The best featured sponsor

I hereby give the best featured sponsor award to Cienna Rand for The Giant Cube. It's so minimalistic, 1 prim, no script. The empty Linden cabin nearby is a nice touch too.

Ha, this caught my eye too.

I haven't visited yet but...

it's on my list of explorations.

But... but... it's not plywood!

EDIT: AND she didn't earn it! She paid for it with dirty money! Dirty money!

The empty Linden cabin is supposed to be the gift shop, but I'm lazy.

ROFLOL!

I just came back from the cube and boy was it amazing! I wish the gift shop was open though, had to make my own souvenir, but I think it's good.

OMG WTF!? CUBE RULZ!!!!!!!!!!!!LOL
kthxbye

The gift shop is now fully stocked. I bought my very own miniature Giant Cube.

I didn't think I'd give a 25 L$ (good) rate so soon, but I couldn't resist the cube

Sim spoiling eyesore if you ask me...

But no one did..

Indeed, people build these things with no consideration for the neighbours

i haven't thought to look at the featured sponsors. i'll put that on my to do list in place of looking at top picks. now lemme see that's on page...309

Perhaps a union is needed?



LF

And a neg rate posse.
This is a direct result of the poorly thought out economic changes IMO. Obviously they couldnt even afford a texture upload.

Classic.

Meow.

I met this really cute Jack at the Giant Cube and got some!!! What a vacation!

Thanks Giant Cube! -thumbs up and sparkly teeth-

Hahaha

Minimalism: the next Second Life design movement?

Quick! Someone write an article about it.

Cubism (a name suggested by Henri Matisse in 1909) is a non-objective approach to painting developed originally in France by Pablo Picasso and Georges Braque around 1906. The early, "pre-Cubist" period (to 1906) is characterized by emphasizing the process of construction, of creating a pictorial rhythm, and converting the represented forms into the essential geometric shapes: the cube, the sphere, the cylinder, and the cone. Between 1909 and 1911, the analysis of human forms and still lifes (hence the name -- Analytical Cubism) led to the creation of a new stylistic system which allowed the artists to transpose the three-dimensional subjects into the flat images on the surface of the canvas. An object, seen from various points of view, could be reconstructed using particular separate "views" which overlapped and intersected. The result of such a reconstruction was a summation of separate temporal moments on the canvas. Picasso called this reorganized form the "sum of destructions," that is, the sum of the fragmentations. Since color supposedly interferred in purely intellectual perception of the form, the Cubist palette was restricted to a narrow, almost monochromatic scale, dominated by grays and browns. A new phase in the development of the style, called Synthetic Cubism, began around 1912. In the center of the painters' attention was now the construction, not the analysis of the represented object -- in other words, creation instead of recreation. Color regained its decorative function and was no longer restricted to the naturalistic description of the form. Compositions were still static and centered, but they lost their depth and became almost abstract, although the subject was still visible in synthetic, simplified forms. The construction requirements brought about the introduction of new textures and new materials (cf. paper collages). Cubism lasted till 1920s and had a profound effect on the art of the avant-garde. Russian painters were introduced to Cubism through the works bought and displayed by wealthy patrons like Shchukin and Morozov. As they did with many other movements, the Russians interpreted and transformed Cubism in their own unique way. In particular, the Russian Cubists carried even further the abstract potential of the style. Some of the most outstanding Cubist works came from the brush of Malevich, Popova, and Udal'tsova. In Two Figures (1913-14), Liubov' Popova beautifully demonstrates the artistic possibilities of a Cubist reconstruction and, at the same time, her talent to transcend simple imitation. The painting might have been influenced by Umberto Boccioni's 1912 Technical Manifesto of Futurist Sculpture (published in Moscow in 1914), in which he suggested "a translation in plaster, bronze, glass, wood, or any other material of those atmospheric planes which bind and intersect things" (Costakis, 352). [B.B., C.B., and A.B.]

I have made another postcard for the gift shop.

If this doesn't get people on the free one week account hooked on SL, I don't know what will.

Hahah that made me snort with laughter

*

So it's Cubism, then. Is Cienna the Picasso of SL?

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