moyen de faire quelque chose d’intĂ©ressant avec ça

(EBCY Clift): voulu explorer le champ des possibles ?

(Rachelle Tremmor): et bien comme je ne sais pas faire de photos, ni peindre, et je voulais faire dĂ©couvrir le travail qui a Ă©tĂ© fait avec Eb sur le blog d’AwA Presse (http://bit.ly/2iMsDDc) alors l’idĂ©e de faire une rĂ©trospective des chroniques Ă  l’origine de ce blog, en multimĂ©dia un peu interactif, ça changeait d’une simple exposition de photos

Kes nous rejoint

(Rachelle Tremmor): bonsoir Kes, je suis interviewĂ©e par Eb « lea » salamĂ© Clift et du coup j’ai du rĂ©pondre quelque chose d’Ă  peu prĂšs intelligent

(EBCY Clift): Rachelle je suis impressionnée par vos chroniques

(Rachelle Tremmor): vraiment …

(EBCY Clift): vous Ă©crivez par ailleurs ?

(Rachelle Tremmor): ça demande un peu de travail mais je m’amuse bien Ă  les faire, au dĂ©but c’Ă©tait juste des notes avec des liens internet, et maintenant je rĂ©dige des articles 
 de mieux en mieux

Kestesh: j’aime beaucoup tes chroniques aussi, elles sont trĂšs riches, documentĂ©es et partiales :))

(Rachelle Tremmor): je suis étonnée que tu dises partiale Kes

(EBCY Clift): vous vous ĂȘtes renseignĂ©e pour travailler avec des blogs existants, des journaux ?

Snapshot_003.png(Rachelle Tremmor): non, je n’ai deja pas le temps d’etre rĂ©guliere avec le blog d’AwA, et pour Ă©crire dans un gros blog culturel il faudrait que je me documente plus, que je fasse un effort d’Ă©criture, que je sĂ©lectionne mieux les images au niveau lĂ©gal , ça demande beaucoup de temps

(EBCY Clift): si je puis me permettre, vous devriez, quitte Ă  ne plus alimenter Awapresse 🙂 vous intĂ©resser Ă  ce cĂŽtĂ© talentueux RL que vous avez

(Rachelle Tremmor): je n’ai pas pris ta remarque comme nĂ©gative kes, mais sur certaines chronique je ne me trouve pas trĂšs partiale, surtout la derniere sur la queer theory oĂč j’ai pris clairement position

Kestesh: quand je dis partiales, je veux dire que tu as un regard orientĂ© et l’ensemble construit un univers que l’on reçoit. Est ce que je me trompe si je pense que cette expo est une synthĂšse de cet univers offert au travers de tes chroniques ?

(Rachelle Tremmor): non tu as raison Kes, c’Ă©tait une façon de faire le point sur un an de chronique et de travail commun avec toutes celles qui y participent

(EBCY Clift): moi je suis convaincue que tu dois te lancer

(Rachelle Tremmor): le jour oĂč j’aurai plus de temps peut ĂȘtre, en tout cas ça m’a fait plaisir que Domino me dise ce soir que la chronique sur le queer a chamboulĂ© son point de vue et qu’elle voit les choses autrement

Kestesh: je me suis parfois posĂ© une question au travers de tes chroniques, certaines plus que d’autres, quand tu parles du punk, tu en parles au passĂ©, tu penses que ce mouvement est mort et que cette forme de contestation passe par ailleurs ?

Snapshot_004.png(Rachelle Tremmor): je pense que le mouvement punk est fini oui mais qu’il a laissĂ© tout ce qu’il y a d’intĂ©ressant aujourd’hui dans l’art, la musique, la littĂ©rature. Beaucoup de createurs sont des enfants du punks ou de la new wave des annĂ©es 80. En fait je pense qu’il y a une continuitĂ© entre tous les mouvements de la contestation, des dadaĂŻstes en passant par les situationnistes, les beatniks , puis les hippies, les punks , la techno. Et on peut remonter encore plus loin , aux dĂ©cadents du XIXe siĂšcle, aux petits romantiques comme les Bousingots et les jeunes France qui ont fait la bataille d’Hernani et les barricades de 1848, et encore plus loin aux incroyables et merveilleuses de la rĂ©volution.

Kestesh: j’Ă©crirai une note pour complĂ©ter ton point de vue alors, mais c’est hors sujet :)) Ton article sur les queers est vraiment bien, ce n’est pas un mouvement de contestation mais de lĂ©gitimation, est ce que tu as un avis sur le chemin de cette lĂ©gitimation ?

(Rachelle Tremmor): qu’est ce que tu entends par lĂ©gitimation kes ?

Kestesh: ce sont des genres qui existent depuis longtemps et qui ne sont pas intégrés dans tous les échelons de la société, je pense notamment au migration de genre qui sont diversemment interprétées par les médecins

(Rachelle Tremmor): oui il y a cet aspect lĂ  en effet sur la transsexualitĂ©, mais le mouvement queer est d’abord venu du mouvement LGBT qui s’est appropriĂ© un nom qui Ă©tait une insulte Ă  la base. et il ne s’est pas arrĂȘtĂ© juste Ă  la transexualitĂ© parce qu’il a intĂ©grĂ© toutes les sexualitĂ©s qui n’entraient pas dans la norme hĂ©tĂ©rosexuĂ©e. Il est ensuite arrivĂ© dans les milieux universitaires avec les gender studies.

Kestesh: Le mouvement LGBTI est peut ĂȘtre moins dans le combat que dans la discussion pour se faire comprendre et accepter, tu vois l’avenir comment ?

(Rachelle Tremmor): je ne sais pas si il est moins dans le combat, regarde les actions de Act-Up ou les actions des Gouines rouges ou des Pink Panthers, on est plus dans l’action que dans la discussion.

Kestesh: je regarde aussi d’autres actions, comme celles de la pertĂ©tuelle indulgence ou ces assos de medecins qui rĂ©flĂ©chissent sur l’accompagnement 

(Rachelle Tremmor): en tout cas je crois qu’une partie du mouvement LGBTI est dans le combat, les fameuses Soeurs de la perpĂ©tuelle indulgence… Elles sont dans le dialogue mais d’une façon assez directe quand mĂȘme, dĂ©jĂ  de par leur apparence.

Kestesh: oui, dont la dĂ©marche est plus tendue vers l’explication et la rencontre

(Rachelle Tremmor): voir une grande soeur mal rasĂ©e et maquillĂ©e en tutu en cuir de 1,80m venir discuter, souvent tu acceptes le dialogue. Je caricature un peu mais c’est pour dire qu’elles sont elles aussi dans une forme de lutte visuelle, dans une forme de provocation

Kestesh: tu éxagÚres ^^ il y en a peu des mal rasées XD et beaucoup de genres y sont représentés :))

(Rachelle Tremmor): toute fardée et en robe de latex mais avec de la barbe et une coiffure incroyable

Snapshot_002.png(Rachelle Tremmor): tu vas t’y retrouver pour Ă©crire ton interview Eb, dans tout ça ? Donc voilĂ , j’ai mis Ă  l’entrĂ©e de la « Retrospeculation », un panneau d’explication et une vidĂ©o dans laquelle j’explique en 2 mn le pourquoi de tout ça. Ensuite le visiteur prend un masque des Anonymous, suit la galerie et ouvre tous les Ă©crans, pour finir dans une cacophonie de sons, de musique, de bruit, une sorte de symbole de l’afflux massif d’informations que nous recevons tous aujourd’hui. En tout cas formaliser, installer, rendre cohĂ©rent ce bazar m’a pris 3 mois de ma slife.

(Rachelle Tremmor): il est 22h et je travaille demain…

(EBCY Clift): merci Rachelle pour cet interview (merci Kes:). Et donc Ă  samedi soir 21 janvier pour une Celte ravegalerie party:)


13 novembre 2016 – Hommage Ă  Leonard Cohen de la part de Domino (Extrait de Wikipedia) – Une jolie histoire…

Marianne Ihlen grandit Ă  Oslo. Elle souhaite devenir actrice mais sa famille s’y oppose. Elle perd courage et s’enfuit de sa famille. Contre la volontĂ© de ses parents, elle entretient une relation avec un ami d’Ă©cole Axel Jensen qui deviendra un auteur norvĂ©gien. Ils se marient en 1958 et vivent ensemble une vie de bohĂšme sur l’Ăźle grecque d’Hydra. Son mari lui est infidĂšle et la trompe avec Lena, la propre petite amie de Leonard Cohen. Il part en la laissant avec son jeune fils Axel Junior. Elle fait ainsi connaissance de Leonard Cohen en mai 1960 dans une Ă©picerie de l’Ăźle. Ils deviennent amis. Marianne retourne vivre en NorvĂšge jusqu’Ă  ce qu’elle reçoive un tĂ©lĂ©gramme un an plus tard: « Have house. All I need is my woman and her son. Leonard. » Elle dĂ©cide de le rejoindre et deviendra Ă  son tour sa muse. Ils vivent ensemble avec son fils sur l’Ăźle d’Hydra oĂč Leonard a achetĂ© une maison, Ă  Oslo et MontrĂ©al.

Dans son premier album Songs of Leonard Cohen paru en 1967, la chanson So Long, Marianne, lui est dĂ©diĂ©e « Tu es partie quand je t’ai dit que j’Ă©tais curieux / Je ne me suis jamais prĂ©tendu courageux » alors qu’ils se sont dĂ©jĂ  sĂ©parĂ©s. Sur la pochette de son deuxiĂšme album Songs from a Room, elle apparaĂźt sur une photo en noir et blanc vĂȘtue d’une simple serviette5 et elle a inspirĂ© le titre Hey, That’s No Way to Say Goodbye.

En 1972, lors d’un concert Ă  JĂ©rusalem, Leonard Cohen aperçoit Marianne dans le public et se met alors Ă  pleurer. Il se retourne vers ses musiciens qui pleurent aussi. Le groupe part en coulisse pour se calmer. Leonard Cohen revient sur scĂšne et annonce : « Nous sommes trop bouleversĂ©s pour continuer. Mais je vais vous dire, merci et bonne nuit. »


Photo : Marianne sur la pochette du disque « songs from a room » dans la maison de Léonard Cohen à Hydra

Elle se marie avec Jan Stang, un ingénieur en 1979 et a trois filles issues de ce mariage.

En juillet 2016, Leonard Cohen apprenant que Marianne est gravement malade lui envoie une lettre d’adieu qui se finit ainsi : « Nous sommes arrivĂ©s au point oĂč nous sommes si vieux, nos corps tombent en lambeaux, et je pense que je te rejoindrai bientĂŽt. Sache que je suis si prĂšs derriĂšre toi, que si tu tends la main tu peux atteindre la mienne. Et tu sais que j’ai toujours aimĂ© ta beautĂ© et ta sagesse et je n’ai pas besoin d’en dire plus parce que tu sais tout cela. Je veux seulement te souhaiter un trĂšs beau voyage. Au revoir ma vieille amie. Mon amour Ă©ternel. Rendez-vous au bout du chemin. » Marianne Ihlen meurt deux jours plus tard aprĂšs sa lecture.

Hydra est une petite ile Ă  l’est du PĂ©loponnĂšse. Elle n’est pas loin de la ville de Nauplie (Nafplio). Il n’y a pas de voitures sur l’ile.




Entretien avec Ieko Catnap, pour son exposition qui se dĂ©roulera du 2 au 15 octobre, à la gallerie Flossify/AwA. Elle nous a tout racontĂ©.. sa vie, son oeuvre, sa peinture, ses passions…

Rachelle Tremmor :  est-ce que tu peux te prĂ©senter , notamment expliquer briĂšvement ton parcours.. As-tu fait les beaux arts ou une Ă©cole d’arts ?

Ieko Catnap : j’ai fait des Ă©tudes de graphiste avec deux graphistes indĂ©pendants,  Ă  l’Ă©poque oĂč les ordinateurs n’existaient pas encore, en 1973. Ensuite j’ai Ă©tĂ© responsable d’un atelier de dessin dans une imprimerie d’Ă©tiquettes durant 23 ans. j’ai commencĂ© Ă  peindre par passion en 1993, quand j’ai eu du temps Ă  me consacrer aprĂšs un divorce. Depuis je n’ai jamais cessĂ© de peindre.

Rachelle Tremmor : ça consistait en quoi des études de graphistes à cette époque reculée ?

Ieko Catnap :  crĂ©er et faire avec nos petites mains adroites ce qu’on fait aujourd’hui par ordinateur. ça prenait beaucoup de temps. On dessinait une Ă  une les lettres servant Ă  des affiches à l’encre de Chine sur des carte Ă  gratter.

Rachelle Tremmor :  quand as tu commencĂ© Ă  t’intĂ©resser Ă  l’art ?

Ieko Catnap :  je m’intĂ©resse Ă  l’art depuis toute petite. Je faisais des moulages en plĂątre que je peignais car mes parents n’avaient pas de moyens pour acheter des toiles et des peintures. Sinon je dessinais. J’ai toujours dessinĂ©. En peinture j’ai fait 4 annĂ©es de figuratif et je suis passĂ©e Ă  l’abstraction.

Rachelle Tremmor : donc tu viens plus d’un environnement professionnel et technique que d’un cursus purement artistique, comme les beaux-arts ou l’universitĂ©.

Ieko Catnap : oui les Beaux-Arts Ă©taient trĂšs mal vus pour une fille Ă  cette Ă©poque. Mais j’ai eu la chance de pouvoir ĂȘtre formĂ©e par les deux graphistes qui avaient fait une Ă©cole Ă  Paris. j’ai Ă©tĂ© leur Ă©lĂšve durant trois ans de 1973 Ă  1976.

Rachelle Tremmor :  ton univers ne s’est pas crĂ©Ă© par magie, et je suppose qu’il y a eu des artistes, mouvements, Ă©crivains et musiciens qui t’ont amenĂ©e Ă  l’artiste que tu es aujourd’hui.

Ieko Catnap :  oui les courants artistiques. J’ai tout fouillĂ©. J’aime surtout des peintres comme TapiĂšs, Soulages, Zao-Wou-Ki. L’abstraction lyrique est un courant qui me parle bien. Et j’ai essayĂ© de trouver ma voie en assimilant tout ce qui me plaisait et en mettant Ă  ma « sauce »Â une fois la technique maĂźtrisĂ©e.

Rachelle Tremmor : oui complĂštement , j’allais te demander ensuite si tu te rapprochais du lyrisme abstrait ou gestuel, mais tu m’as devancĂ©e.

Ieko Catnap :  oui les deux. ça se voit bien dans certaines toiles. J’ai libĂ©rĂ© le geste peu Ă  peu. La derniĂšre peinture figurative  [que j’ai rĂ©alisĂ©e] me bloquait.

Rachelle Tremmor : on sent dĂ©jĂ  une orientation verts l’abstrait dans cette peinture figurative.

Ieko Catnap : cette peinture a clos une premiÚre approche de la peinture traditionnelle.

Rachelle Tremmor :  donc tu utilises surtout la peinture Ă  l’huile ?

Ieko Catnap : toujours un fond acrylique ou jus maigre et je monte toujours Ă  l’huile. Parfois je fais des collages en fond.

Rachelle tremmor : tu utilises un peu de grattages ? On a l’impression devant certaines toiles que tu as triturĂ© un peu tout ça.

Ieko Catnap : oui grattage, ponçage, je vais rechercher dans le frais parfois quand la peinture n’est pas sĂšche, beaucoup de couches et je termine par des glacis. Je me bats souvent avec ma peinture mais parfois ça sort tout seul. Rien n’est acquis et je remets toujours en question mon cheminement.

Rachelle tremmor : alors parlons en de ce cheminement. Tu es dans l’Ă©motion uniquement …c’est un peu briĂšvement rĂ©sumĂ©, ce qu’est l’abstraction lyrique ;  mais y mets tu aussi du sens ..?

Ieko Catnap : oui  tout Ă  fait. Je n’y mets du sens que quand j’ai conscience de ce que je veux « sortir » et faire partager. Parfois je suis dans l’action et je laisse venir.

Rachelle Tremmor : la toile bleue en face de nous par exemple,  avec ce graffiti comme des lettre un peu griffées là..

Ieko Catnap :  Calligraphie Marine. LĂ , j’ai travaillĂ© Ă  l’envers. Collages et peinture Ă  l’huile mais pas trop de medium huile et ensuite la gestuelle en une fois Ă  la peinture alkyde (semi grasse). Fallait pas se rater…

Rachelle tremmor : c’est un mot cachĂ© ?

Ieko Catnap : pas forcĂ©ment. J’avais lu beaucoup de livres de calligraphie et je voulais l’intĂ©grer sur un autre support que le papier.

Rachelle Tremmor :  Voila, oui on ressent aussi cette influence de la calligraphie.

Ieko Catnap :  j’essaie d’ĂȘtre juste dans ce que je transmets. Je ne triche pas. Un vrai peintre (je n’aime pas le mot artiste) se met Ă  nu.

Rachelle Tremmor : une artiste abstraite qui tricherait sur ses Ă©motions. C’est intĂ©ressant comme concept.

Ieko Catnap :  haha oui mais j’en connais qui trichent.

Rachelle Tremmor :  tu peux me parler de la photo Ă  l’Ă©tage [de la gallerie, ndlr] ?

Ieko Catnap : celle-lĂ  a une histoire. Je suis tombĂ©e sur elle par pur hasard (enfin peut-ĂȘtre pas) sur internet. Elle m’a parlĂ© de suite.

Rachelle Tremmor : pourquoi ? Si tu l’as mise c’est qu’elle fait sens avec ton exposition, je suppose ?

Ieko Catnap : oui j’ai mis tout ce qui va avec elle, c’est important. J’ai peint ce portrait sans connaĂźtre son histoire. Les pleurs, la honte. Donc j’ai cherchĂ© quelle pouvait ĂȘtre l’histoire de cette femme.

Ieko Catnap :  elle a Ă©tĂ© arrĂȘtĂ©e en mĂȘme temps que sa mĂšre pour trafic de drogue (dans le sac que sa mĂšre lui a refourguĂ© quand la Police est arrivĂ©e chez elles). Donc pour finir,  j’avais peint son histoire sans la connaĂźtre et ensuite j’ai Ă©crit le texte, et c’est surtout pour que le spectateur comprenne le cheminement.

Rachelle Tremmor : c’est quelque chose que tu as approchĂ© aussi, la drogue, un milieu un peu bohĂšme ?

Ieko Catnap :  non pas du tout j’ai toujours Ă©tĂ© trop sage.

Rachelle Tremmor : alors pour finir .. Ieko .. ça serait quoi ou plutÎt qui si elle était une écrivaine ?

Ieko Catnap : sans hĂ©sitation Carole Martinez, surtout pour son livre « la terre qui penche ». Je vais sans doute faire une sĂ©rie de toiles sur ce thĂšme.

Rachelle Tremmor : et quelle serait la bande son de cette exposition ?

Ieko Catnap : une musique baroque genre Stabat Mater par un haute contre. 

Rachelle Tremmor : j’avais pensĂ© Ă  Florent Schmitt,  parce que tes toiles sont toute en alternance, on sent de l’apaisement sur certaine, et sur d’autre c’est trĂšs agressif.

Ieko Catnip :  oui ça collerait bien aussi. Oui parfois c’est apaisĂ© et parfois c’est tout en action. Mais j’ai une passion pour les musiques du 18Ăšme et pour Philippe Jaroussky (contretĂ©nor français, ndlr).

Rachelle Tremmor : Pour conclure, je crois que tu as un blog ?

Ieko Catnap : oui, http://ieko-catnap.blogspot.com/

maintenant que vous savez tout sur Ieko Catnap, nous vous attendons tous au vernissage de son exposition Ă  la gallerie Flossify/AwA.


23 juillet 2016 – NATALIE CLIFFORD BARNEY par Rachelle et Joss

Interview Ă  quatre mains et deux langues Ă  propos de l’exposition sur Natalie Clifford Barney, (poĂ©tesse amĂ©ricaine scandaleuse du XIXĂšme siĂšcle) organisĂ©e par Joss Floss Ă  la galerie d’A World Apart. 

Rachelle Tremmor : Comment as tu eu l’idĂ©e de consacrer une exposition Ă  Natalie Clifford Barney , qui est un peu oubliĂ©e aujourd’hui ?
Joss Floss : I think she is not more forgotten than other persons of that period who were living in Paris and had a certain celebrity. There are a number of books about her now written in English and French, some very recently published. She seemed remarkable to me since I first started discovering her, and her life proved more and more interesting the more I read. That’s why I persisted to make an exhibition about her life.

Rachelle Tremmor : Peux tu nous présenter natalie Clifford barney, pour celles et ceux qui ne la connaissent pas du tout ?
Joss Floss : She was an American womam from a very rich family. Her mother liked painting and her father was running the family business. Like many rich Americans at the end of the 19th Century, the family came to Paris to see high society, art and culture. Natalie’s father was already pushing her to get married, but she knew she was attracted to women. She had already had some girlfriends in America. In Paris, she began pursuing lesbian affairs and she quickly became quite well known for that, especially when she published a book of poems inspired by her loves.

Photo Joss N.C. Barney 2

Rachelle Tremmor : Etait-elle une féministe ou une lesbienne militante, comme les sufragettes par exemple ?
Joss Floss : She was a lesbian who had a dream of living amongst her female friends and lovers in an idyllic way. She was inspired by the legend of Bilitis and the Greek poet Sappho to create a small community in Paris where she could live a cultured and artistic idyll. Unlike most people, she didn’t have to worry about money and so she could cultivate whatever lifestyle she wished. Above all she loved lesbian romance and sex. She had many lovers and she broke many hearts, but hardly seemed to notice.

Rachelle Tremmor : Elle Ă©tait donc trĂšs inspirĂ©e par le mouvement dĂ©cadent français de l’Ă©poque qui ne voyait le monde qu’Ă  travers l’art, et qui ne se prĂ©occupait que trĂšs peu des rĂ©alitĂ©s sociales
Joss Floss : Yes she was really very decadant. She didn’t much care about the consequences of what she did, since she was so rich. But she did care about literature and produced several books of poems and prose in her life. Today she stands as an example of a lesbian woman who had a full and creative life and was unrestricted by society. She could never have had such a life in America where society was much less accepting of homosexuality. That’s why she is of so much interest to Americans today. To some people I suspect she is a role model and an icon.

Rachelle Tremmor : Peux tu nous dire en quoi elle peut ĂȘtre un modĂšle ? Penses -tu qu’elle a influencĂ© la vision de ses contemporains sur l’homosexualitĂ© fĂ©minine ?
Joss Floss : What strikes me about her is her confidence both in relationships and in declaring her sexuality to the world. She liked to take the role of seducer, a role typically reserved for men. She had an affair with a courtesan who usually reserved her sexual favours for men. She stole a wife away from her aristocratic husband. In that sense she seemed to be competing with men. I think she certainly impressed some of her fellow artists with this behaviour.

Rachelle Tremmor : Natalie Clifford Barney n’est pas trĂšs connue en france. Elle a Ă©crit surtout de la poĂ©sie n’est pas ?
Joss Floss : It’s surprising that she is not better known in France as she wrote mainly in French. Her first works were poems which she continued to write through her life. But she also wrote memoirs such as her « PensĂ©es d’une Amazone » as well as portraits of her friends, many of whom were artists.

Rachelle Tremmor : Peux tu nous conseiller quelque livres en anglais et en français sur natalie barney ou écrit par elle ?
Joss Floss : You can read her poetry online here:

Rachelle Tremmor : Et une biographie pour celles et ceux qui veulent en savoir davantage sur sa vie ?
Joss Floss : I really enjoyed the biography by Diana Souhami called « Natalie and Romaine » which follows the entire course of Natalie’s life and helped me to prepare my exhibition. I should mention also that the exhibition is illustrated with photographs that I took in second life.


19 MARS 2016 – En souvenir de Lhasa de Sela, plus connue sous le nom de Lhasa par DominoLHASA1

NĂ©e le 27 septembre 1972 Ă  Big Indian, Ă©tat de New York, USA, elle s’est Ă©teinte le 1er janvier 2010 Ă  MontrĂ©al, vaincue par le cancer du sein. Elle avait 37 ans.

Elle a vĂ©cu surtout au QuĂ©bec. Elle s’est inspirĂ©e de nombreuses sources musicales, musique mexicaine, gitane, folk, soul et rock.

lhasa8Ecoutez cette chanson, vous la connaissez sans doute : « de Cara a la pared » https://www.youtube.com/watch?v=AJaOptRE00E

Elle est extraite de son premier album qui l’a fait connaĂźtre Ă  travers le monde : la Llorona (la « pleureuse », conte mexicain) en 1998.

Son pĂšre Ă©tait mexicain et sa mĂšre, Ă©tatsunienne, avait des parents originaires d’Europe et du Liban.

Elle avait 9 frùres et sƓurs (3 sƓurs directes, 3 demi-sƓurs et 3 demi frùres)

Lhasa a Ă©tĂ© baignĂ©e dans une triple culture : mexicaine, Ă©tatsunienne et europĂ©enne, mais c’est le QuĂ©bec qui est Ă  l’origine de son succĂšs. AprĂšs avoir chantĂ© dans les bars de MontrĂ©al pendant quelques annĂ©es, elle rencontre Yves Desrosiers et Denis Wolff avec qui elle fait son premier album (« la Llorona »). Cet album, vendu Ă  700 000 exemplaires la fait connaĂźtre dans le monde entier. Il est chantĂ© en espagnol.

AprĂšs le lancement de cet album, elle rejoint trois de ses sƓurs en France et participe Ă  lhasa10une tournĂ©e commune (ses sƓurs avaient fait l’école du cirque de MontrĂ©al).

Elle s’établit Ă  Marseille pendant deux ans et demi et retourne Ă  MontrĂ©al pour prĂ©parer son second album, « The living road », qui sort en 2003. (Cet album est en anglais, Français et espagnol)

Suit une longue tournée (Europe, USA, Canada, Mexique).

En 2009, alors qu’elle est dĂ©jĂ  atteinte du cancer, elle lance son troisiĂšme et dernier album, « Lhasa » (cet album est en anglais). Elle doit annuler des concerts pour raison de santĂ© et meurt le premier janvier 2010.

LHASA5Elle laisse une Ɠuvre originale, riche de diffĂ©rentes cultures, en dehors des modes et du temps.

J’espĂšre que ces quelques lignes vous donneront envie d’en savoir plus sur elle et surtout d’écouter ses chansons


Autres liens :





20/02/2016 – đŸ‘© « Jolies MĂŽmes »Â par Domino

📱 Voici une troupe de thĂ©Ăątre que j’aimerais faire connaĂźtre.

📱  Leur nom : Jolie Mîme

joli mome1

📱 Leur thĂ©Ăątre : la belle Ă©toile Ă  Saint Denis (et oui dans le 9-3…) Mais ils se dĂ©placent dans toute la France.

📱 Leur dernier spectacle : « 14-19 La mĂ©moire nous joue des tours » : la grande guerre revue jolie mome2et corrigĂ©e.

Leur autre activitĂ© : le « cabaret » avec des chansons Ă©crites par eux. Des dĂźners spectacles aussi avec ambiance garantie et petits prix.

Evidement ils ne sont pas trop Ă  droite sur l’Ă©chiquier politique….

Beaucoup plus d’infos sur leur site :




13/02/2016 – đŸ‘© Portrait d’Anne Nivat, Grand reporter de guerre par Sausalita

«Food for thought»


Pour ce premier portrait j’ai choisi Anne Nivat.

Pourquoi elle ? je m’intĂ©resse un peu Ă  l’actualitĂ© internationale. Malheureusement les mĂ©dias «classiques» ne couvrent que peu ce qui se passe ailleurs ou bien donnent une lecture partielle des conflits.

Le premier qui m’a intĂ©ressĂ©e, c’est le conflit tchĂ©tchĂšne. TrĂšs peu de journalistes se sont rendus lĂ  bas pour essayer de nous donner un Ă©clairage sur ce qui s’y passait. Or Anne Nivat se rend en TchĂ©tchĂ©nie et s’informe clandestinement de la situation. Elle va Ă  la rencontre des populations pour s’imprĂ©gner de leur rĂ©alitĂ©.

Je l’ai dĂ©couverte justement lors d’une interview oĂč elle raconte sa rencontre avec les populations locales. Chez nous, nous vivions en paix alors que ces populations subissaient une guerre effroyable.

VoilĂ  un peu ma dĂ©couverte d’un reporter qui va au cƓur des conflits pour nous livrer une rĂ©alitĂ©. Je trouve courageux d’aller au front pour nous rapporter une vĂ©ritĂ© et une lecture au plus prĂšs des problĂ©matiques de pays oĂč peu de journalistes prennent le risque d’aller.

anne2.jpgD’ailleurs Anne Nivat rapporte lors d’une interview, que mĂȘme les politiques ne connaissent en rien les tenants de certains conflits.

Son conjoint Ă©tant Jean-Jacques Bourdin (journaliste sur la radio RMC), elle lui a conseillĂ© de poser la question suivante Ă  Nicolas Sarkozy lors d’une interview :

«Est- ce que les combattants d’Al-QuaĂŻda sont des Chiites ou des  Sunnites ?».

Nicolas Sarkozy est incapable de répondre à la question et essaye de noyer le poisson.

La rĂ©ponse est dans une vidĂ©o plus bas. Un peu de suspens… Je vous laisse aussi dĂ©couvrir une petite vidĂ©o qui explique briĂšvement la division entre chiites et sunnites.

Anne Nivat a écrit des ouvrages pour parler de ces conflits. Vous les retrouvez sur Wikipédia et dans les liens à la fin de ce portrait.

Ce que je trouve intĂ©ressant et pas simple dans ce travail de reporter, c’est d’aller vers l’autre sans a priori.

Extrait : « J’arrive dans ces pays quels qu’ils soient. LĂ , sans Ă  priori aucun, et ça c’est trĂšs important, je me dĂ©vĂȘts de tous les stĂ©rĂ©otypes. Pour moi ce n’est pas un effort, je tiens Ă  le dire . Pour moi c’est un trait de caractĂšre, c’est ma façon d’ĂȘtre vis-Ă -vis de quiconque.

anne4.jpgQuelqu’un avec qui je parle en France ou un djihadiste en Syrie, je le prends de la mĂȘme façon. J’ai envie de savoir. On est tous des ĂȘtres humains, on vit sur cette planĂšte. Cette planĂšte est en Ă©tat d’Ă©bullition permanente. Il faut se comprendre. Je conçois que soit trĂšs difficile pour les uns et les autres de s’Ă©couter et de se respecter, mais je crois qu’il faut s’entendre au sens premier du mot.

Entendre ce que l’un et l’autre disent. Sinon c’est la cacophonie. On est dĂ©jĂ  pas loin de la cacophonie. Le vacarme est permanent. Mais il faut quand mĂȘme que nous entendions ce que l’autre dit pour pouvoir nous mĂȘmes prendre des dĂ©cisions.

C’est comme ça que je conçois mon rĂŽle de journaliste. Je ne suis qu’une intermĂ©diaire, ni plus ni moins. C’est important d’ĂȘtre une intermĂ©diaire. Et je donne «food for thought», «la nourriture Ă  rĂ©flĂ©chir» Ă  mon lecteur, celui que ça intĂ©resse, que je ne considĂšre pas comme un idiot, Ă  qui je ne sers pas du prĂȘt Ă  penser. Et si je peux faire rĂ©flĂ©chir les gens tant mieux. Et si je peux faire rĂ©flĂ©chir nos politiques, ceux que nous Ă©lisons dans nos belles sociĂ©tĂ© dĂ©mocratiques, tant mieux aussi car j’ai l’impression que quand mĂȘme parfois, et surtout pour ces guerres que j’ai couvertes, Afghanistan, Irak, les politiques n’ont pas Ă©tĂ© bien loin dans la rĂ©flexion, dans ce que ça engageait anne3.jpgd’envoyer des troupes sur place.

J’ai parlĂ© Ă  beaucoup de militaires français, canadiens, amĂ©ricains et autres, qui eux, Ă  force d’ĂȘtre sur le terrain, deviennent parfois pour certains, un peu philosophes. Ils se mettent Ă  rĂ©flĂ©chir sur ce qu’ils font lĂ  bas. «Plus on rĂ©flĂ©chit plus on trouve qu’on n’a rien Ă  y faire». C’est ce genre de chose qu’il faut raconter »

L’intĂ©gralitĂ© de cet interview est trĂšs pertinente.

Si fallait conclure sur le choix de ce Portrait ? Je reprendrais un peu Ses propos. A nous aussi d’essayer de comprendre ce qui se passe dans le monde. Par contre, il nous faut «manger» une nourriture variĂ©e. Prenons le temps d’essayer de creuser l’actualitĂ©, en faisant appel Ă  divers canaux d’informations.


Biographie d’Anne Nivat


ConfĂ©rence Anne Nivat Festival « LĂ -Bas, Vu d’ici » 2015 (en compagnie de JJ Bourdin, son mari)


Anne Nivat – Grand Format – Soixante minutes (interview audio)


Vidéo Sarkozy/Jean-Jacques Bourdin : Chiite ou Sunnite ?


Division chiite et sunnites



6 réflexions sur “đŸ‘¶ Portraits

  1. L’article sur Anne Nivat que je ne conaissais pas est interessant.. On ne parle jamais de ses femmes et hommes qui travaillent dans l’ombre pour nous informer bien loin du discours officiel bien-pensant


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