30/31: art and shopping in Second Life

3031Commencing at midnight on the 30th / 31st March 2016 is a new arts-focused shopping event offering the chance for people to discover art, galleries and more across Second Life.

Managed and run by Windlight Magazine, 30/31 will be a bi-monthly event, this first round will run from midnight on the 30th/31st March through until midnight on April 6th/7th, and is sponsored by Chop Zuey Couture Jewellery.

In all twenty artists, galleries and brands are participating in this inaugural round of the event, and their details and URLs can be found below.

Each of them is offering one or more items for sale as a price with either 30 or 31 in it  – hence the event name. So items might be L$31, L$131, L$230, and so on.  The items offered as part of the event are indicated by the 30/31 logo (above right) being display along side them.

30 / 31: Chop Zuey Couture Jewellery's "I got your number"
30 / 31: Chop Zuey Couture Jewellery’s “I got your number”

To mark this inaugural round of 30/31 Chop Zuey Couture Jewellery owner, Belle Roussel, has created a special edition I got your number 30/31 edition necklace and earrings set shown above).

30/31 offers an excellent opportunity to combine shopping with art, and offers a balanced mix of galleries and stores to visit, as well as presenting people with a great way to familiarise themselves with the work of artists they might not have previously come across.

30/31: Jarla Capalini's studio
30/31: Jarla Capalini’s gallery

Participating Artists, Galleries and Brands

30/31: Epic Chromatic
30/31: Epic Chromatic

SL project updates 16 13/1: Aditi inventory, invisiprims

[G]aio; Inara Pey, March 2016, on Flickr [G]aioblog post

Server Deployments Week #13

There are no scheduled deployments or restarts planned for the week. The next deployment should occur in week #14 (week commencing Monday, April 4th, when the release candidate channels should receive a server maintenance package containing some (as yet)  unspecified fixes.

SL Viewer

The Project Bento viewer, containing the new avatar skeleton extensions, updated on Tuesday March 29th to version 5.0.0.313150. The remaining viewer channels remain unchanged from the end of week #12:

  • Current Release version: 4.0.2.312269, dated March 17th – formerly the Maintenance RC viewer
  • Release candidate cohorts:
    • HTTP updates and Vivox RC viewer, version 4.0.3.312816, dated March 23rd – probably the next viewer in line to be promoted to the de facto release status
    • Quick Graphics RC viewer, version 4.0.2.312297, dated March 11th – possibly to go through a further update (tests were being carried out with  the Avatar Complexity settings in week #12)
  • Project viewers:
    • Oculus Rift project viewer updated to version 3.7.18.295296 on October 13, 2015 – Oculus Rift DK2 support (download and release notes)
  • Obsolete platform viewer, version 3.7.28.300847, dated May 8th, 2015 – provided for users on Windows XP and OS X versions below 10.7.

Aditi Inventory Problems

As noted in part #2 of my last project update, there are issues with the new Aditi inventory syncing mechanism.

One issue is that items created on Aditi following one inventory syncing process will disappear from inventory when logging into Aditi following the next inventory syncing run (see BUG-11651).

This is likely the result of the viewer using the same cache, regardless of the grid you log-in to. The current fix is therefore to clear the viewer cache completely or to delete the inventory .gz files from your cache folder), and then log back into Aditi.

However, this approach in turn causes an issue of its own.

When logging back into Agni (the main grid) after clearing cache as described above, the Aditi assets will appear to be listed in your Agni inventory. However, any attempt to rez or wear or share the assets from Aditi will result in an error message, because the assets themselves are not physically part of your Agni inventory. Again, the solution is to clear cache  / remove the inventory .gz files from your viewer cache and re-log into Agni.

Also noted in the JIRA is this issue results in some very odd duplication of Calling Cards on Aditi.

The Solution

The desired fix is to have different inventory caches for each grid visited, and as noted in the JIRA report, this is how the Lab intends to proceed.

Invisiprims

As noted in the part #3 of my last project update, there is a new issue with invisiprims, which sees any object, worn or in-world, using the texture UUIDs associated with them rendered at a solid grey or black surface or object, regardless of whether ALM is enabled in the viewer or not. Prior to this issue occurring, the result of a change made in the current release viewer (version 4.0.2.312269), invisiprims would either mask whatever was behind them with ALM off, or simply be ignored if the viewer was running with ALM enabled.

The new invisiprim issue is that regradless of whether a viewer is running with ALM disabled (l) or enabled (r), worn or in-world objects using them now appear either solid grey or black (click image for full size, if required)
The new invisiprim issue is that regardless of whether a viewer is running with ALM disabled (l) or enabled (r), worn or in-world objects using them now appear either solid grey or black (click image for full size, if required)

As having grey surfaces and objects appearing on avatars in in-world (remembering that there is a lot of old, No Mod content in-world which makes extensive use of invisiprims and their associated textures, and this approach makes them look very unsightly to anyone viewing them), the suggestion has been put forward that the viewer should be modified to simply ignore the invisiprim texture UUIDs or treat them simply as “normal” transparent textures regardless of whether or not ALM is enabled in the viewer, and a fix has been submitted to the Lab to achieve this.

Asked during the Simulator User Group meeting on Tuesday, March 29th, if the Lab had reached a decision on adopting the fix, Simon Linden said, “We were talking about it earlier … nobody wants to do anything to break content; so we have the hole-in-the-water use, which is nice for boats and such.”

Oz Linden then added, “We’re going to do some testing of alternatives… so I guess the answer is that we don’t have a final decision yet.”

A visit to the 18th Century in Second Life

Rocca Sorrentina
Rocca Sorrentina

I was drawn to Rocca Sorrentina after seeing it featured in a recent Destination Guide highlights blog post from the Lab. Described as an immersive education experiment operated by Brown University, the region presents an 18th Century period setting, offering visitors the opportunity to interactively learn about the period through art, information note cards, exhibitions, events and even via casual role-play with the island’s residents (although it is emphasised the latter is not a primary function of the region).

The initial landing point is located at altitude. Here visitors can learn about Rocca Sorrentina (a fictional rocky island located in the Bay of Naples), both in terms of its own “history” and the broader terms of both the project and the period in which it is set. A note card giver alongside the landing point offers a wealth of information across multiple note cards, including useful visitor information, rules regarding period role-play and use of the region, and on the various displays to be found here.

Rocca Sorrentina
Rocca Sorrentina

Opening off of the landing area are three exhibition areas. These currently feature in turn, an exhibition of the art of Pietro Fabris, a history of tarot, and a history of the Kingdom of Naples during the late 18th century. All are informative, with the last in particular providing considerable insight into 18th Century life and culture.

Also to be found on the wall of the arrival hall (and in the note cards offered by the information giver) is a map of the island. This is worth noting / studying, as there is a lot to be found once you’ve teleported down to ground level.

RS-11-1_001
Rocca Sorrentina

On teleporting down, visitors find themselves at the island’s busy docks. Ships are alongside, anchored just offshore or heading out under full sail into the Bay of Naples (which connects Rocca Sorrentina with the estate of the Duché de Coeur – which I haven’t actually re-visited for well over four years!). Just off the main island are the smaller Harbour Master’s island and the fortified Lighthouse Island.

Once ashore, there are several routes of exploration: along the quayside to the lower town, or up the ramped path towards the villa, passing the vineyards on one side, and then turning to cross the Great Lawn to the upper town and its church, or by following the ramped path directly up to the villa itself.

Rocca Sorrentina
Rocca Sorrentina

The latter is modelled on the Villa Almerico Capra Valmarana (also known as La Rotonda, Villa Rotonda, Villa Capra or Villa Almerico), near Vicenza in northern Italy. Called the Villa Vesuviana, and designed by CapabilityTodd Elswitt, who was also responsible for building the original Rocca Sorrentina, this grand house perfectly captures the imposing form of La Rotonda and presenting similarly commanding views of its surroundings, whilst its interior decor also draws directly on that from its physical world inspiration.

Below the Villa sit the Cascade water feature and a small amphitheatre, and nestled between them, ruins which appear to date back to the time the island was used by the Byzantine Greeks. Just across from the Cascade, an area of excavation reveals more antiquities have been discovered.

Rocca Sorrentina
Rocca Sorrentina
Rocca Sorrentina
Rocca Sorrentina

When exploring the island, it is worth remembering a couple of points. The first is that while large parts of Rocca Sorrentina are open to the public, there are private apartments to be found here as well, which are available for rent by residents (the rental offices being up at the arrival point). These are indicated by signs outside (Residenza Privata), and visitors are asked to respect the privacy of those renting them.

The second is that while there is no formalised role-play on the island, residents can engage in free-form role-play, and visitors are invited to join in if they so wish. Those who do are asked to indicate as much by dressing in 18th century period costume (there are some free costumes available at the landing point).

Rocca Sorrentina
Rocca Sorrentina

With its public programmes and exhibits focused on the history and ideas of the Age of Enlightenment and the era of the Grand Tour, and presenting unique opportunities to experience the baroque, rococo and neo-classical styles of the period, Rocca Sorrentina makes for a fascinating and educational visit. My only regret is that it has taken me five years to discover it and engage upon my own Grand Tour!

SLurl Details

 

Chronophobia and mementos mori in Second Life

Split Screen Installation Space: Chronophobia
Split Screen Installation Space: Chronophobia

Chronophobia marks the return of Rebeca Bashly to creating her large-scale art installations in Second Life after an absence of over a year. Long noted and admired for offering work that is thought-provoking and which often challenge our perceptions about a subject, Rebeca continue to do so with this installation, which opened at Dividni Shostakovich’s Split Screen Installation Space in February, very much continues in this tradition.

The term chronophobia refers to the the persistent and often irrational fear of the future or of passing time. This is much in evidence within this installation, which also seems to take as its foundation the form of artistic expression referred to as mementos mori.

Split Screen Installation Space: Chronophobia
Split Screen Installation Space: Chronophobia

From the landing point, three gigantic stone sundials present platforms rising into the heavens (and I use that term intentionally, given the subject matter), our only mean to reach them being to ascend (again, choice of term deliberate) to each. All are in a state of decay, chunks of each of them falling away, with the lowest exhibiting the greatest decay and the highest the least. Each presents a unique skeletal gnomon: a human torso on the first (representing the heart), Pegasus on the second (its presence resonating with the idea of tempus fugit), and a seated couple, man and woman (with unborn child), the woman cradled gently by the man.

The symbolism here, whether in taking the three sundials as a single whole or viewing each in turn, is both powerful and layered. Transcendence, mortality, the passage of time, reminders that we have but a short span of years in which to account for ourselves, are all to be found here. so to are symbols which could be taken to represent a parallel concept to mementos mori: vanitas (the skeletal forms, the decaying sundials, complete with their bubble like trails of crumbling stone, Pegasus as a substitute for the more usual bird’s skeleton).

Split Screen Installation Space: Chronophobia
Split Screen Installation Space: Chronophobia

There is perhaps another message here as well, besides that of our mortality and the need to watch the passage of time if we’re to achieve what we desire. Chronophobia presents a view that the past is what it is. There is no point in looking back to it, because we cannot return to it or change it; we can only move forward and try to reach higher / further, even if, ultimately, time is our master and our curse.

Were I to try to summarise Chronophobia, I’d perhaps use the word “metaphor”, as this truly flows through the installation, making it a wonderfully interpretive piece. It will remain open until the end of April 2016, and a visit is recommended.

SLurl Details

  • Split Screen Installation Space: Chronophobia (Rated: Moderate)

A return to Baker Street in Second Life

221B Baker Street, Second Life
221B Baker Street, Second Life

“Come at once, if convenient…” such was the start of a summons sent by Sherlock Holmes to Dr. John Watson in A Study in Scarlet, and much later in a Study in Pink from the outstanding BBC re-imagining of Arthur Conan Doyle’s famous coupling, Sherlock. It was also, as it happened, the quote I opted to use when writing about a simply outstanding Second Life recreation of 221B Baker Street from that TV series, back in April 2015.

As I noted at the time, the recreation of the flat, by Darius Godric who is very much a Sherlock aficionado, was nothing short of marvellous. The attention to detail was superb, with lots of wonderful touches directly from the various cases  – notably those of the first season – making it a veritable treasure-trove for fans of Sherlock and Holmes in general.  So when Darius dropped me a line over Easter to let me know he’d been working on the flat, and invited me to drop by to have a look at the results, I was only too happy to do so!

221B Baker Street, Second Life
221B Baker Street, Second Life

From the outside, not a lot has change (but the it wouldn’t, would it? Baker Street is hardly likely to undergo radical change 🙂 ). Speedy’s is still there, offering patrons breakfast, lunch and pasta, and alongside it is the entrance to apartment 221B, with the hallway leading to Mrs. Hudson’s kitchen and the stairs going up to the flat itself.

It is here that the attention to detail really comes into play. In my original piece, I mentioned touches such as the  bullet-scared flock wallpaper from The Great Game (“I’m BORED!” *BANG*), the pink valise from A Study in Pink, references to St. Bart’s Hospital used in The Reichenbach Fall, as well as a direct reference to that case; the riding crop from either A Study in Pink or possibly A Scandal in Belgravia and more besides.

221B Baker Street, Second Life
221B Baker Street, Second Life

Now to these has been added much more. Walk through the kitchen (which has some subtle changes, but retains the famous head-in-fridge and chemistry set), and you can visit Holmes’ bedroom, as seen in A Scandal in Belgravia, complete with Jack-and-Jill access to the bathroom, and a framed periodic table of elements on the wall.

Meanwhile, in the living room, the pink valise has been moved to one side, making room beside the dining table for John Watson’s laptop, complete with its significant 1895 visitor count. On the table itself, joining the page of ciphers alluding to the episode The Blind Banker, now sits a page on which has been scrawled U.M.Q.R.A (The Hounds of Baskerville), together with blueprints for the ultra-modern house belonging to Charles Augustus Magnussen (His Last Vow – and in fact Swinhay House in Gloucestershire).

221B Baker Street, Second Life
221B Baker Street, Second Life

Nor does it end there. Also on the table are a couple of very clever references: a map of Europe and Russia with the submarine blueprints which were the focus of Doyle’s 1908 story, The Adventure of the Bruce-Partington Plans. Thus we have a neat reference to the Sherlock episode The Great Game (which involved the Bruce-Partington Project) by way of Doyle’s original tale. There are more such touches to be found – but I don’t want to spoil things by listing everything, as discovering them is far more fun.

Back in April 2015 I wrote “Anyone who has enjoyed Sherlock’s three (thus far) seasons via the BBC (and their world-wide partners) is going to love the version of 221B Baker Street Darius has created in Second Life; it really is a marvel to visit. The many touches within it will have fans of the show smiling happily (I know I was).” This still holds true now, and it’s a delight to see how Darius has both updated 221B Baker Street and offers links to the original adventures taken by Holmes and Watson, thus very much keeping the magic alive.

221B Baker Street, Second Life
221B Baker Street, Second Life

If you are a Holmes / Sherlock fan and you haven’t visited already, I cannot urge you strongly enough to hail a cab and head over. The address, should you need it, is below 🙂 .

SLurl Details

221B Baker Street – Sherlock Holmes (Rated: Moderate)

2016 viewer release summaries: week 12

Updates for the week ending Sunday, March 27th

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. This page 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
  • By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.

Official LL Viewers

  • Current Release version: 4.0.2.312269, March 17 – no change  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):
    • HTTP updates and Vivox RC viewer updated to version 4.0.3.312816 on March 23rd – combines the Project Azumarill RC and Vivox Voice RC updates into a single viewer  (download and release notes)
  • Project viewers:
    • No updates.

LL Viewer Resources

Third-party Viewers

V4-style

  • No updates.

V1-style

  • Cool VL viewer Stable branch updated to version 1.26.18,0 and the Experimental branch to version 1.26.19.0 both on March 26th (release notes).

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links