360 GRADI MAGAZINE//2020 November-December

360.gradi.magazine

The November-December 2020 issue of 360GRADI Magazine is online!
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360 GRADI Magazine

ARTIST

MEILO MINOTAUR

Meilo Minotaur is an established artist

that many of us have come to know

and appreciate with Delicatessen.

EFFECTS ON PERSONALITY

AND CHANGES IN

REAL LIFE RELATED TO

EXPERIENCES IN VIRTUAL

WORLDS

SAMM QENDRA,

PROFESSIONAL SINGER IN

The unmistakable voice of Samm

Qendra has excited and involved her

audience for several years.

Second Life

MR. GAUS

P hotography

The portraits of Mr. Gaus look

like the mirror of real faces.

Expressiveness and talent are among

the main characteristics of this Italian

photographer.

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360GRADI MAGAZINE © NOVEMBER/DECEMBER 2020 - N. 1


CONTENT

18

Do

MIND AND

VIRTUAL

REALITY

virtual worlds

affect our minds?

And if so, in what

way? Let’s deepen

together.

42

Arkon

ARKON

is a new

destination

that could be

called a virtual

representation of

“light art.”

60

Born

COCOON

for role-playing,

Cocoon has a

cyberpunk setting

reminiscent of

Cyberpunk 2077.

84

Meilo

MEILO

MINOTAUR

Minotaur is

a well-known and

appreciated artist

in SL. We make her

acquaintance in this

exclusive interview.

112

One

SAMM

QENDRA

of the hottest

and most persuasive

voices in SL’s music

scene is Samm Qendra.

We interviewed

her to find out more.

126

Let’s

AIM AGENCY

explore the

fashion agencies,

knowing one of the

best ones.

134

Is

146

MR. GAUS

it virtual or real?

Would

The border between

real and virtual

is thin in these

incredible images of

Mr. Gaus. We make

his acquaintance in

this interview.

PROFESSION

YOUTUBER

you like to

be a Youtuber? The

Youtubers of Second

Life are very popular;

let’s get to know

them better.

154

Spectacular

CHOSEN ON

FLICKR

images

found on Flickr.

We explore new

artists.

360 GRADI MAGAZINE is a magazine that deals with Second Life at 360°. Destinations, Art, Music, Fashion, Photography, Furniture, and Decoration

all in one bi-monthly magazine. You can read the magazine directly inworld, wearing it as HUD. Get your issue by going to Kiosk.

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Welcome to issue 1 of 360 GRADI MAGAZINE.

84 112 134

MEILO MINOTAUR SAMM QENDRA MR. GAUS

The artist is known

and appreciated in SL.

Everyone remembers

Delicatessen.

A warm voice and perfect

intonation characterize

Samm Qendra, a live

singer in SL.

The portraits of Mr. Gaus

enchant his followers

on Flickr. Let’s make his

acquaintance.

WELCOME

Welcome to issue 1 of the magazine.

In this second issue, 360GRADI

introduces Degoya Galthie, head of

“Brain, Mind and Virtual Reality.”

We will also explore incredible

destinations, meet Mr. Gaus, a

photographer who gives astonishing

realism to his portraits.

We will explore the art of Meilo

Minotaur in all its facets and listen to the

beautiful voice of Samm Qendra.

I invite you to be an active part,

telling us your impressions and ideas/

suggestions.

Enjoy your reading!

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TEAM

LADMILLA VAN MISOINDITE

ART HEAD

COLUMN

MUSIC HEAD

COLUMN

FASHION HEAD

COLUMN

Artist and THE EDGE

Gallery Owner.

Dj , Designer and

Architect Planning.

Model and Fashion

Events Accountable.

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JARLA

VIOLET

DEGOYA

PHOTOGRAPHY

HEAD COLUMN

MARKETING

HEAD COLUMN

BRAIN, MIND AND

VIRTUAL REALITY

HEAD COLUMN

Photographer.

Social Media

Marketing Expert.

Psychiatrist.

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PUBLISHER’S NOTES

We have reached the second issue of 360GRADI Magazine.

The main novelty,

very welcome, is

the entry into the

360GRADI Magazine

team of Degoya

Galthie as head of

the “brain, mind

and virtual reality”

sector. Degoya is a

psychiatrist in real

life, and I believe he

is the most qualified

person to play this

role.

What is the news about this new issue?

The main news, very welcome, is the entry into the 360GRADI

Magazine team of Degoya Galthie as head of the “brain, mind

and virtual reality” sector. Degoya is a psychiatrist in real life, and

I believe he is the most qualified person to play this role. A small

caveat for the reader: Degoya’s articles are very interesting and

have a scientific edge, from which his professionalism emerges.

Put another way: they are not easy to read. So I invite the reader

to take some breaks, maybe to resume reading later, but to read

it until the end. The added value that his articles give to the

magazine is high, so... let’s take advantage of it!

In this issue, we also introduce two new sponsors, Camp Italia and

Lundy Art Gallery. I invite you to read Asia Connell’s interesting

reflection on the importance of remembering events such as the

Nassiriya massacre and how she is involved in this project. As for

the Lundy Art Gallery, which many of you already know, it is one

of the most renowned and extensive Second Life art galleries. It

is a vast art exhibition curated with passion and perseverance by

Lee Olsen.

As always, our editors present their insights into fashion

houses, photographers, singers, and artists. In particular, we

can appreciate Jarla Capalini’s first article about an Italian

photographer Gaus that I’m sure you will appreciate very much in

this second issue.

As for the destinations, a subject edited by me, I would like to

bring your attention to Cocoon, a cyberpunk destination that

reminds a lot of the game setting of Cyberpunk 2077, the new

upcoming game. To date, Cocoon is the most detailed and

carefully created region for easy loading that I have ever seen. For

those who love role-playing games, it is a real boon.

Enough talk, I’ll leave you to the reading, and I’ll give you an

appointment for the next issue that will be out at the end of

January.

WELCOME

360GRADI is an interactive magazine

available on both YUMPU and

INWORLD.

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Communication is one of the most

important aspects of life.

Communicating means reaching

people’s hearts and minds.

- Oema

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ART PROMOTION ON FACEBOOK

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VIOLET BOA

My responsibilities include planning, implementing, and managing PR

strategies and organizing and managing various PR activities.

I use different channels to optimize the outreach and success of a

campaign, with a customer-oriented focus and assured delivery that I

represent unequivocally. I carry out the interests, wishes, needs, and

expectations of my clients.

Violet Boa,

MARKETING

Head Column

A natural part of my work involves arranging interviews and

coordination, researching and collecting opportunities for

partnerships, establishing and maintaining relationships with

journalists, influencers, and bloggers, and supporting the team

members of my client in communicating and running a campaign.

Through years of experience with social media management, which

always requires excellent communication, presentation, leadership

skills, and excellent organizational and time management skills, I

have become self-critical and am still interested in new impulses.

Learning, be it self-directed or through knowledge of apt sources, is

part of the daily process.

Observations and reflections (self-reflection) of the external and

internal situations give me the chance to recognize problems and

change them positively.

I am a positive but also critical thinker and analytical problem solver

who - with a lot of empathy - accepts conflicting interests, personal

(in) tolerance, and others’ opinions. I am very adaptable and willing

to compromise to get positive alternatives that make everyone happy

and lead to the desired success.

My top ten topics of interest are fine art, photography, design, digital

art, music, performing arts, literature, science, mindfulness, and a

positive attitude.

I feel very honored and proud of the trust that Oema has placed in

me and invited me in my role as PR to act for magazines from the first

publication of their classy, stylish and elegant 360 GRADI Magazine.

We have an exciting and excellent task ahead of us, and I am looking

forward to it!

Violet

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IN MEMORY OF NASSIRIYA PROJECT

“In Memory of Nassiriya Project” was born

in 2007, not to forget the Italian Fallen,

military and civilians, and the Intelligence

services, who lost their lives in the

International Peace Support Missions and

developed both in virtual worlds so-called

real ones.

“In Memory of Nassiriya Project” travels

hand in hand with the desire to remember

the Fallen of the terroristic attack of

November 12, 2003, in Nassiriya but also

all the Italian Fallen in peacekeeping and

intelligence missions.

Their sacrifice is not forgotten and was

not in vain, so that war becomes more

and more an unsustainable weapon and

because new paths of peace can be planned

and built.

Also this year, as every year since 2007, the

Fallen of Nassiriya and all the Italian Fallen,

military and civilian and of the Intelligence

services, who lost their lives in the

International Peace Support Missions are

remembered with a sober ceremony that is

carries out in the Second Life platform that

the proprietary company, Linden Lab, and

its users have transformed into the most

technologically advanced three-dimensional

web present on the Internet today.

“It was the year following my registration

and creation of my avatar in Second Life

that, right from the start, it was clear to

me that 3D could become rich in content,

a platform for exchanging and creating

projects in the so-called real world: a real

and just a bridge to unite people in the

construction of paths in the most varied

fields, from education to civil protection

exercises (they do it in the States after

Katrina), from making communities with

full immersion modalities to the realization

of treatment projects for some pathologies.

And this to name the most evident in the

evolution of the last decade which has seen

a development of projects and creativity

in the fields of art, education, etc. “, thus

Carmela Modica, aka Asia Connell in

Second Life, who created the project to

honor the memory of the Fallen.

“It is clear that everyone decides whether

to register and be part of it or not -

continues Carmela Modica - but I like to

remember how the bridge that connects

virtual worlds (even Facebook is) makes

it possible to stay in the same place even

when you live far away : something we

have been experiencing since the Cov-Sars2

pandemic began ».

“I also like to remember how the US

Veterans groups and the DoD itself (United

States Department of Defense) built entire

areas dedicated to memory in the Second

Life platform and where support projects

for those suffering from post-trauma

disorders have worked for years and with

optimal results ».

“My wish - he concludes - is that this”

bridge “is created so that Italians can learn

to work and create communities in virtual

environments that are developing with ever

greater and excellent results in all fields of

human knowledge.”

The ceremony takes place every year. This

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SPONSOR

year it took place at the Memorial Garden

in Camp Italia.

In addition, the event saw the extraordinary

participation of Ambassador Giulio Terzi,

who promoted it on his Facebook Page. The

ambassador participated in the important

commemorative event by signing up for

Second Life for the occasion.

References

Official Website

Facebook Event

Facebook Group

Flickr Group

Ambassador Giulio Terzi’s FanPage

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LUNDY ART GALLERY

LUNDY ART GALLERY IS A CREATION OF LEE1 OLSEN AND PERIODICALLY

HOSTS NEW ARTISTS.

THE GALLERY BOASTS A VERY LARGE EXHIBITION SPACE, ALLOWING THE

VISITOR TO APPRECIATE NUMEROUS WORKS OF ART.

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ARTISTS EXHIBITORS

Deyanira Yalin

Moya Patrick

Etamae

Ilyra Chardin

Adwehe

ZackHermann

Sandi Benelli

Jessamine2108

Steele Wilder

Adelina Lawrence

Magda Schmidtzau

TELEPORT TO LUNDY ART GALLERY

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DEGOYA GALTHIE

Since the beginning of his appearance in the world, man has tried to

represent and tell his experience with different tools such as drawing,

photography, and cinema; at the base of this incessant search is

the desire to describe one’s inner world with ever greater levels of

fidelity. In our post-modern society, the most advanced frontier of

this research is represented by virtual reality. This technology allows

us to “immerse ourselves” in a computer-generated environment, in

which it is possible to move and interact as in reality.

Degoya Galthie,

Head Column

BRAIN, MIND AND

VIRTUAL REALITY

Virtual reality has numerous applications ranging in different fields

and represents an advanced communication interface that allows

people to interact naturally at a distance. It is now a technology

growing in popularity in the entertainment industry, where it finds

applications and the video game sector, cinematography, theme parks,

and museums. Social networks, e-commerce, education, sport are just

some of the many areas that virtual worlds promise to revolutionize.

In the medical field, virtual reality is demonstrating excellent

potential with applications in neuroscience and psychotherapy.

In light of these premises, the goal I set myself in this section of the

magazine is to tell the “virtual revolution” through a perspective

that highlights the transformative impact of this technology on

the brain and human experience. In particular, I will investigate the

effects of virtual experiences on one’s real-world and highlight the

opportunities that virtual technologies can offer, and highlight the

potential risks they imply through a survey of the most advanced

research in psychology and neuroscientific field. Finally, I will try

to explain how simulation technologies are changing how people

communicate and interact, analyzing the opportunities and challenges

implied by the emergence of virtual worlds.

Degoya

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EFFECTS ON

PERSONALIT

AND CHANGES IN REAL

EXPERIENCES OF VIRTU

Written by DEGOYA GALTHIE.

Images by JARLA CAPALINI.

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Y

LIFE RELATED TO

AL WORLDS

What are the effects that virtual worlds produce

on the mind? Let’s try to clarify.

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EFFECTS ON PERSONALITY

AND CHANGES IN REAL LIFE

RELATED TO EXPERIENCES

OF VIRTUAL WORLDS

A theme that has fascinated me since my entrance into the virtual worlds

has been related to how individual differences modulate the effects of virtual

activities on real behaviors.

Since the beginning of the Internet era

and with particular reference to virtual

worlds, a topic of considerable interest

concerns whether and to what extent

virtual experiences and relationships

can affect one’s personality and real

personal life. With the spread of

virtual social media, one of the most

frequently asked questions concerns

how the perception of the distinction

between the real and the virtual

can change over time and how this

perception affects human behavior

both online and offline. Several factors,

such as technological characteristics,

social context, and individual

differences between people, shape the

perception of how virtual environments

relate to the material environment.

A theme that has fascinated me since

my entry into virtual worlds has

been that relating to how individual

differences modulate the effects of

virtual activities on real behaviors

and led me to reflect on the question

of how individual personality style

can make people predict effects

of social virtual worlds on the real

lives of people involved in these

environments.

Social virtual worlds are complex

multi-user online applications that

simulate 3D environments through

which people navigate and interact

with other individuals by means

of customizable avatars. Among

these worlds, the main source of my

reflections is Second Life. Unlike the

game environment of other virtual

worlds such as World of Warcraft

or Everquest II, the Second Life (SL)

environment does not impose any

specific interaction framework and

users are instead provided with the

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SL can have

effects on

personality and

real life?

tools and components

to create any type

content, activities and

communities they desire.

I have examined a series

of studies carried out on

Second Life avatars and

which have analyzed the

relationship between the

personality factors of the

“Big Five” questionnaire,

experiences in the

virtual world and

relationships with

changes in real life

deriving from virtual

experiences. These

studies showed that

the strength of users’

relationship with the

virtual environment,

identification and

similarity with their

avatars favored changes

in real life; these three

factors influenced

the personality traits

measured by the Big

Five (Agreeableness,

Extraversion, Intellect

/ Mental closure,

Conscientiousness and

Emotional Stability /

Neuroticism) and the

consequent changes in

real life.

Characteristics of the

sample

The real age of the

participants in the

studies examined ranged

from 18 to 71 years with

a mean age of 35.7. 54%

were female and, for the

majority of cases, the

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sex of the avatars corresponded to

the real sex; 55% of males, however,

reported having female avatars as well.

Respondents attended Second Life

for between 127 and 2,813 days, and

most of the respondents had had their

accounts for just over 3 years. They

reported spending an average of 33

hours per week in SL, and 68% of this

time was spent on social or recreational

activities (eg, making friends, going to

parties, listening to music), 22% on

activities task-oriented (eg, taking or

teaching a course, a retail business) and

for the remaining time to various or

specialized activities such as learning

the use of the SL scripting language.

Consistent with how they split their

time on SL, 79% of participants

reported that the overriding motivation

for joining SL was related to social

purposes, while only 12% reported

that their primary motivation it had

been linked to the performance of a

task.

Theoretical framework

Much research has shown that

experiences in virtual worlds influence

attitudes, perceptions and behaviors

in the real world and vice versa;

for example, self-concept can be

influenced by the way other people

respond to online self-presentation.

Virtual social activities can affect real

relationships with family, friends and

community organizations; people

often recreate real-life experiences

in virtual environments and may

experience physiological, emotional

and behavioral changes, both positive

and negative, as a result of certain

online experiences. Your personality

style emerges as an important factor

that can explain individual differences

and how people are affected by the

use of the Internet in general and

immersive virtual worlds in particular.

The data examined does not allow

me to distinguish between positive

and negative changes and therefore

examining that difference could be

another fruitful direction for research.

Firstly, due in part to personality,

people differ in their predisposition

to be influenced in their real life by

virtual experiences and, secondly, the

different environmental characteristics

of virtual worlds activate different

personality traits, which leads to

diversity in the way people experience

the virtual world; finally, virtual world

experiences can produce different

effects on personality by varying the

probability of experiencing changes in

real life.

The three factors relating to virtual

experiences at the center of my

reflections are: (a) the relationship with

the 3D environment, which incorporates

the concepts of presence, absorption

and immersion; (b) identification with

the avatar, which includes dimensions

of perceived closeness, attachment,

sympathy and attraction for the avatar;

and (c) person-avatar similarity, which

refers to the degree of perceived

self-similarity across dimensions of

behavior, attitudes, personality, and

physical appearance.

Relationship with the environment

A person’s relationship with a virtual

environment is multifaceted, made up

of feeling transported within, present

and immersed in the environment,

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of being absorbed by activities and

interactions with the environment and

of being emotionally attached and

involved with the environment. These

facets are related to each other and

some of the terms, such as presence

and immersion, are often used

interchangeably.

However, the distinctions must be

taken into account. The most important

of these distinctions focuses on

the definition of presence as an

experience limited to the time a user

is connected to a virtual environment

which then ends when the user goes

offline. On the contrary, I argue that

feelings of attachment and emotional

involvement and thoughts related to

the environment can persist in the

user long after a person has closed the

application, a phenomenon facilitated

in part by the fact that virtual

environments are persistent.

The immediate experience of

presence, immersion and absorption

experienced while online will

affect the likelihood that the virtual

environment will leave psychological

traces in a person following exposure

to the virtual environment. My concept

of relationship to the environment

includes both proximal effects

experienced online (eg, presence,

immersion, absorption) and distal

effects that remain after exposure

(eg, attachment and emotional

involvement). In short, I assume the

development of a strong relationship

due to an environment characterized

by high experience of presence,

immersion and absorption and

strong emotional involvement and

attachment.

The type of relationship with a virtual

environment has been shown to

affect behavior in the real world.

The relationship with a virtual

environment can act on the user’s

sense of self and on real social

encounters to the extent that the

boundary between the virtual and

the physical world is blurred and

the experiences of the virtual world

are more likely to be transferred to

experiences offline.

The Avatar

Two factors appear related to

avatars: (a) identification with the

avatar and (b) the degree of similarity

between the user and the avatar.

Identification with avatars includes

the notions of assimilating the avatar’s

characteristics to self-image, moral

and emotional attachment to the

avatar and the adoption of its goals,

skills, resources and impediments

as one’s own. It has been observed

that how people identify with their

avatars affects their satisfaction with

experiences in the virtual world,

but at the moment the empirical

evidence on how avatar identification

affects offline behavior is limited.

Some researchers have reported data

suggesting that membership in virtual

groups can sometimes be assimilated

into the offline self-concept,

especially when this membership is

deemed important to the user. Based

on these albeit limited results, it

seems reasonable to speculate that

identification with the avatar in the

virtual world could lead to a variety

of behavioral alterations in the real

24 360 GRADI


world. Although related to avatar

identification, avatar resemblance

is a distinct aspect of users’ virtual

experiences. For example, someone

might be highly identified with an

avatar who is very dissimilar (an avatar

with a non-human form).

Research still carried out shows that

there is a general correspondence

between users and their avatars in

both personality and behavior and that

exceptions to this trend are related

to specific goals or motivations. It

has been seen that the divergence

between the real self and the avatar

identity is important to many Second

Life users and that the social aspects

of identity are more relevant to their

avatars than to their real self. For

example, avatars are often significantly

more outgoing than their real selves in

a social networking context.

Regarding the relationship between

user-avatar similarity and changes

in real life, some researchers

reported that people who attributed

personality profiles to their avatars

similar to their real characteristics

showed positive effects on their

reallife satisfaction. Other authors

have suggested that people who

perceive their avatar as more attractive

than themselves and closer to their

idealized self-image report more

frequently that their avatar affects

their health and appearance offline. It

therefore seems reasonable to expect

the avatar-user similarity to have

effects in the real world.

Personality

Among the multitude of models

focusing on a theoretical approach

to the study of personality, the one

commonly applied in research on the

use of the Internet is the “Big Five”

(Goldberg, 1993; McCrae and Costa,

2008); the authors of this model

postulate 5 large dimensions or traits

(Big Five) of personality:

• Extraversion Introversion: the

extent to which a person is

predisposed to the outside world.

Talkative, assertive and active are

common words used to describe

extroverts;

• Agreeableness Unpleasantness

(Friendliness): the extent to which

an individual is kind, trustworthy

and affable;

• Conscientiousness Negligence:

the extent to which a person is

perceived as organized, complete

and reliable;

• Emotional stability Neuroticism:

the extent to which a person is

relaxed, not easily upset and able

to bear unexpected events with

serenity;

• Intellect Mental closure (also called

Openness to Experience): the extent

to which a person has imagination,

curiosity and creativity.

These dimensions have been

identified starting from psycholessical

studies, according to which man

has encoded in verbal form all

the experiences significant for

the community including, in this

case, words that refer to individual

differences: the 5 dimensions listed,

therefore, they would correspond

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to the macro-categories most used in

language to describe the differences

between individuals. The evaluation

of personality through the Big Five

model can take place by filling in a

questionnaire by the subject, or by

evaluating her behavior in a simulation

context.

Research has shown that personality

predicts, in general, the way the

Internet is used and, in particular,

people’s motivations for using virtual

world applications. Personality has

also been observed to correlate with

specific behaviors that users display

online. Evidence for the influence

of personality on the relationship

between online and offline experiences

comes mainly from the literature on

violent online games. For example,

some researchers reported that a

hostility trait partially explained the

increase in aggressive offline behavior

following online gambling, and that

trait empathy increased feelings of

guilt after committing unwarranted

virtual violence.

Based on what has been said so far, it

seems clear that based on personality

various aspects of Internet use can be

predicted and that its use can cause

changes in real life beliefs, emotions and

behaviors. Very few studies, however,

have examined the entire causal chain

from how the personality predisposes

people to use the Internet in different

ways, to the experiences of using

it, and the effects of their use and

experience in offline life.

It is my belief that the three factors

of experience of the virtual world

described above (i.e., relationship with

the environment, identification with

the avatar, and similarity between the

user and the avatar) mediate how the

personality determines the ways in

which the virtual world generates real

life changes. The demonstration of

this assumption can be derived from

the theory of trait activation which is

based on the fundamental premise

that virtual environments differ in

their relevance for the expression of

different personality traits.

Activating Personality Traits in Second

Life (SL)

Although personality is relatively

stable over time and contexts, it is

nevertheless widely recognized that

the expression of personality traits

varies in different situations. According

to the theory of trait activation, people

are inherently motivated to express

their traits and likely do so when

situational cues provide the opportunity.

For example, to a person with a high

level of Conscientiousness, a cluttered

environment provides a cue that likely

triggers cleaning behavior; the same

situational feature could activate

different traits in other individuals.

Another example, a business meeting

can trigger sociability in an extroverted

person and cooperation in a person

with pleasant traits. The multiple

aspects of a complex environment such

as Second Life activate different traits

in the expression of personality among

users.

I now turn to some reflections on how

SL offers opportunities to express the

predominant personality traits that

then shape users’ experiences of the

virtual world (i.e., the strength of their

26 360 GRADI


elationship with the environment,

identification and similarity with their

own avatar) and in turn how these

experiences affect real-life changes.

Agreeableness Unpleasantness

(Friendliness)

Second Life is essentially a social

environment and it has been found that

social motivations are at the top of

the list of reasons people participate

in SL. The social nature of SL should

therefore facilitate the expression of

both pleasantness and extraversion

traits and, therefore, activate interest

in other people and a pro-community

orientation. The Agreeableness trait

should lead to a strong connection

with the virtual social environment and

identification with avatars. However, I

don’t expect the Agreeableness trait to

predict the similarity between avatar

and user, although empathic people

are likely to create avatars that are

pleasant and attractive to other people

this does not imply that avatars are

similar to themselves.

The theory of trait activation offers

a possible explanation of how the

strength of the situation affects the

prediction of individual behaviors.

Situational strength refers to

environmental characteristics that

exert strong demands (through

high rewards or punishments) for

manifesting certain behaviors. In SL,

the rewards for friendliness are high and

reasonably predictable, thus creating

a strong environmental demand for

pleasantness. Consequently, low interindividual

variation in the expression

of this trait would be expected, and

agreeableness would therefore not

strongly predict differences in behavior.

Extraversion Introversion

Extroverts are expected to have

a strong relationship with the SL

environment and their avatars because

the many opportunities to meet and

interact easily with other people

offer the possibility to express the

sociable facets of the Extroversion trait;

however, there are equally convincing

arguments and empirical evidence to

support that introverts also feel a strong

connection with the environment and

with their avatars.

A positive relationship between

presence and introversion was shown,

as introverted people in virtual

environments can easily control

the pace of interactions. Therefore,

extroverts and introverts can be

expected to be similar in the tendency

to relate to the environment and to

identify with their avatars, albeit for

different reasons. I expect, however,

that the Extroversion trait is positively

correlated to the similarity between

users and avatars due to the simple

observation that the extrovert is more

socially desirable than the introvert.

Consistent with this reasoning, it

has been observed that user-avatar

similarity is more frequent in extroverts

and, furthermore, that the most

attractive avatars of users in their

real life were also extroverts. For the

extroverted person, the avatar is the

means to express social characteristics

triggered by the essentially social

nature of Second Life. At the same

time, introverted people are motivated

to create avatars that are a little more

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extroverted than themselves, largely

due to generalized social pressures that

favor extroversion.

Intellect Mental closure (also called

Openness to Experience)

Second Life offers numerous

opportunities for intellectual

pursuits (e.g., lectures, lectures, and

discussions), for creative expression

(e.g., musical performances,

construction of structures, clothing

design), and for exploration and

experimentation (e.g. , avatar

personalization, having “impossible”

experiences like being inside an atom).

These possibilities should provide an

opportunity to activate the Mental

Openness trait. The empirical evidence

is consistent with the expectation that

people with a high level of intelligence

have a strong connection with a

virtual environment. Users’ tendency

towards immersion (an attitude

closely related to open-mindedness)

predicts the experience of presence.

Users with a high level of intelligence

should also identify with their avatars

because customizing an avatar offers

the opportunity for creativity and to

explore inner aspects such as identity.

However, I don’t expect the Open Mind

trait to predict similarity between

users and avatars. Although the

customization possibilities of avatars

may involve a wide variation in avatar

characteristics among people with

a high level of Open Mind, this does

not imply great differences between

individual users and their avatars.

The Mental Openness trait positively

affects real life changes through

strong emotional involvement with

virtual world experiences. This is

also consistent with expectations

based on trait activation theory that

the unstructured nature of Second

Life, combined with the availability

of multiple tools for creating new

content, activates the propensity of

people with high levels of this trait

facilitating creativity and exploration.

Emotional involvement can reasonably

be expected to result from the ability

to express these aspects of the

personality.

Conscientiousness Negligence

The virtuality of Second Life itself

is the main reason why I argue that

the Conscientiousness trait can have

both direct and indirect effects on

real life. Since the connection with

this environment is mediated by a

computer, real life is at least influenced

by the explicit choice of accessing and

planning the real-life adjustments

necessary to organize the time spent

interacting with the virtual world.

Various researchers, for example, have

argued that the Conscientiousness

trait is particularly important in virtual

work environments, where the absence

of direct interaction with colleagues

can reduce motivation to work. No

matter how absorbed they may be

in SL, people with a high level of

Conscientiousness maintain a higher

degree of awareness of how that time

affects real life and are motivated

to organize their lives (physical

and virtual) accordingly. Due to this

planned and organized approach, I

expect conscientious people to report

fewer real-life changes resulting

from their participation in a virtual

environment. As far as we know, a

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direct effect of the Conscientiousness

trait on changes in real life due to

the involvement of the virtual world

has not, at this time, been empirically

tested. I argue that part of the

strategy for controlling the effects

of the virtual world on real life is to

maintain some psychological distance

from the virtual world. This implies

that the Conscientiousness trait is

negatively related to the strength of

the relationship with the environment

and identification with the avatar

and I expect it to be positively

related to the user-avatar similarity.

In maintaining social bonds within

the virtual environment, a high-level

Conscientious person focuses on ways

to develop interpersonal trust and

confidence. This can in part be achieved

by maintaining a high similarity

between the user and the avatar. While

not all details of real life identity can

be revealed, it has been shown that

letting people know that your avatar

is similar to your real self is a factor

in developing trust in relationships

within Second Life. In summary, the

Conscientiousness trait predicted fewer

changes in real life related to virtual

world experiences.

Conscientiousness seems to exert its

effects primarily through the degree

of similarity between people and

their avatars. A high resemblance to

the avatar can be a convenient way

to express conscientious motivation

for transparency and honesty. At the

same time, I also found a modest but

significant direct path that indicates

that conscientiousness tends to

prevent changes in real life. The role

of Conscientiousness in regulating

people’s boundaries between the

virtual and the real world would be

a useful avenue to pursue in future

research, particularly in relation to

people’s ability to overcome taboos

online.

Emotional stability Neuroticism

The unstructured and open nature

of Second Life, combined with its

reputation for “all is well”, provides

situational cues that activate aspects

of the Emotional Stability trait. While

there are terms of service policies,

these rules are not designed to prevent

extreme behavior, but rather serve

to prevent extremes from affecting

those who do not want to be exposed

to it. However, there is a relatively

high probability of accidentally

encountering potentially emotionally

disturbing content or behavior (for

example, seeing someone with

slaves on a leash while shopping for

clothes in a store). I argue that the

unpredictability of the environment

with respect to such encounters

activates the need for calm and

balanced temperament, main aspects

of emotional stability. One way to

maintain emotional balance may be to

limit the extent of emotional investment

in the virtual environment, which can

involve fewer feelings of immersion

and presence and weaker identification

with one’s avatar. Regarding useravatar

similarity, there is empirical

evidence to suggest that overall life

satisfaction, an aspect of emotional

stability, is positively associated with

similarity and that neuroticism predicts

unrealistic online self-presentation.

Therefore it seems reasonable to

expect emotional stability to provide

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for user-avatar similarity. Finally,

I expect that due to the general

emotional volatility and reactance

associated with the Emotional Stability

Neuroticism dimension, regardless of

the strength of the relationship with

the environment or the identification

and similarity with the avatar,

emotional stability directly predicts the

low probability of experience changes

in real life. For example, Internet

experiences have been observed to

be associated with general well-being

more strongly for people with a high

level of neuroticism than for people

with a high level of emotional stability.

In summary, the results examined

therefore suggest that high stability

can be associated with a relatively

low emotional investment in SL, thus

creating a real-life buffer.

Conclusions

All the studies examined confirm the

hypothesis that individual differences

in personality traits underlie any

changes in people’s real lives due

to virtual experiences and measure

their ability to report how much

virtual experiences change their real

lives. The strength of the relationship

with the virtual environment, the

identification and similarity with the

avatars mediate the effects of the

traits of Agreeableness, Extroversion,

Open Mind, Conscientiousness

and Emotional Stability. A careful

analysis suggests that the degree of

emotional involvement with the virtual

environment and the user-avatar

similarity are the main ingredients

among those that characterize the

experiences in SL; all personality

traits are modulated through one or

both of these factors. I stated earlier

that a strong relationship with the

environment factor presupposes

that the relationship extends beyond

the specific period in which one is

physically connected to SL. The two

sub-factors of emotional involvement

and absorption support this reflection:

although absorption ends when people

disconnect, they take their emotional

involvement away from the computer

screen. This suggests that emotional

involvement is the more important

factor in determining the likelihood

of experiencing real-life changes than

absorption while physically online.

In fact, emotional involvement is the

strongest predictor linked to changes

in real life. Admittedly, absorption and

emotional involvement are closely

related, but absorption plays a less

central role due to its short-term

effects.

The other key mediator is avatar

resemblance; personality style is more

inferable from avatar resemblance than

from avatar identification, although

avatar identification has shown a

strong relationship with real life

changes. From the perspective of the

activation of traits I can hypothesize

that a wide range of signals, applicable

to multiple personality factors, trigger

the identification of the avatar, but the

user-avatar similarity is more specific

for certain traits. I have noticed that

although the personality style preaches

both behavioral and physical similarity

to avatars, only behavioral similarity

predicts the possibility of changes

in real life; the ease of changing

physical appearance is why this is less

predictive of any changes in real life.

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Although SL’s environment can trigger

frequent changes in the appearance

of avatars, among people with certain

personality dispositions only the most

lasting changes associated with the

behaviors would tend to spill over

into real life. Another fruitful direction

for future research would be to

further examine the impact of various

dimensions of avatar-user similarity on

the boundary between people’s virtual

and real life.

Among personality traits,

conscientiousness and emotional

stability are the strongest predictors

of people’s ability to report changes

in their real life as a result of Second

Life experiences. The emotional

aspects of SL experiences, in turn,

are the strongest direct predictors of

real-life changes and fully mediate

the effects of emotional stability.

The appearance and behavior of the

avatar are easily visible external signs

relating to people’s experiences of

the virtual world, while their degree

of attachment to the environment

and identification with the avatar

have been internal and therefore not

directly observable. I also argue that

Conscientiousness and Extroversion

manifest themselves with a set of

relatively specific observable behaviors,

with respect to Agreeableness, Mental

Openness and Emotional Stability.

For example, conscientiousness is

typically associated with planning,

organizing, and completing activities

behaviors, while emotional stability

is defined in terms of a state of

inner calm. Although it is possible to

observe that someone is calm, contrary

to Conscientiousness there are no

specific behaviors associated with

that state. Like conscientiousness, the

extroversion trait tends to be defined in

terms of specific observable behaviors,

such as talkativeness and activity.

The hypothesis that the Extroversion

trait correlates with the observable

environmental aspect of the avatar but

not its internal states can be explained

with a similar reasoning. It is therefore

hypothesized that environmental

experiences associated with internal

states (e.g., identification with avatars)

may more strongly activate personality

traits also associated with internal

states (e.g., emotional stability), and

that environmental experiences

associated with behaviors Specific

observables (e.g., Avatar Appearance)

may more strongly activate traits

associated with observable behaviors

(e.g., Conscientiousness and

Extroversion). This speculation is

consistent with arguments derived

from trait activation theory that

personality prediction can be improved

by focusing on narrow facets of the Big

Five and points to the need for further

research into the interaction of specific

virtual environmental characteristics

and the expressions of personality

traits.

The age of SL (length of time from

opening the SL account) and SL’s

activities (business, social or otherwise)

did not affect any of the variables of the

virtual world experience or changes in

real life. The amount of time per week

spent in SL (SL Time) significantly

predicted the type of relationship with

the environment, behavioral similarity

and identification, but it was found

that changes in real life are not simply

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due to the amount of time spent in

SL. There is growing interest in the

factors that lead to user practices of

reproducing real-life experiences and

events in virtual environments. It would

be important in future research to look

more closely at the directionality of

influence between people’s material

and virtual lives and the effects of

individual difference factors. The

data examined do not allow me to

distinguish between positive and

negative changes, and therefore

another fruitful direction for future

research would be to examine that

difference. Despite some limitations,

the results of the studies examined

show the mechanisms by which

personality can explain differences

in people’s experiences in virtual

environments and add to the growing

evidence that Internet experiences

have implications for people’s real life.

Deepening and Testing

Are you interested in deepening your

relationship with the virtual world of

Second Life?

Fill out the questionnaire and read the

results!

Questionnaire in the English language

IMPORTANT: You must register to

perform the test.

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ARKON

Arkon is one of the last entries among Second Life

destinations.

IN

Written by OEMA.

Images by JARLA CAPALINI.

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SECOND LIFE

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ARKON

A DANCE OF LIGHTS

Arkon is one of the last entries among Second Life destinations.

It is an original project, undoubtedly different from many other

new entries in the destinations guide.

Arkon was born as

a game of lights and

colors,

a journey in exploring

refraction to give the

visitor a subjective

experience.

Arkon is one of the latest entrances to

Second Life destinations. It is a homestead

owned by the homonymous group “Arkon”

and created by Atlan Blade and his partner

Stellastern7.

This one is an original project, undoubtedly

different from many other new entries in

the destinations guide.

Arkon was born as a play of lights and

colors, a journey into the exploration of

refraction to give the visitor an experience

to live subjectively.

This is an original project, undoubtedly different

from many other new entries in the destinations

guide.

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You can visit

using the

convenient,

guided tour.

Arkon gives me the

exploration of “Light Art,”

that is, that form of visual

art in which light is both

the means of expression

and the end of the work.

We know that Light Art was

born around the middle

of the 20th century and is

confirmed as an art form

thanks to the results of Dan

Flavin and James Turrell.

The typical feature of Light

Art is that light must be the

means of expression and

the end. Over time, people

mistakenly classified many

minimalist installations

as Light Art, where light

represented only a means of

expression, but not the end.

As is known, Light Art breaks

away from conceptual art

and minimalism to become

an autonomous art form

in the following decades.

This confirmation of an

independent way of art

comes with great artists

of the caliber of Lucio

Fontana, who, in 1951 on

the occasion of the 9th

Milan Triennale, exhibited

the installation of neon

tubes entitled “Arabesco

Fluorescente.” Nor do we

want to forget Bruno Munari

with his environmental

projections and neither

László Moholy-Nagy, whose

installations light interacts

with the surrounding space.

The visit to Arkon allowed

me to return with my mind

to Light Art, exploring its

infinite creative possibilities.

The demonstration of this

endless creative chance is

Arkon itself. What would the

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I recommend that you accept the region’s light

settings and activate light and shadow with all

projections.

first Light Art artists have thought

in knowing that it would even find

expression in a virtual world?

At the point of arrival, Arkon offers

its visitors the opportunity to accept

the guided tour: there are also

three tours: I confess I have done

them all, as it seems to me that it is

the most effective way to visit the

region. Guided tours are not the

only way to explore this outstanding

installation of Light Art, as in

different points of the area, some

teleports allow an easy connection.

Of course, I recommend accepting

the region’s light settings and

turning on lights and shadows with

all projections to appreciate the

authors’ creative effortfully.

REFERENCES

Arkon (SLURL): http://maps.

secondlife.com/secondlife/

Gemini%20Paradise/30/148/2368

Arkon Flickr: www.flickr.com/

groups/arkon

At different points of the region, some

teleports allow an agile connection.

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MEDITERRANEO-OC

TELEPORT

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COCOON

Cocoon is the most fascinating and wellcrafted

destination I have ever seen. It hosts

a very active role-playing game and offers

endless possibilities for distraction and fun.

IN S

Written by OEMA.

Images by JARLA CAPALINI.

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ECOND LIFE

Cocoon is a

masterpiece

among the

destinations in

Second Life.

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The creator is Cece (Cocoon Cloud), who has created an

elaborate cyberpunk environment. Anyone familiar

with this setting will find similarities with Cyberpunk

2077

COCOON

IN SECOND LIFE

Cyberpunk

STRUKTURO

Emblema della

destrutturazione

mentale

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IL GIOCO DI RUOLO

COCOON was born for role-playing. The reader who wants to

join must read the narration around which the story of COCOON

takes place and answer the questions accordingly. To join the

group, you must register on the site and submit your answers.

Cocoon is created for role-playing, and the

lightness of loading and the realism of the

cyberpunk setting is an essential part of

Cece’s masterpiece.

If today I know Cocoon,

I have to thank Misako

Maimus that I met thanks

to my Youtube channel.

Cocoon is a full-sim 30K

prims exploited to the

last, without weighing

down the visitor

experience. I believe

that to realize such a

skillful work, both in

architectural terms and

in terms of lightness

in loading, the right

amount of knowledge of

Second Life’s functioning

is necessary. On the

other hand, Cocoon

is created for roleplaying

and lightness in

loading together with

the cyberpunk setting’s

realism, an essential

part of the masterpiece

created by Cece (Cocoon

Cloud).

I fell in love with Cocoon

at first sight, so much so

that I wanted to make

a detailed video that I

propose again at the end

of the article.

The cyberpunk region

offers so many attractions

that I don’t know where

to start in the narrative.

To give the reader an idea

of the setting, as soon

as I got to the landing

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point, I felt like I was

inside the new upcoming

game Cyberpunk 2077.

For those who don’t

know it, this is a highly

anticipated game that

offers remarkable realism

and the possibility to

customize your character.

Of course, the setting

is cyberpunk, and the

narrative develops in a

post-apocalyptic context

where people are looking

for a rebirth despite the

squalor of the prevailing

illegality.

Cocoon also has its

narrative around, which

develops the role-playing

game that fascinates

many roleplayers. It is

possible to deepen the

knowledge of the story

directly on the Cocoon

website. In summary,

here is the storytelling

around which the

role-playing game is

developed.

“It is the year 2490,

and an event called War

of Transcendence has

devastated much of the

Earth in the distant past;

humanity has gone to

floating cities and orbital

stations to continue

living. The conventional

governments of the

people and for the

people have long

since disappeared. The

megacorporations rule

supreme as de facto

governmental entities,

led by a massive entity

known as New Geneva,

which governs above

the megacorporations

and Sol’s currencies.

Freedom is redefined

by what New Geneva

and these corporations

deem appropriate. They

always follow their

interests first, leaving

what remains to society,

citizens, trade unions,

and gangs.

Will your character align

with both sides? Or will

he fight to save himself

and those he loves?”

The visitor who wants

to explore Cocoon

must understand

to what extent this

region can interact

with the avatars. This

is not just the obvious

consideration that,

being a vast destination

takes several hours to

explore it all. Instead,

it is to understand that

Cocoon is not a landscape

to admire but to live, to

play, to interact with, in

short.

The easiest way to make

sure you don’t miss

anything during your

exploration is to move by

cab. Every time the visitor

sees a taxi, he must

know that it is a bridge

connecting with other

regions’ points. Clicking

on the cab opens a panel

that allows you to choose

your destination.

Instead, the lunar shuttle

allows access to the

lunar environment, an

autonomous structure

with its own architectural

and narrative style.

In addition to the cab

and the lunar shuttle,

you can find connecting

bridges that allow you

to pass from one place

to another, living an

immersive teleportation

experience (you must

accept the experience)

in different points of the

region.

Those who are part of

the Cocoon RP group (i.e.,

those who play rule on

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the region) have access

to several benefits,

including calling a

vehicle to move from one

point to another. The cars

are charming, realistic,

and using them to move

around in this context is

nothing short of exciting.

For a while, you forget

you’re in Second Life and

immerse yourself in a

video game environment

to the point where you

want to be active, invent

your own story and

develop the narrative

around your character.

The best way to do this

is to ask to be part of

the group, answering

questions on Cocoon’s

website and reading the

rules of the role-playing

game.

The reader who wants

to join the role-playing

game should read the

narrative around which

Cocoon’s story develops

and answer the questions

in a way that is consistent

with this narrative. All

this keeping in mind that

the context is cyberpunk.

References

Teleport to Cocoon

Web Site

Role Play Guide

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MY YOUTUBE VIDEO ABOUT

COCOON

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ANOTHER YOUTUBE VIDEO

ABOUT COCOON

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LADMILLA MEDIER

Ladmilla Medier,

ART

Head Column

“Art does not reproduce what is visible but makes

visible what is not always visible.”

(Paul Klee)

I don’t think that there is an absolute definition of

Art. Still, this short, famous quote represents the

path that I will propose in this section dedicated

to Art: together we will know the artists active

in Second Life and their works, we will discover

the study, the conceptual elaboration, and the

artistic technique that gave rise to the creations;

each of us will be able to listen to the whispering

stories, awaken dormant memories and provide our

interpretation, find the essence that goes beyond

the visible.

I am sure it will be a fascinating journey!

Ladmilla

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MEILO MI

It is impossible to confine Meilo’s art in a specific

style or technique: it would be reductive.

A

Writter by LADMILLA MEDIER

Images by LADMILLA MEDIER

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NOTAUR

RTIST

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MEILO MINOTAU

THE ESSENCE OF DR

“I do not like to define myself and my

art. I am not interested in.”

Meilo Minotaur, an artist

very sensitive to social

and environmental

topics, has experimented

with artistic projects in

Second Life for many

years. When I observe her

artworks, I feel immersed

in a dream, so I hope she

will forgive me if I dare to

call her art… the essence

of dreams, even if I know

she does not like to

define herself and her

creations in any way:

«I don’t like to define

myself or define my art. I

do not care.»

Sometimes she works

in a team with her

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R

EAMS

collaborator and

daughter CapCat

Ragu, and they are an

incredible duo:

«We do not always work

in a team, we love to do

it, but it is not always

possible. We have very

close ideas and feel things

in a very similar way. It

has already happened

that we are thinking about

the same topic of work

without having talked

about it previously. We are

a mother and a daughter,

and working together is

very rewarding.»

She worked in sculpture,

first in Real Life and

then in Second Life,

experimenting every time

new things and learning

more and more; this is

art… experimenting,

trying, daring, thinking

out of the box:

«Art in a virtual

environment opened a

different path for me. I

really enjoyed working

with SL prims first and

then venturing into 3D

programs. Since I joined

DELICATESSEN

SL, I have never stopped

working. In SL, technology

is developing and presents

us with more significant

challenges.»

It is not possible so

to confine Meilo’s art

to a specific style or

technique; it would be

reductive:

«I would not like to be

constrained by any artistic

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style; as for the technique,

I still have a lot to learn,

always.»

The experiences of

her childhood and

adolescence influenced

her imagination and

are the background

of her artworks. Her

name has that origin,

too; it is lovely how she

talks about her name,

awakening her memories.

She lets us think of her

in the past as a child

walking freely in a nature

populated with the

fantastic characters she

could imagine:

«Meilo is the name

everyone used to call me

when I was a child, and

while I lived on a farm, I

have the best memories of

it. I had all the freedom to

walk where I wanted and

do what I wanted. There

was only one forbidden

place… the river.

It wasn’t a river, it was a

stream, but it took over

my imagination forever.

One day I will do it in

Delicatessen, with all the

fantastic characters that

populated it.

When I was old enough

to go to high school,

my parents took me to

the city, and I was never

treated by Meilo again.

My imagination has a lot

to do with my childhood;

I was fortunate to

meet an old miller

storyteller. His stories

and the landscape

with lots of trees and

water developed my

imagination. I lived my

adolescence under a

dictatorship that brought

up other issues and

other priorities, other

struggles: all that formed

my way of being and

working.»

Delicatessen - Tell me

a story is an artistic

installation made by

Meilo and her daughter

CapCat Ragu; the

artist set it in Second

Life, in her region. It

is interactive cause,

instead of telling a

story, calls visitors to

tell their own stories;

she built all to offer an

immersive experience.

Indeed the characters

do not have names,

and at the entrance,

visitors can find the

characters’ avatars to

wear for living their own

stories connecting the

various scenes of the

installation:

«“Tell Me a Story” was a

gratifying work.

Visitors did a very, very

good job on it: photos,

stories, and machinimas.

I was delighted with

everyone’s work.

I exhibited this work at

CRU Galeria in Porto.

My grandaughter Rita

Eustáquio read the stories

that were recorded and

presented there; with

CapCat, we chose photos

that illustrated the stories,

Machinimas also were

shown.

Anyone who wanted

could enter SL and visit

Delicatessen. The avatar on

hand was one of the girls

from “Tell Me a Story.”

It was exciting to see

people’s reactions,

especially children who

did not want to leave the

computer.

“Tell Me a Story” won’t

be staying much longer,

“Delicatessen” will close

for a while and will open

again with a work by

CapCat.»

We will be all sad and

miss that magnificent

installation, so who has

not visited it yet has to be

fast to go there, before it

disappears, but we look

forward to enjoying the

new coming creation.

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The sensitivity of Meilo

to the women situation

is shown in her artistic

creations that give us

feelings and lead us to

reflect:

«Gender equality is not a

reality; women continue

to be discriminated,

abused, raped. Each

place, each culture has

a different way of doing

it, in some areas worse

than elsewhere, but even

where there are equality

laws, they are not always

applied, and worse, in

dictatorships, they can be

changed. Some countries

may be are moving

towards this. In general,

my works express this,

some in a more explicit

way and others less.»

As examples, I might

cite the installation The

Overwhelm by Meilo, the

past installation Liquid

Song created by her and

CapCat Ragu for 2LEI, and

their beautiful poem:

“For I am mist

For I am frost

I want to go back to my

liquid form.

I want to melt

I want to drop

DELICATESSEN

I want to go back to my

liquid form.

For I am mist

For I am frost

I want to go back to my

liquid form.

I want to rain

I want to river

I want to go back to my

liquid form.

For I am mist

For I am frost

I want to go back to my

liquid form.”

Meilo is also very

sensitive to social

themes; we can feel her

view of society and life

behind her art; I like

to cite about that the

past installation The

Dreamers, created by her

and her daughter CapCat

Ragu; so also the actual

tragedy of pandemic that

is changing almost the

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whole world does not

leave her indifferent:

«The current situation of

pandemic, the rise of the

influence of nazi-fascism,

and the ecological

catastrophe in which

the planet finds itself

makes me feel stifled. I

am currently doing an

installation where that

feeling is evident, I will

show it shortly, but I don’t

want to talk about it.»

We are looking forward

to enjoy her new coming

creation; I am sure it

will involve the visitors

in an oniric dimension

where the real topics will

change in the dreamlike

atmosphere that her

artworks always offer:

those stylized mysterious

characters that make

you stop and think, the

surreal environment

and the magic mist that

envelops the scenes and

the visitors.

Thank you, Meilo, for your

art!

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DELICATESSEN

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DELICATESSEN...

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OVERWHELM

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OVERWHELM

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OVERWHELM

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OVERWHELM

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AMPUTADA

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AMPUTADA

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AMPUTADA

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VAN LOOPEN

Van Loopen,

MUSIC

Head Column

If I were not an architect in life, I would probably be a

musician.

I think in music.

I live my daydreams in music.

I see my life in terms of music.

Since 2009 in Second Life, I try to share this emotion

with others.

As editor and music consultant for 360 GRADI, I would

like to shed light on an often underestimated world, but

which is instead one of the main activities in the “second

life.”

The message in music arrives more efficiently at its

destination, touching the most intimate and personal

chords, without the need for other intermediaries in

communication.

In the variegated musical world of Second Life, I will

deal with emerging artists and those who are now well

established and often do not know each other well

enough.

I take advantage of this space to give some point of

reference in the music scene of Second Life because

“people consume music as if it were a handkerchief for

the nose.”

(Zucchero)

Van

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SAMM QEN

LIV

Technically Samm is

perfect.

Empathically it is

upsetting.

Written by VAN LOOPEN.

Images by JARLA CAPALINI

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DRA

E SINGER

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SAMM QENDRA

LIVE SINGER

With considerable strength and

energy to sweep everything away,

even the inevitable “heaviness” of

everyday life, Samm takes over the

music scene with great respect and

without intrusiveness.

Just listening to the first lines

of a song, that atmosphere

that warms the heart and soul

becomes clear.

Friends of 360GRADi, I’m talking

about the singer in SL, Samm

Qendra.

With considerable strength

and energy to sweep away

everything, even the inevitable

“heaviness” of everyday life,

Samm appropriates the music

scene with great respect and

without intrusiveness.

It is always essential to

understand the singer’s

approach during her

performance because they are

the first to reveal what she wants

to communicate with others and

her concept of “musical art.”

In her voice, this approach is

revealed in her sensitivity in

modulating intonations, in her

ability to make the verses that

give a particular thrill his own,

to breathe word by word and

then find herself at the end with

bated breath.

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And maybe that’s her

secret: the absolute

detachment from every

purpose and end.

She sings because she is

passionate about music.

After all, she likes it

because she cannot do

without it.

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I have witnessed many

evenings of Samm,

around in SL, and I

can say with extreme

sincerity that each of her

interpretations emanates

emotional participation.

Technically, Samm is

perfect.

Empathically it is

upsetting.

During the interview

kindly granted to

360Gradi, she states

that she never thought

of singing to conquer

a “place in the sun”

among the SL singers

and was almost surprised

when I told her that she

represents an essential

interpreter in the inword

music scene.

I was astonished, also by

the other answers, of this

sincere unawareness of

hers, and I did not know

her disarming humility

and simplicity, almost

as if she had fallen from

the sky catapulted into a

sea that often has to be

navigated daily even with

a certain difficulty.

Her vision of lightness,

not to be confused with

naivety, is a must that

always accompanies

her during her work as a

singer-interpreter in SL.

And perhaps this is

precisely her secret:

absolute detachment

from any purpose and

end. She sings because

she is passionate about

music. After all, she likes

it, because she can’t do

without it.

Her strong point is the

emotional participation it

instills.

When she sings, she

emanates warmth; each

verse is a stone that sinks

into her heart.

Personally, I believe that

she could quickly pursue a

professional career as a radio

speaker.

I’ll tell you a secret, hoping

not to attract criticism:

for the tone of the voice,

listening to the intonations

and modulations, also helped

by her physical “corporality,”

I immediately associated her

with a famous English singer,

Adele.

She has highly tuned

nuances of a bass lyric

soprano, timbral warmth,

fullness, richness, and

sweetness, which modulates

together with ease and

panache.

But then listening carefully to

the various vocal passages,

I also feel a solid gospel

coloring, which black singers

can bring out.

You may be amazed by this,

but it represents a heritage

of SL and for SL.

And she doesn’t know.

Van: Samm, as usual, we ask

the artist for a description

of herself. Personal origin,

where you live, hobbies, work

... tell us about your daily life

to let everyone know you

better.

Samm: Ahh, Yes, Samm

Qendra is a simple and

ordinary girl who is so

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passionate about music,

laughter, and life. Where

I come from is not

important; one day 10

years 3 months ago she

was invited by a friend of

mine to join me in Second

Life and from then I’m a

live artist.

Van: When did you start

singing in RL, and how did

it happen?

Samm: It really is a

coincidental story, I was

just sitting in my middle

school park and started

singing in front of my

friends, and everyone

was silently surprised

that they could sing,

even I was surprised

that I could sing, lol. So

yeah, this is the start of

my RL chant. I joined

an R&B band during my

high school time and

competed against other

high schools, and stopped

singing in college to focus

on my study. I met SL,

and it was my platform

musically.

Van: You are among the

best singers in SL at the

moment. Is this success a

goal for you, a stimulus, or

are you not interested in

obtaining consent?

Samm: I never see myself

as one of the best SL

singers right now, my

goal is to make people

willing to devote their

time have an enjoyable

time at my SL concert, a

time to be away from RL

for a while ‘and honestly

receiving their feedback

on my singing, helping

their health is the best

feeling. Performing in

Second Life gives me a

platform to practice my

musicality and also how

to communicate with

people, so I imagine my

goals for success

they are constantly

evolving, and it is an

incentive for me to

continue giving them the

best.

Van: So, what message

do you want to convey

to others through your

interpretations?

Samm: I would say, I’m

not going to sound like

the original singer or

artist. I like to make every

song my own as much as

possible.

Van: Your repertoire

is vast, and, as far as I

could hear, it changes

according to the land you

sing in. What are your

musical influences and

knowledge?

Samm: Life is my musical

influence. Also the input

from my dear listeners

which inspires me to

learn new songs, even if

my heart is always in the

new age / Celtic genre,

learning new music is

always great.

Van: Would you like to

sing along with two or

three other established

singers in SL? If so, with

whom?

Samm: Obviously! with

each of them!

Van: Is SL a game for you,

an opportunity to express

your talent or something

else?

Samm: SL is not a game

for me. Also a platform

of my skills and my

platforms to model

3d models while also

decorating SIM.

Van: Your vocal setting

and your timbre seem, at

times, a soprano. Did you

do specific studies, or did

you start as a hobby?

Samm: I have never had

vocal training, everything

is learned by listening

to other artists and

observing what their

breathing techniques are

like and really looking

vocal “coash” tips and

tricks to keep my voice

healthy.

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Van: The verse of a song

from your repertoire that

tells you best.

Samm: «When she was

just a girl She expected

the world

But it flew out of her reach

and the bullets caught

between her teeth

Life goes on, it gets so

heavy

The wheel breaks the

butterfly every tear a

waterfall

In the night of the stormy

night she will close her

eyes

In the night, the stormy

night, she flew ...»

(Coldpaly - Paradise - ed)

Van: Samm, we thank you

for your availability.

Finally, we ask you what

you think of the current

musical world in SL.

Does it satisfy you, or, in

the end, how would you

improve it?

continue to support them

in every possible way.

This is what I would like to

somehow help improve,

research to support venue

owners who give their

love of music to keep live

music alive in SL.

I have met great people

through my involvement

in Second Life live music

and will forever be

grateful.

For those who want to

follow the evenings of

Samm, I indicate his

calendar always updated:

Samm Qendra Events

Calendar

Soundcloud: https://

soundcloud.com/sammqendra

Samm: From my point of

view, the SL Live Music

community is changing

rapidly and I love to see

new artists sharing their

passion for music in SL

but if I may wish for one

thing, I would like us to

pay more attention to

places where literature

is the heart of the music

industry in SL and

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LISTEN SAMM QENDRA

SINGING

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MISOINDITE ROMANO

Misoindite Romano,

FASHION

Head Column

I’ll make a short presentation of myself without wanting

to bore anyone.

I thank Oema and Van for giving me this space in their

Magazine.

Misoindite Romano, Miso for everyone (or almost), a

model I think since always, I’ve never done anything but

modeling and fashion show.

Many people smile about this work in SL, unaware that

a world of people and linden is going around on this

activity. Stylists and agencies of various nationalities

would not exist if there were no models or bloggers.

I have 12 years of Second Life behind me, a lot of

passion, and accurate work on my personality and my

avatar, which I try to represent in the best way.

My task will be to keep you informed, perhaps making

you want to accompany me in the field of fashion in SL.

Miso

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AMAZING IMPR

MODELING AGE

Written by MISOINDITE ROMANO.

Images by JARLA CAPALINI.

126 360 GRADI


ESSIONS

NCY

Amazing Impressions Modeling Agency gode di

un’indiscutibile reputazione come una delle più

antiche e prestigiose case di produzione di moda di

Second Life.

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AIM

AGENCY

Amazing Impressions Modeling

Agency enjoys an undisputed

reputation as one of Second Life’s

oldest and most prestigious fashion

production companies.

Hi Bonnie, thanks for accepting. I

have decided that these will not

be interviews but conversations

between people who use the

same medium to make their

virtual dreams come true.

First, let me present the agency

to our readers:

Amazing Impressions Modeling

Agency (AIM Agency) enjoys

an indisputable reputation as

one of Second Life’s oldest

active and most prestigious

fashion production companies.

BonieFacio founded the

Amazing Impressions Modeling

Agency in 2012 and remains the

CEO.

Through his consistent

leadership, disciplined

standards and innovative vision,

AIM provides high-quality

fashion events and runway

shows employing experienced

top models, promising new

models, and quality technical

staff members. ESSY Luv is

the Co-Owner and COO of AIM

Agency. Together BonieFacio

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BonieFacio founded the

Amazing Impressions

Modeling Agency in 2012

and remains its CEO.

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and ESS satisfy the

hottest demands of

Second Life designers

with new and updated

productions.

I want to explain that

founding a modeling

agency is not easy for

those unfamiliar with

this topic. It must have

credibility, seriousness,

and patience. Bonie can

better explain what it’s

like to be in charge of all

this.

Miso: Going back in

time to when you first

joined SL, would you

do the same things,

or would you change

something as it relates to

your relationship to the

fashion sector?

Bonie: If I do see what

all did change, I wouldn’t

even start again in the

fashion industry. I would

probably be a dj and

relax. Although I still

like to walk the stage, I

sometimes wonder what

the audience thinks

when watching a show.

I adore fashion, like to

style, but I don’t think

it’s a hard business. If I

am honest, sincere, at

this point, doing runway

doesn’t bring me so much

joy anymore as before.

Second life changed so

much, and the outside

world seems to have lost

interest in a virtual world.

I am an RL dj since I was

18, and recently I started

to produce my techhouse

tracks. So music

still is there; music brings

ppl together.

Miso: not all our readers

know your work; please

explain why they should

see a fashion show at

least once, maybe one

of yours, and what they

should pay attention to;

help them understand

the challenges. Too many

people still have the idea

that it is easy to get on a

catwalk and walk.

Bonie: I heartily endorse

going to a Second Life

fashion show where you

will have the opportunity

to see live models

wearing, moving, and

posing on a runway

in the actual designer

creations. Most fashion

shows are entertaining

and educating at the

same time. Looking at an

item in a picture or on a

vendor doesn’t give you

a “real” representation

of the item because

let’s face it, photos are

always edited. That is not

possible when it is live.

A runway model’s

job is to make their

assigned item something

you, the consumer, want

to own. They do this by

using the item and how

they present it to the

audience using walks

and poses. While it may

look easy from where

the audience sits, it takes

practice and skills to do it

well. Knowledge, a sense

of style, and training to

piece together a fabulous

look so that virtually the

model can even persuade

you a paper bag looks

great.

Miso: Your Co-Owner Essy

Luv supports you; do you

want to introduce her

too?

Bonie: Thanks to Essy, the

sim owner, landlord, and

co-owner of the Agency,

Aim agency is still around

the grid. She is my right

hand, but we should have

nothing but an empty

shell without our staff.

She is a sweet though

correct person. She is an

inspiration to so many

with how she Carry’s

herself and projects

the image of someone

strong and independent.

She is good-natured,

cheerful, and pleasant to

be around, especially at

stressful periods of my

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life.

She has everything

every woman wishes for:

good looks, a wonderful

personality, and great

wisdom. I’m truly blessed

to be close to her and

share my life with her.

Riferimenti

https://www.

lovewishesquotes.com/

best-compliments-forgirls-100-ways-to-makea-woman-feel-special

https://www.

lovewishesquotes.com/

https://www.

lovewishesquotes.com/

best-compliments-forgirls-100-ways-to-makea-woman-feel-special

best-compliments-forgirls-100-ways-to-makea-woman-feel-special

Here end the interviews

with those who work in

SL with fashion. I wanted

to introduce you to the

passage between stylist

and agency. Still, it is evident

that there is an infinite

number of stylists,

agencies, and models,

and to present them all

would be impossible.

Next time I will talk about

a fascinating topic. We

will do a tour between

fairs and groups that

allow you to buy at reduced

prices, clothes, jewelry,

shoes, etc.

I am here to introduce

you to the fashion industry.

A fond greeting to the

readers!

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JARLA CAPALINI

Jarla Capalini,

PHOTOGRAPHY

Head Column

Writing with light, from the Greek φῶς, φωτός, “light” and

γραϕία, “writing”, this is “photography”.

Now I know that talking about photography in Second

Life will surely make purists curl their noses or smile at

the most benevolent professionals and enthusiasts. Still,

once there were film and exposure meter, then came

digital cameras and files today. We also use phones to take

pictures, and thanks (maybe) to them, photography is now

within everyone’s reach.

Here then is that a “viewer,” with all its peculiarities

techniques can become a perfect means to “write” with the

virtual “light” the encounter between the subject and the

eye of the photographer, from which a new possible vision

is born.

The imagination of reality, albeit virtual.

This one we will do in our journey among the

photographers of Second Life: we will talk about

technique, composition, inspiration and

passion, hoping to convince skeptics that our images,

although depicting a world of pixels,

can rightly be considered “photography.”

Jarla

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PHOT

GAUS

Mr. Gaus is a long-standing second lifer. Creativity

and talent have characterized his path in the virtual

world and today is one of the most accredited

photographers of Second life.

Written by JARLA CAPALINI.

Images by GAUS.

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OGRAPHER

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THE THOUSAND WOMEN OF

GAUS

Gaus has photographed fashion and

hobbies, from clothes to landscapes,

exhibiting his work in various art

galleries.

Mr. Gaus is a long-time second

lifer. Creativity and talent

characterized his path in the

virtual world, and today he is

one of the most accredited

Second Life photographers.

He photographed for fashion

and as a hobby, from clothes to

landscapes, exhibiting his works

in various art galleries, until,

shot after shot, he became an

undisputed master of male, but

above all, female portrait.

You can fall in love with his

women: they are authentic,

beautiful of inner beauty, human,

that comes to life through

lights and shadows expertly

calibrated to enhance the most

peculiar aspects of the different

personalities. They are faces

that capture even the most

distracted look, which remains

trapped in the magic of soft hair,

voluptuous lips, amber skins,

and eyes that speak to the soul.

But let’s find out a little more

about him and his photograph.

Jarla: Thank you for agreeing to

answer our questions.

Gaus: Thanks for the invite.

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One can fall in love with his

women: they are real, beautiful,

inner beauty, human, that live

through lights and shadows that

enhance the most peculiar aspects

of different personalities.

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Jarla: You’ve been on

SL for 13 years and a

half; how long have

you been interested in

photography, and how

did you get started?

Gaus: Uhm, let’s see: I

think it’s the fault of the

vendor I had to do when

I had a clothes shop even

before the sculpties,

that’s how I started. Then

I discovered Photoshop’s

layers, and it was like

discovering the wheel,

and I continued finding

out and learning new

things.

Jarla: So you

photographed for

fashion, but on your

Flickr, there are also

landscapes and almost

exclusively portraits in

recent years.

Gaus: yes, I would say

that one was my path:

I started with fashion;

I also worked for a

magazine at that time.

Landscapes are more

a thing of when I came

back after a long break.

Jarla: very beautiful

those too.

Gaus: yes… I like to go

around and shoot some

small details… computer

permitting.

I did my first exhibition

with landscapes. The

portraits came later for

fun; I wanted to regain

consciousness of mesh,

and with all that was new.

“ I would like

to have more

options to control

the lighting”

Gaus

Jarla: What about

photography in real life?

Gaus: I like photography

as well in SL, although

it can be an expensive

hobby if you throw

yourself into it head-on. I

wanted to go around with

the camera in my hand,

mostly when I lived in the

States: insects, people,

roads, anything was an

inspiration, even merely

the yellow stripes on the

asphalt, a new experience

for me, since in Italy I

have always seen them

white...

Jarla: Apart from the

apparent diversity of

media and techniques, in

your opinion, are there

any other differences

between RL and SL

photography?

Gaus: hum... tricky

question! They are two

different things also due

to the limitations of SL,

but you can very well

apply some of the socalled

“basic rules” in SL

photography, especially

in matters of light.

Jarla: Composition?

Frame?

Gaus: Well, yeah, in these

aspects, they can be two

very similar things.

Jarla: What is the biggest

challenge in taking an SL

photograph?

Gaus: apart from waiting

for things to the rez?

(Laughs) I would like to

have more options to

control lighting, different

light types.

Jarla: Which is the viewer

you use?

Gaus: Firestorm, you have

so many tools collected

in one place; it is very

convenient.

Jarla: how does one of

your photo has created?

Gaus: first, I make the

base of the model; once

that phase is over, I go a

bit where the wind takes

me; it can be a pose, it

can be the combination

of makeup/dress, it

depends. Let’s say that

this part still amuses me

today.

Jarla: In your shots, you

can express feelings and

sensations better than

many words. What does it

take to do that?

Gaus: uh, I don’t know.

Sometimes while

playing with lights and

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“expressions,” you feel

a little shiver down

your spine and shot...

I guess it’s doing what

inspires you and making

that whoever looks at

the result has the same

feeling. Besides, I have

the luck and the privilege

of having so much quality

stuff, which allows me to

get a little more realism,

from head to eye, and all

the small details to bring

out editing.

Jarla: What impact does

the audience have on

your shots?

Gaus: eh eh… have I to

answer?

Jarla: I mean… do you

think about it when

taking a photo?

Gaus: no. However, I take

most of my shots for

promotion, so, in that

sense, yes ... the audience

has its importance. In the

past, maybe I used to give

more weight to consent,

today honestly, that

weight is no longer there.

I do it for my pleasure ...

of course, appreciation is

good for my ego.

Jarla: Do you feel free

to express yourself, or

would you like to dare

more and somehow

present product cages to

you?

Gaus: I’m lucky enough

to choose the products to

work with, so all in all, I

feel free!

Jarla: When you are not

in the mood, what do you

do to take a nice picture?

Gaus: good question.

Well... it helps a lot that I

am always myself in my

photos, man or woman. I

always try to put a lot of

effort into it; then maybe

the inspiration comes; all

the same, I try to give my

best anyway, regardless

of whether I want it or

not. It would be different

if I had to photograph

another person, so I no

longer do it for money.

Jarla: Do you think you’ve

found your style, or your

evolution continues?

Gaus: there must always

be evolving. Otherwise,

you get bored; further,

the nice thing about

editing photos is that

there are tons of ways to

get the same result, so

you try them all.

Jarla: how much does the

state of mind affect this

process?

Gaus: it can affect a lot,

but not much for what

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I do: focusing attention

almost exclusively on a

face is more comfortable

than putting together

a scene, for example,

so it allows me a bit of

“aseptic,” otherwise I

would post a photo every

thousand years!

Jarla: How would you

define your “#Selfies”

in a sentence or, even

better, in a word?

Gaus: Uhm ... let’s say

“my way of being Gaus

while having different

faces every time”… I don’t

think somebody can

reduce this concept to a

single word.

Jarla: that’s fine. What is

the biggest surprise you

have had since being a

photographer on SL? If

you have had any…

Gaus: just getting into

photography, probably.

Years ago, the thought

would not have touched

me in the least, but it

allowed me to meet

people from all over the

world, which is why I love

SL in general, it is the

thing that attracted me in

the beginning, and even

today it continues to have

its charm.

Jarla: Would you like to

share with us a “secret”

about photography on

SL? You can also say no if

you prefer.

“Using the Firestorm

Viewer.

It is convenient to

have many tools

collected in one place.

It is very convenient”

Gaus

Gaus: I don’t know if

there’s a “secret”. Some

time ago, I would have

said that the glow behind

the figure gave a specific

effect “technically” today,

I would not know. Maybe

not hurry and try to have

a good shot already in

the world, to have clear

in mind the direction

you want to take in postproduction...

that helps a

lot, at least for me.

Jarla: I noticed that,

sometimes, in postproduction,

the photo

can take a completely

different direction.

Gaus: Mhm... it happens,

that’s why I say that

selfies make everything

more comfortable; in

my case, it is often

a detail of the skin,

a wrinkle, the skin’s

pores, the reflection of

the eyes, small things

that, however, make the

difference.

Jarla: and what a

difference!

Gaus: if the result is good,

for sure.

Jarla: Your “best” flaw?

Gaus: Uhm… I’m stubborn,

so I insist until I get what

I want (or I delude myself,

that is that)

References

Gaus’s Flickr Photostream

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YOUTUBER

Not everyone knows that Second Life users are very

active on Youtube as well.

The number of people learning to use video

recording and editing tools is increasing.

PR

A beautiful photo of Bolly Coco taken from

her Youtube channel.

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OFESSIONALS

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FROM THE OFFICIAL SL CHANNEL

Second Life Destinations - The

Apartments

Not everyone knows that

Second Life users are

very active on Youtube

as well. The number

of people learning to

use video recording

and editing tools is

increasing.

Videos represent a

privileged form of

communication, as they

allow better interaction

with the image, allowing

the viewer to appreciate

the scene vastly and

satisfyingly.

In this article, I would

like to focus the reader’s

attention on some

particularly active

YouTubers that do an

essential information

service. Simultaneously,

if the reader has a Gmail

box, I suggest following

these channels, as they

expand the knowledge

of Second Life in a

significant way.

The first channel I

recommend to follow

is, of course, the official

Second Life channel. It

is continuously updated

with new destinations,

tutorials, guides, and

useful information.

In this article, I would like to focus the

reader’s attention on some particularly

active YouTubers who do an essential

information service.

SL Official Channel

The second channel that

I suggest is that of Meela

Vanderbuilt that grows at

a remarkable speed and

can count on 9590 (so, it

will be 10000 soon). Why

do you like it so much?

It is informative and fun

at the same time, so it

enriches without boring.

A superior added value, I

would say. Below I leave

the video in which he

gives tips on how to clean

your inventory.

Meela Vanderbuilt

Channel

Draxtor Despres, the

third channel, is certainly

informative and full

of official Second Life

events organized by Drax

himself. Below I leave

one of his videos on “The

Second Life Book Club.”

Draxtor Despres Channel

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FROM MEELA’S CHANNEL

Clean Your Inventory!! Second Life Q&A &

Inventory Cleaning

FROM DRAXTOR’S CHANNEL

The Second Life Book Club presents:

Telling it Like it’s Lived

DRAXTOR

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The fourth channel that

I suggest to the reader

is Justdd, which is in

Spanish. It is easy to

understand for Italians,

but for all those who do

not understand Spanish,

I suggest to activate the

automatic translation of

subtitles. I propose below

one of her videos:

Justdd Channel

The fifth channel that

I include in my list of

favorites is Bolly Coco. The

Bolly channel is both in

English and French, so it

is easily understandable.

Anyway, automatic

translation activation will

be of great help to those

who do not know any of

these languages.

FROM JUSTDD CHANNEL

NEWS NOVIEMBRE ~ SECOND

LIFE ~

Bolly Coco Channel

Finally, if you want

to follow an Italian

language channel, I

suggest you mine! I try

to be informative and

follow the advice of

followers on the topics

that interest them most. I

indicate below my video

about the introduction to

photography using Black

Dragon Viewer.

Canale di Oema

What do you think of

these Youtubers? Do you

think the proposed videos

are useful? Let me know!

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FROM BOLLY COCO

CHANNEL

Meet the NEW me, je vous révèle la nouvelle Bollycoco UPDATE

FROM MY CHANNEL

BlackDragon Viewer

Introduzione alla fotografia

OEMA

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A special Thanks to

A special thanks to our loyal readers who

have put the magazine’s kiosk on their

land:

Lee Olsen

LUNDY ART GALLERY

Tia Rungray

STRUKTURO

-Ñïéü- (nieuwenhove)

NOIR’WEN CITY

Dixmix source

DixMix Art Gallery

Anelie Abeyante

La Maison d’Aneli

Ilyra Chardin (ilyra.chardin)

Emergent Gallery

LIV (ragingbellls)

Raging Graphix Gallery

Michiel Bechir

Michiel Bechir Gallery at Embrace

Michiel Art Cafe

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CHOSEN ON

PHOTOGR

“baby girl was

living life for the

feeling ”

.viv.

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FLICKR

APHERS IN SL

Scelti

dall’editore.

Splendide

fotografie viste

sul gruppo Flickr

di 360 GRADI

Magazine.

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“Un battito di

cuore ai miei

piedi”

Stupenda

Flux

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“Everything

happens”

Rachel

Deveraux

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“~~ Ysoral ~~

.: Luxe Nails

Mercure:.”

Mina Arcana

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“#229”

Lidiane Miller

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“Falling

Silverfall”

Alba Silverfall

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“Untitled”

Lilith Geordie

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“. i’m kissing

you .


Cuore

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“Hunting High

and Low”

Rachel

Deveraux

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“SGangsta’s also

fell in love”

Jennesta Von

Skull

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“Sun”

Patty

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“Kiss Me”

Choise Clip

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“cuore”

Sunny

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“Whose side am

I ?”

Jennesta Von

Skull

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“No More

Grumpy ♥”

Alba Silverfall

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“Darkness and

light”

Pleasure

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“Untitled”

Anto haiku

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“KILLERS

Productions

- Snow Arch

Bench”

Elaine Lectar

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“Untitled”

Heidi Rewell

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“POSE USTED

SEXY LEGS

BENTO 004”

Santra

Seranno

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“Northern

Scenery”

T E E J

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“6960 Magic”

Noel

Heartsong

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Thanks for reading,

we hope you enjoyed

this issue.

Copyrighted. All rights

reserved.

We are not affiliated to

Linden Lab.

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360 GRADI

Magazine, write to:

360gradi.sl@gmail.

com.

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