Alchemy: cooking up a TPV

Alchemy-logoSovereign Engineer poked me about the beta release of a v3- based third-party viewer going by the name of Alchemy, which was announced to the world on Saturday April 26th, 2014.

Now the name might be familiar to some, give that the pot has been simmering away on this one since around the middle of 2013, and there have been a number of blog posts on the associated website and some discussion over at SL Universe. However, it can take time to pull a viewer together – not to mention maintain it – so much so that Shakespeare himself couldn’t have put it better when he wrote Double, double toil and trouble; Fire burn, and caldron bubble, even if the meaning is a little reversed in this case, and the doubling of toil falls onto the alchemists who are bringing this latest TPV to life.

Nevertheless, the beta release – version  14.4.26.30997 – is now out for Windows, Mac and Linux (all, I believe, 32-bit). I’m not entirely sure which LL code base the viewer is built upon as there is no indication in either the About floater or on the website, but I’m guessing it’s probably the 3.7.4 or 3.7.6 code base, given the presence of things like the recent HTTP updates.

The overall aim of the viewer, according to the website, is to provide: “A Second Life Protocol compatible viewer targeted at stability, performance, and having a well thought out skin and feature set”.

Currently, three active members of the team are listed on the website: Sovereign Engineer (aka Drake, the project lead), Luminous Luminos (aka Cryo) and Inusaito Kanya (aka Lirusaito), all of whom have worked on / contributed to other TPV projects. The viewer also lists Miguael Liamano (aka Tarnix) and Captains Ghost, both of whom (or one or the other) appear to be taking care of the website.

So, what of the viewer itself?

Well, first off, this is a beta release, so don’t expect it to be all bells and whistles and how-do-you-dos. In terms of menus and Preferences, it has everything you’d expect of a v3-based TPV aimed at Second Life, including Havok sub-licensing support (which means this isn’t a viewer aim towards OpenSim as well).

The UI is a clean slate grey colour, slightly darker than the LL viewer, but with opacity set to 0.95 by default for the active floater, and inactive floaters at 0.55. In terms of size and general presentation, many of the floater panels appear more-or-less as they are rendered within the official viewer, although there are some shaper colour contrasts apparent, which can deceive the eye and brain into thinking some of the panels are more cluttered in Alchemy than is actually the case.

An example of this is World Map. There are no significant differences between it and the LL World Map. However, the flatter colours in the Alchemy world map, perhaps aided by the black / dark background to input and check boxes, tricks the eye into seeing the map as being somewhat more crowded than is actually the case when first opened.

Which is not to say all of the floaters are untouched. The build floater, for example, has been reworked to include popular open-source additions – notably Qarl Fizz’s prim alignment tool – and has been reorganised somewhat. The result, assisted by the subtle use of shading, is a more regimented feel to the floater which naturally helps the eye in locating options and option groups.

The Alchemy build floater (r) compared to the original LL viewer build floater: the former has a more regimented, easy-on-the-eye approach to its layout  without making significant changes
The Alchemy build floater (r) compared to the original LL viewer build floater: the former has a more regimented, easy-on-the-eye approach to its layout without making significant changes

When it comes to Preferences, Alchemy again doesn’t stray too far from the LL “norm”, although there are a number of TPV-specific additions, and there are hints of the Things to Come. The latter takes the form of an additional Preferences tab called Interface, which currently comprises three sub-tabs: General, Inventory and Status Bar, all of which have but one or two options for the time being, although more will doubtless follow as the viewer progresses.

Some of the tabs have been re-worked from the LL original; a good example of this is the Chat tab, which both splits-off the notification options into a sub-tab while adding a number of additional check-box options (turning off the typing animation, etc), which are again popular in TPVs. Chat also includes sub-tab for popular chat shortcut commands which Firestorm (and before it, Phoenix) made popular.

Alchemy's updated chat tab in Preferences
Alchemy’s updated chat tab in Preferences

Performance-wise, the view is slick and fast, easily on a par with all current v3-based viewers in terms of fps when running on my primary machine; I was getting 70+ fps at ground level in a region with five other avatars and a lot going on, which was more than adequate for my needs, and even when visiting The Golden Age of Russian Avant-Garde, I found my fps up in the 50s, which kept me perfectly happy during my explorations there.

In support of the viewer, the team have started on a wiki – although this still in the very early stages of development; there is also a JIRA, and the source is available through BitBucket – all of which can be accessed via the Alchemy website, or through links in the Help menu of the viewer itself.

As a beta version of an emerging viewer, anyone trying it out shouldn’t expect it to be packed to the gills with the more common-or-garden open-source / TPV additions (there’s not RLV / RLVa, and no media filter, for example), but as noted above, capabilities will doubtless be added over time as the dev team further refine the direction in which they want to take the viewer. In the meantime, this is a good start, and it’ll be interesting to see how Alchemy develops – and both the pace at which it develops and the direction it takes in terms of its own feature set.

Related Links

The Secret (Store) sauce of promoting a brand (and SL)

I caught a Tweet earlier on Monday April 28th, which came from Strawberry Singh and was aimed at Ebbe Altberg. It concerned a promo video for a fairly well-known (if relatively new) brand in SL.

Berry-video

I try not to do outright product promotion in this blog (with, admittedly, a few exceptions where brands I’ve come to personally enjoy are concerned), but this video is so gobsmackingly good, I am going to include it here.

It’s for Maylee Oh’s Secret Store brand, and is produced by Maylee herself. Not only does it show enormous talent and shines with a professional finish worthy of a TV ad (just count the beat and watch the moves), it showcases the amazing talent that is available in SL which could so easily be harnessed to work with the Lab to produce some really first-rate material for helping to promote SL to a wider audience.

So, how about it Ebbe? How about putting the feelers out to the talent within SL that uses the platform daily, and seeing how that talent can help you promote the platform that so captivates us? After all, your customers are your best ambassdors!

The virtual reality of the Russian avant-garde

Alpha Auer / El Lissitzky's "For the Voice", The Golden Age of the Russian Avant-Garde, LEA8
The Golden Age of the Russian Avant-Garde, LEA8

History has a tendency to be a little ironic at times. Thirteen months ago, the United Kingdom and Russia issued a joint declaration that 2014 would be the bi-lateral UK-Russia Year of Culture. At the time they sat down to sign that agreement, little did Sergey Lavrov, the Minister of Foreign Affairs of the Russian Federation and William Hague, Secretary of State for Foreign and Commonwealth Affairs of the United Kingdom, would be facing one another across a quite different table and under less convivial circumstances in April 2014.

Not that the one should in any way negate or cancel the other. Rather the reverse, in fact. In the face of mounting political tensions, one would hope that the events staged in both the UK and in Russia as a part of the bi-lateral UK-Russia Year of Culture would stand as a reminder of each side’s humanity and the benefits of people of different nationalities looking beyond superficial national boundaries and collaborating with one another.

Bryn Oh / Vladimir Tatlin: Monument to the Third International, The Golden Age of the Russian Avant-Garde, LEA8
Bryn Oh / Vladimir Tatlin: Monument to the Third International, The Golden Age of the Russian Avant-Garde, LEA8

And collaboration is very much the focal-point of one of the pieces selected by the British Council for display in Russia, and it is one that crosses not only the political divide, but also the digital divide as well.

The Golden Age of Russian Avant-Garde is a large-scale exhibition project, created especially for the main exhibition hall of Moscow’s Manege Museum by Peter Greenaway (UK) and Saskia Boddeke (Holland) supported by the British Council. The primary part of this exhibition opened in Moscow on April 15th, and will run through until May 18th, 2014, in an exhibition space totalling some 5,000 square metres – which is enormous by any standards. This multimedia installation will feature, in the words of the British Council:

Polyscreen installations made with the help of the most up-to-date projection, light and sound equipment. It will represent a new approach to the history of art, creating new visuals and new possibilities for learning about the world around us through images. Using polyscreens as an artistic method not only allows us to explore new aspects in paintings or sculptures: synchronised images, bound together by a single idea, create new architectonics, bringing another dimension to the exhibition. Combining film and painting, animation and 3D technology helps create a unified atmospheric work, drawing the viewer into the space of Russian avant-garde.

But this is more than a real-world exhibition. A major element of the piece exists not in the real-world, but in Second Life, at LEA8, to be precise.

It is here that Saskia Boddeke, perhaps better known to many of us as artist Rose Borchovski has brought together seven artists from around the world, each with the task of recreating a famous element of the Russian avant-garde movement, also known as Constructivism, in-world (and some in the real world as well), and which forms a part of the overall exhibition space, real and virtual.

Nessuno Myoo / Lubov Popova, the stage for Meyerhold's production of "The Magnanimous Cuckold", The Golden Age of the Russian Avant-Garde, LEA8
Nessuno Myoo / Lubov Popova, the stage for Vsevolod Meyerhold’s production of “The Magnanimous Cuckold”, The Golden Age of the Russian Avant-Garde, LEA8

A post-World War I development of Russian Futurism, Constructivism became a movement combining art and architecture as a means of illustrating and expressing the ideals of the socialist system. It encompassed artists, sculptors and designers such as Vladimir Tatlin, one of the pre-eminent Russian Futurists, Antoine Pevsner, Naum Gabo Liubov Popova, Alexander Vesnin, Aleksander Rodchenko, Varvara Stepanova, and Vsevolod Meyerhold and the theorists Alexei Gan, Boris Arvatov and Osip Brik.

The SL exhibits are placed on multiple, interactive levels within a pseudo-industrial setting. Here direct re-interpretations of famous elements from the Constructivist movement – such as Bryn Oh’s representation of the never-built (at least in full size) Monument to the Third International by Tatlin (and also known  as “Tatlin’s Tower” and regarded as a key work of the movement) and Popova’s stage design for theatrical director / actor Vsevolod Meyerhold, recreated by Nessuno Myoo through to broader pieces drawn from within and beyond the Constructivist movement and presented in both 2D and 3D installations.

Alpha Auer /El Lissitzky's + V. Mayakovsky's "For the Voice", The Golden Age of the Russian Avant-Garde, LEA8
Alpha Auer /El Lissitzky’s + V. Mayakovsky’s “For the Voice”, The Golden Age of the Russian Avant-Garde, LEA8

A further cross-cultural element is evident in the SL installation. When exploring, you might come across avatars named AvanteGarde001 through AvanteGarde004. These are in fact controlled by visitors to the Manege Museum in Moscow, who are invited to extend their visit to the real-world pieces there into the realm of the virtual – and have been able to do so since the real-world exhibition opened.

Exploration of the SL exhibit space requires a reasonable amount of time – there is a lot to see; even the environment itself, designed by Bryn, makes a powerful statement. Not only does it frame the pieces on display and provides the means by which they can be explored, it also reflects the form and context of the Constructivist movement and the age they represented.

Eupalinos Ugajin / Yevgeny Zamiatine's "We", The Golden Age of the Russian Avant-Garde, LEA8
Eupalinos Ugajin / Yevgeny Zamiatine’s “We”, The Golden Age of the Russian Avant-Garde, LEA8

In terms of the pieces on display, each offers a unique view on the movement and / or the era. In this, I found Eupalinos Ugajin’s interpretation of We, Yevgeny Zamiatine’s dystopian novel particularly interesting, given its historical context. While the Constructivist movement celebrated and promoted the ideals of the socialist state, Zamiatine’s novel painted a far more negative image of socialism: that of a repressive police state. In doing so, it became the first work to be banned by the Soviet censorship board shortly after its publication.  The inclusion of a piece reflective of We is given greater depth when one considers the manner in which Constructivism itself was to be suppressed (and some of its proponents forced into exile or murdered) following Stalin’s rise to power and repressive leadership of the state machine.

Soror Nishi / Wassily Kandinsky's abstractions, The Golden Age of the Russian Avant-Garde, LEA8
Soror Nishi / Wassily Kandinsky’s abstractions, The Golden Age of the Russian Avant-Garde, LEA8

However, perhaps the most remarkable piece  in the installation is Jo Ellsmere’s representation of V. Meyerhold’s biomechanics, a system he developed for training actors. This uses five beautifully scripted avatars moving in a series of synchronised movements which sees them move both as an individual unit, and as five unique elements of the whole, a slight syncopation to their movements giving them a time-lapsed grace which cannot easily be captured in still images and really has to be seen to be appreciated. There is much here that reaches beyond the immediacy of the installation and offers a lot of potential for synchronised movement in art and dance.

As one might expect, a piece of this magnitude, whether real or virtual, takes a huge amount of effort to bring together, and I am for one very glad that RL events didn’t result in either the real or the virtual aspects of this remarkable celebration from being derailed. This is not an exhibition to be missed  and if you are fortunate enough to be able to see the real-world elements at the Manege, I envy you.

Jo Ellsmere / Vsevolod Meyerhold "Biomechanics", The Golden Age of the Russian Avant-Garde, LEA8
Jo Ellsmere / Vsevolod Meyerhold “Biomechanics”, The Golden Age of the Russian Avant-Garde, LEA8

Definitely one for the books – and kudos to all those involved. When visiting the LEA installation, don’t forget you can also pick-up one of several  (or all, if you like), avatars near the arrival point and make yourself a part of the exhibits offered for your delight and consideration. For my part, the LEA installation only presents one problem; such are the pieces on display here, that they each really deserve an individual review / exploration.

Related Links

SL11B Community Celebration: calling all exhibitors (and more!)

Celebrations to mark the eleventh anniversary of SL opening its gates to the world will take place between Sunday June 22nd and Sunday June 29th, 2014.

And now applications are open for you to be a part of the magic.

The theme for this year’s celebrations is a quote from a speech Sir Winston Churchill gave in 1943, “The empires of the future are the empires of the mind”.

'The Sims Lie Empty', SL10BCC, 2013 by Inara Pey, on Flickr‘The Sims Lie Empty’, SL10BCC, 2013

Right now, we stand at something of a new awakening for Second Life. There is an air of freshness and promise as the Lab once more reaches out – genuinely reaches out – to re-engage with all of the rich diversity of communities which make-up Second Life. We are also seeing a resurgence of interest in the whole concept of virtual worlds and their potential, partially as a result of emerging technologies, but also because people are once again willing to make their case for using virtual worlds, be it for education or research or medicine or entertainment.

Yes, there are still challenges and hurdles to overcome – and we’d be very foolish to link the future of SL and virtual environments to a single element of technology (or even a subset of technology), because the human mind is so much more creative than we can ever, at any single point, define, while technologies come and go.

And that is what this year’s theme is about: the sheer creativeness and inventiveness of the human mind. It’s already given us this incredibly diverse virtual world, a true melting-pot of ideas, imaginings, creative ideas and artistic expression. Now is the time to mark and celebrate all of this rich diversity, our digital home, created pure from the empires of our minds – and for those who dare, to look ahead to what may yet come to be as we continue to push at the very frontiers of imagination, creativity and the mind.

Whether you want to express what Second Life means to you, or whether you want to take a look down the road at what might yet come to pass – or what you’d perhaps like to see SL become – you can now apply for exhibition space on one of the SL11B Community Celebration regions and share your vision with others. Of course, there are guidelines all exhibitors should be aware of when applying to be a part of the celebrations, but now is the time to get thinking about how you can best reflect this year’s theme.

And that’s not all, the event team are still seeking applications from Performers, Volunteers and speakers and performers  in the Auditorium.

Do note, however, that all applications should be submitted no later than Tuesday May 20th.

Given this year’s theme does encompass the opportunity to look to the future of virtual worlds, I’ll leave you (again, given it is one of my favourite video shorts!) an imagining of virtual environment as seen by Bruce Branit.

Related Links

 

Viewer release summaries 2014: week 17

Updates for the week ending: April 27th, 2014

This summary is published every Monday and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:

  • It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy
  • By its nature, this summary will always be in arrears
  • The Viewer Round-up Page is updated as soon as I’m aware of any releases / changes to viewers & clients, and should be referred to for more up-to-date information
  • The Viewer Round-up Page also includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.

Official LL Viewers

  • The current viewer updated to version 3.7.6.289164 (formerly the VoiceMO RC) on April 21st – core updates: Vivox 4.6.x libraries for improved stability & to address Mac Mavericks issues; fixes for accurately detecting Merchant status & improving Merchant Outbox error recovery. (download page, release notes)
  • Release channel cohorts (See my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself):
    • SL Share 2 RC viewer version 3.7.7.289497 released on April 25th –  core updates: abilities to upload Tweets and snapshots to Twitter and / or snapshots to Flickr (download and release notes)
    • Sunshine / AIS v3 RC updated to version 3.7.7.289441 on April 24th – core updates: stability and performance improvements for SSA (download and release notes)
    • Maintenance RC viewer updated to version 3.7.7.289405 on April 23rd – core updates: 54 MAINT fixes, including Mac updates, UI fixes, GPU table updates, crash fixes & performance improvements (download and release notes)
    • Interest List RC updated to version 3.7.7.289461 on April 23rd – core updates: improvements to how the viewer and server work together to know what scene objects to draw (download and release notes)
  • Project viewers:
    • SL Share 2 project viewer removed due to the release of RC version.

LL Viewer Resources

Third-party Viewers

V3-style

  • Black Dragon updated to version 2.3.9.7 on  April 21st – core updates: “Godray” sun ray effect (preliminary – via Tofu Buzzard); BlurLight shader (via Tofu Buzzard); other minor updates (release notes)
  • UKanDo updated to version 3.7.6.27995 on April 22nd – core updates: Preferences updates; revised camera floater; addition of Firestorm pose stand (release notes)

V1-style

  • Cool VL viewer updated on April 26th, as follows: Stable: version 1.26.10.19; Experimental: version: 1.26.11.19; Legacy: version 1.26.8.56 – core updates: please refer to the release notes (downloads; release notes)

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links

The Drax Files Radio Hour: getting inside the Laabs

radio-hourThe 16th edition of The Drax Files Radio Hour delves into something many of us overlook:  the people who actually work at Linden Lab and keep Second Life running and available to us. Having travelled to Santa Cruz, Drax gets to spend time with a group of Lab employees, and interviews one of the more senior folk there, Don Laabs.

Also discussed is the new user experience – where sadly, in some respects, views are expressed which come over as somewhat devoid of any appreciation  – or at least acknowledgement – of what has been tried before and the fact that the Lab actually does have a lot of data on how well what we may consider to be “obvious” may not have actually turned out that well in the past. It’s both the new user experience element and the Don Laabs interview which form the mainstays of the show for me, so they’re what I’m focusing on here.

The new user experience discussion stems from Skyspinner Soulstar’s video, which has been featured on numerous blogs and subject to much debate. I have to admit that when seeing videos like this, I have two reactions.

The first is that the new user experience is a mess, and that more thought needs to be given to ways in which people coming into Second Life a) have a much clearer understanding of why they’re signing-up to the platform and what they might like to do, and b) how the sign-up / log-in experience can be better geared to ensuring those coming into SL can be better grasp the very basics of the viewer and can be delivered more readily to environments where they can connect with those things that caused them to sign-up to SL and which present them with the ability to connect to others who share that interest.

My second reaction is that, by their very nature, videos made by established SL users are somewhat biased from the outset, because they are invariably driven by what we think new users need, rather than what new users may actually require, or they are invariably seen as a means of reinforcing our own particular views on what we “know” is required in order to “solve” the issue of the new user experience. This latter point is demonstrated in the podcast itself, where Draxtor admits that the video reinforces his belief that the new user experience can be “solved” through the introduction of social interaction into the process (which, ironically, is not something I tend to actually agree with in general terms).

The problem here is that by reinforcing our own perceptions of what is “obviously” needed can perhaps blind us to other issues which may well be inherent in the overall process. Hence why, when it comes to discussions about how to solve the new user experience, particularly when they are directed at solution X or approach Y or idea Z, I find myself pointing to a comment Ebbe Altberg made during his VWBPE address:

In general, I’ve found that the customer is often wrong when they ask for something specific.

Now, when they say, “I have this pain” or “I have this need”, they’re pretty much always right. But when they say, “it needs to be solved this way”, they’re usually wrong … 

The very attractiveness of  Second Life and the fact that it is such a blank canvas to user engagement and retention really does mean there is no single solution that is going to work, and that what is needed is in fact a far more broad-ranging, holistic approach to matters which encompasses multiple approaches, leveraging things that both the Lab and the community can collaboratively supply.

Given the renewed openness and direct approach the Lab is presenting in its relationship with the broader user community, we are perhaps closer to reaching a point where such a collaborative, holistic approach could actually be undertaken by both Lab and users than we’ve been in a very long time. If the opportunity does arise, I hope both sides will grasp it without any need to rake over the coals of past mistakes in Lab / user relationships.

For his first Linden interview [25:32], Drax sits down with Don Laabs, Linden Lab’s Senior Director of Product for Second Life, and who is also known as Danger Linden.

Don Laabs,
Don Laabs, Senior Director of Product for Second Life at Linden Lab

I first made mention of Don Laabs back in September 2012, back when there was much gnashing od teeth over the misconception that the Lab was somehow “abandoning” SL in favour of developing new products. At that time, I pointed to the fact that the Lab had actually brought-in Don Laabs from EA games earlier in the year in order to ensure that SL would continue to be developed, while responsibility for emerging products was placed under the separate control of John Laurence, reporting into Don.

The interview is interesting and wide-ranging, starting as it does with a brief potted history of Don’s time with EA games, his thoughts on whether SL is a game or not – he characterises it as not a game, but “play”, and points to the over-arching difference between SL and the OASIS of Ready Player One being the latter having gameplay as central to its function, whereas SL has gameplay elements for those who wish to use them, before delving into a host of other issues, including the highly anticipated experience keys (also referred to elsewhere as experience permissions) which should further assist in the creation of tailored, region (/estate?) based activities – think Linden Realms with more on offer.

An interesting aspect of this discussions  – other than it touching upon the fact that while SL may not be a game, it most certainly is a legitimate platform for gameplay mechanisms and activities – is that alongside of the developing the experience capabilities themselves, the Lab are in the process of putting together a couple of experiences they hope will showcase the capabilities and springboard their wider use.

Linden Realms, launched in 2011, was an initial release of what were to become known as athe Advanced Creator Tools, the forerunner of the upcoming experience keys / permissions
Linden Realms, launched in 2011, was an initial release of what were to become known as the Advanced Creator Tools, the forerunner of the upcoming experience keys / permissions

While having the Lab provide in-world experiences tends to be a twitchy subject for some, taking this kind of approach – particularly if coupled with good supporting resources (wiki pages, etc.), isn’t actually a bad way to go. While it may be critiqued as looking and perhaps feeling a little twee, the Linden Realms game did, at the time it was launched, help promote what might be done with the initial experience permissions and tools (it was just a shame things went a be pear-shaped when the tools were initially rolled-out). As such, I do wonder – technical complexity not withstanding – how pathfinding might have been received had it been rolled out with a comprehensive example of what might be achieved using the tools, linked to the resources needed to create pathfinding based experiences.

A further interesting element touched upon in the interview is that maintaining something like SL is actually a lot more complex than people perhaps credit. As Don states, even if the SL code were effectively frozen today, changes in the world at large – to operating systems, to tools the platform uses (webkit and the issues around MOAP video & YouTube being a classic example – or indeed, the Mac Cocoa situation being another) mean than SL will still require ongoing and invasive maintenance even in order for it to remain accessible to users – and even to meet users’ changing habits.

The conversation here segues into a discussion of Second life and relevance. While it is true that Second Life itself doesn’t face any real competition in terms of virtual worlds (no disrespect here to OpenSim – but it is not of a scale which can be considered in any way competitive to SL, either in terms of established user base or – more particularly – in its ability to directly attract new users on a scale equivalent to SL), the platform does face enormous competition in terms of gaining traction on people’s time.  This means that SL is competing with a whole range of other activities people could be doing – web browsing, playing games, engaging with family and friends through Facebook, and so on.

The problem here, in terms of relevance, comes in several forms. There is the matter of legacy content, for example – and the expectation by users that such content will always be around, no matter how dated it may look. This impacts on what can and cannot be done technically with the platform in terms of maintaining relevance with emerging capabilities and so on. At the same time, system performance needs to be managed, but the platform needs to remain relevant to content creators of all standards and abilities as a place for creativity without unduly limiting how they create (such as by limiting polygon counts on models, etc.).  So relevance is a complex mixture of technical capabilities, maintaining legacy content, performance, and offering freedom of creative expression – anyone one of which can turn people away from SL as much as attract them.

This is again another excellent interview, and sets the bar for the upcoming shows and chats with other Lab staffers. Obviously, I’ve only touched on what interests me personally, and I do recommend that you take listen-in to all that is discussed.

Elsewhere in the show, the prickly issue of net neutrality is discussed, something which is having considerable air-time in the USA, but which isn’t garnering too much attention here in the UK, despite the fact we seem to be in much the same boat on the matter. Education also gets a further mention, with a most excellent OpenSim / Oculus Rift experiment at a school in Ireland getting media coverage. Despite being accused of “not understanding” the value of VR in SL, such work is actually where I see HMDs and added immersiveness in VWs as having value. Indeed, I’d go so far as to say that historical recreations like this, perhaps coupled with the new experience keys and something along the lines of Fuschia Nightfire’s intriguing Ghost Castle, as could offer uniquely interactive, educational, and eye-popping experiences within SL.

Fuschia Nioghtfire’s Ghost Castle, which recreates Corfe Castle as one explores the ruins, potentially points to a way in which VR HMDs and VW environments could be used to incredible effect

And even without the headset, I still recommend Fuschia’s installation as more than worthy of a visit.