2018 SL UG updates 44/1: Weekend issues

Little Havana; Inara Pey, September 2018, on FlickrLittle Havanablog post

Unfortunately, the clock change in the UK / Europe meant I was unable to make the Simulator User Group meeting on Tuesday, October 30th.

Server Deployment Plans

As always, please refer to the server deployment thread for the latest news and updates.

  • There was no deployment to the SLS (Main) channel on Tuesday, October 30th, nor was the channel restarted. It remains on server release 18#18.10.04.520268, comprising internal fixes.
  • On Wednesday, October 31st, 2018, the RC channels should be updated as follows:
    • BlueSteel and LeTigre will update to server maintenance package 18#18.10.25.521081, comprising internal logging fixes.
    • Magnum should be updated to server maintenance package 18.10.25.521075, also comprising internal logging fixes.
    • Snack will be updated to EEP release 18.10.24.521013.

SL Viewer

There have been two SL viewer updates to start the week:

The remaining viewers in their pipelines remain unchanged from week #43:

  • Current Release version 5.1.9.519298, dated September 5th, promoted September 26th. Formerly the Rakomelo Maintenance RC viewer – No change.
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself):
    • Animesh RC viewer, version 6.0.0.520636, October 18th.
    • Estate Access Management (EAM) RC viewer, version 5.2.0.520057, September 28th.
    • BugSplat RC viewer, version 5.1.9.519462, September 10. This viewer is functionally identical to the current release viewer, but uses BugSplat for crash reporting, rather than the Lab’s own Breakpad based crash reporting tools.
    • Love Me Render RC viewer, version 5.1.8.518751, released on August 20.
  • Project viewers:
    • Environmental Enhancement Project (EEP) viewer updated to version 5.1.10.520819, on October 19th.
    • 360 snapshot viewer, version 5.1.6.515934, June 6th.
  • Linux Spur viewer, version 5.0.9.329906, dated November 17th, 2017 and promoted to release status 29th November – offered pending a Linux version of the Alex Ivy viewer code.
  • Obsolete platform viewer, version 3.7.28.300847, May 8th, 2015 – provided for users on Windows XP and OS X versions below 10.7.

Weekend Issues

Shug Maitland kept an eye on the ups and downs of log-ins during the DDOS attack via https://etitsup.com/slstats/ through Sunday, October 28th, 2018 and into the early hours of Monday, October 29th, sending me this above capture

As most are aware, Sunday saw some significant issues with Second Life, with users in particular have log-in issues.

It appears the problems were directly the result of a prolonged / vicious distributed denial of service (DDOS) attack, as April Linden confirmed in the forums, stating:

Heya Folks.

I can confirm it was a DDoS attack, and yes, the folks on my team had a rough weekend.

We do our best to fight DDoSes, but this one took quite a bit more effort than normal.

I’m sorry people’s plans got interrupted over the weekend. It was a rough weekend for all of us… including those of us on this side of the grid, too.

I’ve no idea if there will be a more formal blog post on the matter or not.

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In a KÖMA in Second Life

KÖMA

JadeYu Fhang has a reputation for being one of the most visually evocative artists in Second Life, her installations often plumb the depths of the human consciousness and psyche (examples: Roots and War, Everywhere and Nowhere and OpeRaAxiEty), and this is certainly the case with her latest installation, KÖMA (coma).

Billed as a “limited-time multimedia art installation”, KÖMA is at once intricate, dark, confusing, and  – perhaps ultimately – revealing.

The intricacy of the installation is apparent on arrival, as is the confusion. Panels around the sides of the region, one of them flashing and flickering slowly with individual screen-like patterns, towering high above the visitor and imparting a sense of insignificance. Clouds scurry across a void like sky, a basso rumbling filling the air. Alongside the landing point rises a strange structure, looking to be one part exotic lighting rig, two parts science-fiction drone. Screens at the base offer information on how to view the installation (in short: there’s no route or TP – you walk around the base level and level up to the upper level), while at the top is an armless female torso supporting another computer screen as its head.

KÖMA

Behind this, within the region are a set of surreal scenes. Two giant heads rise from the mirror-smooth base of the installation, a swirling mass of what appears to be rose petals caught in a frozen swirl around them to rise towards the upper platform of the installation. Supported by another of the strange devices, this platform is home to a tableau of female figures, sitting and standing amidst flicking, ghostly projections and with most facing a large screen. What appears to be filaments of lightning flashes from their eyes and arcs around some of their bodies. Below them, peculiar female forms, arms replaced by insect legs and heads by computer monitors, are arrayed while screens on the supporting device flicker with images that might be medical in nature or represent memories, while all around this scene is a further rolling booming of sound and a voice echoing a single word köma.

Central to the installation is a golden female form, apparently frozen in the act of being struck down. She is also surrounded by a pattern of rose petals, caught with filigrees of white lightning-like light, also in stasis, and few of which – perhaps tellingly – either commence or terminate in her head. On the mirror surface around her, patterns of vein-line lines drift endlessly outwards, while a close by a “rain” of flicking gold leaves falls, each one of which reveals itself to be a tiny, flicking screen when examined.

KÖMA

With the exception of the rose petals and the golden “leaves”, the majority of the installation in monochrome in nature, giving it – along with the portelling deep booms and rumbling – giving the installation its dark edge. It is also a scene reflected in the mirror-like base I mentioned, which around the kneeling figure is disturbed by drifting patterns of red lines looking like veins of blood.

But what do we make of all this? I think the clue is in the title. Comas are a medical condition filled with a certain mystique. We know what the external physical characteristics of a coma are – but what is actually going on within the victim’s head when they are within a comatose state – so often those surviving a coma and regaining their faculties suffer from post-traumatic amnesia (PTA) which affects their recall of memories – including anything their brains may have experienced whilst comatose.

KÖMA

In this light, many elements of the installation fall into place: the figures, the flashing images of figures and faces are perhaps the flicking memories or experiences the brain plays to itself whilst otherwise seemingly unresponsive to external stimuli; the strange devices become medical tech; the rose petals become blood corpuscles, vital in their role in carrying oxygen to the brain to keep it functioning and to life as a whole; the lightening-like filaments perhaps represent the flash of electrical links between synapses, and so on. So to does the figure falling to her knees perhaps represent the victim of a sudden event – a stroke or similar – collapsing, her situation triggering a comatose state as the rest of the strange figures and the echoing rumble and boom suggest the distant intrusion of medical on the comatose mind.

When interpreted in this way, the dark tones of the installation roll back, and we find ourselves immersed in an environment intended to evoke what it might be like to step into another’s coma and witness first-hand what is going on deep within the subconscious, well away from the accepted signs of neural activity and responsiveness.

KÖMA

But that is only my interpretation. You may find KÖMA speaks to you differently. It awaits your discovery.

SLurl Details

  • KÖMA (LEA 22, rated: moderate)

2018 Creepy Crawl in Second Life

Tagus Enchanted Forest; Inara Pey, September 2018, on FlickrTagus Enchanted Forest – one of the destinations for the 1028 Creepy Crawl (blog post)

Following their recent call for venues, Linden Lab announced the route for this year’s Halloween Creepy Crawl on Wednesday, October 31st, via a blog post by Xiola Linden.

The Creepy Crawl is a growing tradition whereby Lindens and Residents get dressed up in their best Halloween costumes and roam from spooky spot to spooky spot for music, dancing, and celebrating.

As Xiola has blogged, the event will take place between 10:00 and 14:00 SLT on Tuesday, October 31st, and will be moving through a number of selected venues:

So, if you fancy meeting some of those responsible for bringing us Second Life and having a little fun, conversation and maybe dancing along the way, keep this list of destinations handy on the 31st October, and drop in to any of the venues along the route!