Since 2007, I have been creating virtual replicas of historic buildings for functional use in Second Life. Of note, I have created several models of the Globe Theatre and the Blackfriars Theatre, and staged theatrical plays in them. These constructions begin with research, often in the company of old and musty books. Custom textures are created, primarily in modo and Photoshop, and custom sculpt meshes created where default prims are less apropos.

sLiterary, Inc., is a nonprofit organization dedicated to furthering the arts in virtual worlds. It was officially incorporated in 2008, but its origins went back as early as 2006, when it became apparent to me that a serious organization for the arts on Second Life was not only needed, but also something that would bring legitimacy to virtual worlds. Too often, you see the kitsch or medium-ignorant as being deemed art by someone who has not seen much, if anything, of the world. For reasons described in my socioracial experiment, I really believe in virtual worlds as a means for collaboration and existence independent of discrimination against race, gender, or age. I love the arts, and I've contributed to it both as artist and novelist, for the good of the world.

The SL Shakespeare Company is a professional theatrical production company set completely in the virtual world of Second Life. I am its artistic director, head designer & wardrobe despot, publicist, architect, set builder, and also limner (the mug shots are really more like portraiture—and I'm creating art without signing other than via the SLSC logo, which I also designed)! I handle both artistic and administrative matters (although the latter is due to the fact that I've yet to find an appropriate other person to carry it out), responsible for creating its image and creating and maintaining and expanding its foundational infrastructure.

Primtings is a primmed paintings museum on Second Life; primmed paintings are 3d “prim”-based interpretations of famous 2d paintings. As an avid content maker on Second Life, I participate in this project as curator, museum architect (the museum building is my original design, as are the division into galleries), and Prim Artist. My crazy wish is to one day see Primtings turned into a real museum in Real Life! I did say crazy, right?

ICE is my very-part-time pursuit of every girl's dream of becoming a major fashion diva. To this extent, I've created (built, designed, and ran malls) several rental enterprises on SL, and an inworld (skin) beauty store called IC-Skins, which at its height, was capable of supporting tier for four island simulators each month ($1200). Nowadays, because of my complete lack of time to properly publicize the endeavor, it's not doing as well now, and it's also not the expansive fashion enterprise I'd fantasized about. When I get more time for this project, I'll likely start a store called Ina Centaur, which will contain all skins, clothing, shoes, and all fashion I've created.

Ina Centaur made her debut as an avatar in virtual worlds. Because of the scope and unprecedented efficacy and professionalism of her projects, people believe she is venerable in age. Her discourse is in fluent English, and the subjects she pursue are predominently non-ethnic, so people assume she is of Caucasian descent. When it is revealed that she is neither old nor Caucasian, people disbelieve her, or attempt to usurp her projects. Ina Centaur thus continues to uphold her virtual image as a venerable old WASP. Ina Centaur will try to explain why she is the way she is, “I am not only well-read in many fields, having also undergone a rigorous formal education, but, currently, everything that I am associated with is my creation. That is, I have not only conceived and founded these virtual institutions, but I have also created (not just planned, but worked on—tooth and nail!) the projects that make them what they are, and evolved them into things that are (hopefully) notable. This is perhaps a difficult concept for people to understand, and one reason why I continue to create (even in a medium as fleeting and limited as Second Life) is described by the project below this. But, really, my projects are for me to express myself, who I really am. On the outside, I look like a slightly myopic twenty-four year old Taiwanese girl, but on the inside, I am WASP and of a venerable age—and, the things I pursue are not only more fitting for my WASP personality, but due to socioracial reasons, not things people can accept as something a Taiwanese girl would do.” Ina Centaur will continue this experiment until both the world and herself can somehow see her actions as belonging to someone of her physical gender, age, and race.

This is an experiment in seeing if it is possible to create a good inside Second Life that affects a significant number of its population, starting without the benefit of either financial or reputation property. Although it is macro-socioeconomical, it is also immersive and personal in that I have dedicated the last two years of my life to it. I have unveiled my private working title and hypothesis for the first time: I was overcome with great pessimism, did not believe it was possible back then, but applied what little hope and belief in miracles I had in myself to try to make it happen. I have, to the best of my ability, also operated the project putting myself at swordpoint for all the possible sources of antagonism that such a project is inherently prone to receive. Armed with only my belief and abilities, I ventured into the darkness of an artificial world ripe with graft, hatred, and pain. The project results are summarized in a true, but fable-like story of Ina Centaur from 2007 to 2009.