“If you just build it, they might not come”: promoting events in SL

Seanchai Library, directly and through Storyfests SL, have organised, promoted and run a range of popular and successful events over the years, including a recreation of Orson Welles' 1938 broadcast of War of the Worlds - with suitable embellishments!
War of the Worlds, one of a long line of successful special events organised and promoted by Seanchai Library over the years

Welcome to the first in a news series and to a new departure for this blog – articles by guest contributors. In this series, and over the coming weeks, Caledonia Skytower examines the ins and outs and dos and don’ts of event promotion in a virtual world.

By Caledonia Skytower

1.    Blasting the Myths

Second Life is like baseball, or rather like baseball movies.  Is it really? There is an insidious myth in virtual worlds that if you create something that you believe is wonderful, and tell a few friends about it, people will (and should) come flocking from all parts virtual to see your brilliance, experience your events, fill your jars with awe-induced tips.

“If you build it, they will come”, may be a misquote from a certain Hollywood movie featuring Kevin Costner, Ray Liotta and James Earl Jones, but there are times when it feels like it is the motto by which many live by when developing something in a virtual world we want to share with others.

But here is the myth-shattering reality: it takes almost as much time and effort to promote something successfully, as it does to create it. Event and ongoing venue promotion is hard work.  In managing Seanchai Library, which has decent and consistent success for a venue that does not have a single dance pole, I spend approximately 15 hours a week.  Four to five hours of that, depending on the week, is in promotion – nearly one-third.  It is enough to make you get tired of hearing your own promotional voice. You really cannot  get tired of promoting if you want to build a meaningful presence, or have more than three of your BFFs attend your event or explore your creation.

Building something and sending out a few note cards and group notices might now always fill your seats
Building something and sending out a few note cards and group notices, then hoping to luck and word-of-mouth  might not fill your seats

There is no one single way to reach people – no silver bullet or easy answer.  Why is that?  Because people are diverse. They take in information and make decisions about where they spend their time in different ways.  Just as there are different types of learners – people who absorb information best visually, audibly, and kinetically, etc – people look for and process news information in ways that suit how they personally are wired.  It is more than just sending out a few note cards and IM bombing your friends list.  If you want to build a healthy audience base, one with an ever-changing balance of faithful supporters and refreshing new pixels, you have to get information to people in a form and manner that taps into their natural habits.  That is your job!

Back when I was artistic director of a non-profit performing arts company in the first-world, we used to print posters and would allot a certain amount of them to the cast and crew.  This is a pretty fundamental strategy, because your number one audience source (pay attention to this!) is always friends and family.  So you want your performers/artists to be passing the word – to be “roaring lions” as the saying goes.  Actors especially, like keepsakes. A poster is a classic one.  We had to keep reminding people that, unless their back seat had become some unique kind of public place with a lot of people coming and going, leaving posters in the back of the car was defeating the intent of the poster.  Put the posters where people will see them!

Promoting an event / experience can take many forms - posters, blog posts, press releases, hitting social media
Put your promotional material where people will see it – in-world and out-world

The same holds true with information of all kinds about places and events in Second Life.  You have to figure out where people are looking for information, and you have to get your information there for them to see.  You have to be clear and consistent.

This is something that Inara and I have discussed many times – how people can be so naive about promotion.  To be fair, not all of them have had the experience that we have had: having both been virtual journalists and had some experience in promotion elsewhere.  Most of us are consumers of such information, not the progenitors of it. So that is how this series was born, and I want to thank Inara for her support in publishing it.

I do not know absolutely everything about marketing and promotion.  I am not even a marketing professional in first-life. However, over the years I have learned a thing or five, and what I know I will share.  Some concepts do not change with technology or platforms, they just have to be re-applied appropriately in the new context. In this series of posts I will share everything from absolute beginner basics, to evaluating the success of your efforts.

Hang on, and have your pencils sharpened.  Successful events and healthy region traffic will be your final exam.

NEXT POST: The Basics – Who? What? Where? When?

Catch the Entire Series

If You Just Build It… is a multi-part series. To catch up with everything, follow the links below.

  1. Blasting the Myths
  2. The Basics: Who? What? Where? When? How?
  3. Words matter. So does how you use and share them
  4. Creating Visual Collateral

 

High Water in Second Life

High Water; Inara Pey, January 2016, on Flickr High Water (Flickr) – click any image for full size

High Water is a languid setting; a place where the water drifts by at ankle depth, its surface broken in places by scatterings of trees, wild flowers and slender stalks of grass. Overhead, clouds pass a little more hurriedly, their scudding passage the fastest movement to be seen. Beyond them, the sky is turning deep blue as the Sun lowers itself slowly towards a distant horizon.

Designed by Morton Funk, High Water is a tranquil place where even the sounds are few; while birds circle in places, they make no noise, and although the passage of the breeze may stir the leaves and branches of the trees, it does not cause them to offer the expected sigh to mark its passing.

High Water; Inara Pey, January 2016, on Flickr High Water (Flickr)

Also scattered across this watery vista are places to sit, each placed so that those using them can look out over the water, as a fine mist clings to it here and there, and simply contemplate whatever chooses to slip gently into their thoughts.

Within this tranquillity, a touch of whimsy and signs of an open heart can be found. As you explore, you may come across a pair of Cica Ghost’s cats, apparently enjoying the water, or a strange fish happily “swimming” in the air above the water. Elsewhere, beneath the surface of the water, a heartfelt message reads, if you should leave me. I have no place to go.

High Water; Inara Pey, January 2016, on Flickr High Water (Flickr)

For those who enjoy a little activity, horses roam the waters, awaiting riders. Should you do so, the sound of hooves beneath you might be the only thing to break the stillness of the region. Or if you prefer, and again located just beneath the surface of the water, a dance machine will allow you to enjoy the music stream which, at the time of our visit, featured  the music of the late David Bowie.

High Water has the feel of being organic in form; as we wandered, I couldn’t help but feel that things had arrived here not so much by intentional design, but as thoughts and ideas occurred to Morton, the environment thus growing quite naturally over time. This, and the tranquil setting, makes it a place to which we’re almost certain to return, to see what else may have arrived.

High Water; Inara Pey, January 2016, on Flickr High Water (Flickr)

SLurl Details

Dutch Masters at Holly Kai Garden

Paintings of the Dutch Masters - Holly Kai Garden
Paintings of the Dutch Masters – Holly Kai Garden

In October 2014, I wrote about the Dutch Masters exhibition curated and mounted by Drw (Drwyndwn Tyne) at his Gallery, Tyne’s Fine Art. At the time, the exhibition made quite an impression on me, such was the sense of presence one gained in being able to view masterpieces of the Dutch Golden Age, uniquely gathered together and beautifully presented in a single location.

I’m therefore extremely delighted that Drw accepted an invitation to display his collection at Holly Kai as the inaugural exhibition in our new Art at the Garden  series.

Paintings of the Dutch Masters - Holly Kai Garden
Paintings of the Dutch Masters – Holly Kai Garden

Opening on Wednesday, January 27th and running through until 28th February, 2015, Paintings of the Dutch Masters presents 40 painting by the likes of Rembrandt Harmenszoon van Rijn, Ludolf Bakhuizen, Gerard van Honthorst, all beautifully reproduced and mounted by Drw, and displayed within the two terraces at Holly Kai Garden.

Each piece has been reproduced in the precise aspect ratio of the original, with an additional 15% added to allow for viewing in Second Life, thus adding to the authentic look to each of them, and care has been taken to ensure any copyrights held by the museums hosting the original pieces have not been violated. Further, they are all mounted in picture frames which heighten the feeling of viewing the pieces in person. Click on a frame, it will offer two options: Museum Card and Examine. The former will offer you a texture containing the notes accompanying the piece as presented by the gallery where it is displayed.

Paintings of the Dutch Masters - Holly Kai Garden
Paintings of the Dutch Masters – Holly Kai Garden

Select Examine, however, and you’ll be invited to click the painting again. This will place your avatar in a seated hover position and focus your camera directly on the art; thus, you are able to examine the painting in fine detail, almost as if standing before it in a physical world gallery  (should your camera fail to orient itself after clicking the painting, tap ESC once to adjust it).

Paintings of the Dutch Masters presents a marvellous cross-section of art from the period: portraits, landscapes, studies, all of which help to understand why this period in Dutch History, spanning the 17th century, was so influential; the new Dutch Republic being the most prosperous European nation at the time, leading the way in European trade, science, and art.

Paintings of the Dutch Masters - Holly Kai Garden
Paintings of the Dutch Masters – Holly Kai Garden

More than that, however, it offers the means to truly appreciate magnificent artwork for some of the great masters of their craft, side-by-side and in a manner which could not be enjoyed in the physical world, where many of the pieces are geographically separated by museums. We look forward to seeing you at the garden.

To mark the opening, there will be a special celebration at the garden terrace, from 4:00pm SLT on Friday, January 29th, featuring the music of DJ Anthony Wesburn. Anthony brings a unique style to his music in Second Life. Covering multiple genres including blues, classic rock, and jazz, he not only spinning the tunes, but brings his audience little tidbits of information on the songs and artists he’s playing. Dress code is smart casual / semi-formal.

SLurl Details and Links

SL project updates 16 4/1: server updates

Gates of Memories; Inara Pey, January 2016, on Flickr Gates of Memories – blog post

Server Deployments

As always, check the server deployment thread for the latest updates.

On Tuesday, January 26th, the Main (SLS) channel received the server maintenance package, 16.01.16.310114, previously deployed to the three RC channels. This comprises:

  • A simulator crash fix
  • A further feature request: llGetObjectDetails() functionality to get the parent_id of any task in the region (OBJECT_REZZER_KEY).

OBJECT_REZZER_KEY returns the parent_id of any task in the region. If the object came from an object rezzer it returns the ID of the parent object, while If it was rezzed by an avatar, it returns the agent ID of the avatar. The function only works for those objects rezzed in-world after the code deployment (objects in-world prior to deployment will return NULL_KEY).

On Wednesday, January 27th, the three RC channels should all receive a new server maintenance package,16.01.21.310177, comprising:

  • Internal simulator fixes
  • A fix for BUG-1313 “LSL llSetPos in root prim of attachment behaves differently at high altitudes – viewer does not show updates”, which can cause attachments to fail to update correctly at altitudes over approximately 1500 metres.

Deployment Slowdown

“FWIW, we’re likely to slow down on server updates in the next couple of weeks,” Simon Linden informed those attending the Simulator User Group meeting on Tuesday, January 26th. “It’s not part of any evil plan, but I’m doing some internal maintenance work and travelling one week.”

How this plays out remains to be seen, but we should at least have one deployment to the Main (SLS) channel in week #5 (week commencing Monday, February 1st), assuming no issues are found, with the promotion of the this week’s RC deployment to that channel.

SL Viewer

no updates for the start of the week, with the current crop of viewers remaining:

  • Current Release version: 4.0.1.310054, January 15 – formerly the Maintenance RC viewer download page, release notes
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself):
    • HTTP updates and Vivox RC viewer, version 4.0.2.310097, dated January 19th
    • Quick Graphics RC viewer, version 4.0.2.310127, dated January 20th
  • Project viewers:
    • Project Bento (avatar skeleton extensions), version 5.0.0.310099, dated January 20th
    • Oculus Rift project viewer, version 3.7.18.295296, dated October 13th, 2015
  • Obsolete platform viewer (Windows XP and OSX versions below 10.7), version 3.7.28.300847 dated May 8th, 2015.

Other Items

Greater Local Region Control

A bug which has been getting repeated requests for attention, particularly by those engaged in SL combat activities, is BUG-8974, “Temp rez object are not rezzed in a timely manner”. It’s also one which hasn’t seem to be working its way to the top of the pile of things to be done. During the Simulator User Group Meeting, Simon expanded on one of these reasons this is the case:

“As I remember, it’s tied up with a larger idea: letting region owners pick different settings for the region based on the performance and safety you want.  Part of the problem is due to a throttle which was added for anti-griefing. So if you want temp rezzing faster, you might want that [throttle] looser, while a venue owner would definitely not want that [the throttle looser, due to the risk of griefing]. I can’t make promises but I hope to get to it soon.  It’s still on my list.”

Cica’s Beginners in Second Life

Beginners - Cica Ghost
Beginners – Cica Ghost

“I made these travelling houses, like migrating people,” Cica Ghost told me of her latest installation, Beginners. “And I was thinking, they are looking for new beginning. I didn’t want political thoughts, especially not in SL. So I think they are just moving., travelling. “Migrants” is such a heavy word.”

And it is, particularly in the current political climate and the situations occurring in Africa and the Middle East. Yet, with Beginners, it is in some ways hard not to see a reflection of what is happening in the physical world.

Across a rocky landscape, devoid of trees but covered in part by breeze-swayed grass, a caravan is slowly making its way up an incline. Pulled by gigantic snails, each with a house on its back, the caravan comprises two sets of wheeled houses, yoked one to another, the leading ones in each train harnessed to one of the aforementioned snails.

Beginners - Cica Ghost
Beginners – Cica Ghost

Progress is slow. the snails stretch and contract, the wheels on the house turn, but forward momentum seems non-existent. And all of this is watched by enormous figures standing on nearby hills or seated on the edge of the grasslands. Somewhat unkempt, their faces twisted, the sleeves of the jumpers they wear stretched and hanging over hands, Cica refers to them as trolls, and notes they mean no harm; they’re just there to watch.

Taken as individual scenes, the snail caravan and the huge figures offer a humorous study; the poor snails stretch and try, stretch and try, without ever showing signs of reaching a particular destination, hauling gaily painted houses (which show signs of wear), while the troll figures offer a clown-like face and look to the world; their oversized jumpers giving them a gentle charm.

Beginners - Cica Ghost
Beginners – Cica Ghost

Nevertheless, the echoes of migration and the displaced cannot be entirely put aside. It’s there within the caravan, where a closer examination of the houses reveals that their careworn look might actually be the result of being caught in strife. It’s there in the idea of people moving their entire home to seek a new beginning and leave the past behind. It can even be found with  the trolls, although this might not initially be obvious.

As tall as they might be – easily matching the wheeled houses in height – the trolls and their relationship with the caravan take on a new meaning as you cam closely around them. As the caravan on the rigid comes into sight, the trolls aren’t giants any more. They are instead transformed into figures in the foreground, watching the distant caravan roll by, their expressions now filled with pathos and bewilderment, perhaps a reflection of inner turmoil at being unable to go on the journey as well.

There are other subtle nuances as well. For example, the landscape is pockmarked with craters, giving it an alien look in places. And “alien” is often a term we use is respect of those arriving in our lands from elsewhere, or when referring to lands and customs removed from those we have lived with.

Beginners - Cica Ghost
Beginners – Cica Ghost

Beginners is again another marvellous piece by Cica, working as it does on several levels. Whether or not one is struck by the potential parallels with the dispossessed, this is an installation which is hauntingly beautiful in its presentation. There is also Cica’s trademark sense of fun: you can sit on the roofs of the houses if you wish as the snails struggle forward, or you can ride a balloon over the fields (and beneath the waters!), either on your own or with a friend. And if you do look hard enough, you’ll find a little secret spot where you can curl up and relax, leaving the world above you to get on with itself.

SLurl Details

Space update: seeking planet X, examining comets and sifting sand

CuriosityNASA’s Curiosity rover has been sampling the sands of the “Namib Dune” the vehicle has been studying / circumnavigating for the last few weeks as it studies an extensive dune field which is slowly making its way down the slopes of “Mount Sharp” on Mars at the rate of about a metre per year.

“Mount Sharp”, more formally called Aeolis Mons, is the huge mound of material gathered against the central impact peak of Gale Crater. It forms the rover’s primary mission target in its quest to better understand conditions on Mars down through the ages, and to look for areas which at some point in the planet’s past, may have had all the right conditions – minerals, chemicals, water, heat, shelter, etc., – which might have allows life to arise.

The dune field on the north-east flank of “Mount Sharp” is of considerable interest to scientist, as it is the first genuine dune field to be studied on another world, and obtaining a clearer understanding of how the Martian wind moves sand could lead to a clearer picture of how big a role the wind plays in depositing concentrations of minerals often associated with water across the planet, and by extension, the behaviour and disposition of liquid water across Mars.

Tracks on a sand dune: this image from Curiosity's front Hazard Avoidance Camera (Hazcam) shows the rover's tracks on the same of "Namib Dune" as it starts sample gathering
Tracks on a sand dune: this image from Curiosity’s front Hazard Avoidance Camera (Hazcam) shows the rover’s tracks on the same of “Namib Dune” as it starts sample gathering

On January 12th, the rover reached a target area for sample gathering dubbed “Gobabeb”, and even this presented a challenge. Curiosity had to manoeuvre up onto the dune, and then turn in place in order to start sample gathering operations. This meant a cautious approach to the location, initially “scuffing” the sand to obtain and indication of its depth and composition (loose firm material). After this the rover gently edged onto the sand and deployed the robot arm to use its small scoop in only its second major sample gathering exercise, which took place on January 14th.

The sand gathered by the operations well be sorted within the CHIMRA system inside the robot arm, which uses a series of sieves to divide the sand grains by coarseness. Once sorted, the samples are delivered to the rover on-board chemical and analysis systems  – ChemMin, the Chemical and Mineralogical laboratory and SAM, the Sample Analysis at Mars suite – for examination.

A second sample of sand was gathered on January 19th, and is currently awaiting processing.

CHIMRA
CHIMRA – the Collection and Handling for In-Situ Martian Rock Analysis device attached to the turret at the end of Curiosity’s robotic arm, processes samples acquired from the built-in scoop (red) and the drill, which is not shown but is also part of the turret. CHIMRA also delivers samples to the analytical lab instruments inside the rover. Two paths to get material into CHIMRA are shown (the scoop delivers material to the location marked at the bottom, and the drill deposits material to the sample transfer tube shown at top). Also marked are the location of the vibration mechanism used to shake the turret and cause the sample to move inside CHIMRA, and the portion box (yellow) from which the material processed through a sieve is delivered to the analytical lab instruments.

Europe Joins Dream Chaser

In my last Space Sunday report, I covered the news that Sierra Nevada Corporation (SNC) will be joining SpaceX and Orbital ATK in supporting US work to delivery supplies to, and remove waste from, the International Space Station.

As a part of a new contract which commences in 2019 and runs until 2024, the expected end of ISS operations, SNC will utilise an unmanned cargo version of its Dream Chaser “mini shuttle”, which is based on a lifting body design, to carry up to 5 tonnes of material to the space station. Now Europe has officially joined SNC as a strategic partner.

The Drem Chaser Cargo, bult by SNC, and the International Berth and Docking Mechanism, to be supplied to SNC for Dream Chaser flights by the European Space Agency
The Dream Chaser Cargo, built by SNC, and the International Berth and Docking Mechanism, to be supplied to SNC for Dream Chaser flights by the European Space Agency

SNC and Europe have been looking at options for Dream Chaser development since SNC lost out to SpaceX and Boeing to supply the crewed version of Dream Chaser to NASA for ferrying crews back and forth between the ISS and US soil. Confirmation that NASA will be using Dream Chaser for the resupply flights means that ESA can nor push ahead with developing an International Berthing and Docking Mechanism (IBDM) for Dream Chaser.

Continue reading “Space update: seeking planet X, examining comets and sifting sand”