Previewing One Billion Rising in Second Life 2019

One Billion Rising 2019

One Billion Rising in Second Life will once again be taking place in Second Life on Thursday, February 14th, 2019, with the event officially commencing at just after midnight SLT on the 13th/14th February, with DJ Kess Crystal launching things. Activities will then run right through the 24 hours of the day with music, dancing, art and events.

When launched on Valentine’s Day 2012, One Billion Rising (OBR) was the biggest mass action in human history; a call to action based on the staggering statistic that 1 in 3 women on the planet will be beaten or raped during her lifetime. With the world population at 7 billion, this adds up to more than one billion women and girls who are at risk. OBR aims to bring people together, raise greater awareness of the plight of those at risk the world over, and bring about a fundamental change in how vulnerable and defenceless women and girls are treated.

One Billion Rising 2019

This year’s event follows past OBR events in Second Life, with four regions laid out to offer a central music / dance arena, around which sets and sessions will move throughout the 24 hours of the event. In the  surrounding park lands, and linked to the central stages and one another by trails and paths, are art exhibits, gardens, and additional event areas, such as the Poetry and Prose area.

Also to be found within the regions is the pavilion honouring the work and courage of the joint Nobel Peace Prize winners in 2018, Denis Mukwege and Nadia Murad “for their efforts to end the use of sexual violence as a weapon of war and armed conflict,” according to the Norwegian Nobel Committee announcement on October 5th, 2018 in Oslo, Norway.

One Billion Rising 2019

The art installations this year include work by the team at 2Lei, Storm Septimus, Krystal Rabini, iSkye Silverweb, Slatan Dryke, Darkstone Aeon, FionaFei, Isadora Alaya (Otcoc), and Marcel Mosswood. The full event schedule is available via the OBR in SL website.

The Rose Challenge

Once again, gifts will be available to those attending One Billion Rising, and there will be a further Rose Challenge.

On offer is a beautiful pink-tipped rose, designed by Kilik Lekvoda, as a mark of both the event and to salute Nobel Peace Prize winners Murad and Mukwege.

The pin can be obtained by travelling around the One Billion Rising regions and counting the number of white rose bushes (kindly provided by Lilith Heart of Heart Botanicals) which are scattered around the four regions of the event, including between (but not a part of) the art installations and in the corner parks.

When you think you have the number (of bushes, remember – not individual flowers). Go to one of the four OBR landing zones and use the mail box there to post your total – your name will be automatically recorded with your total.

Why Dance?

A critique sometimes levelled at OBR / OBR in SL is that the issues it raises cannot be solved by dance. Well, that’s absolutely true, just as marching through the streets carrying placards and banners is unlikely to have a lasting impact on whatever it is people might be marching about.

However, like marches and protests, dance and music does serve to draw attention to matters. It provides a means by which people are encouraged to stop and think, and for information and ideas disseminated. What’s also important is that it’s a lot harder to see dancing as a threat than might be the case with an organised march or protest – something to take into consideration with countries in which the right to march or protest freely does not exist. Hence why, as well, OBR in Second Life is marked each year with a dance video to the event’s theme song.

Practical Support

OBR in SL is not itself a fund-raising event, but exists as a means of raising awareness of violence against women and girls. If you’d like to show your support for organisations that work tirelessly throughout the year to bring about change, please visit the OBR in Second Life Non-Profits page for a short list of organisations.

One Billion Rising 2019

Related Links

2019 SL User Groups 7/1: Simulator User Group

Ponto Cabana; Inara Pey, December 2018, on Flickr
Ponto Cabanaclick any image for full size

Server Deployments

Please refer to the server deployment thread for the latest news.

  • On Tuesday, February 12th, there was no deployment to the SLS (Main) channel, leaving it on server maintenance package 19#19.01.25.523656; nor was there a restart.
    • The planned deployment was cancelled due to a last-minute bug.
  • On Wednesday, February 13th, 2019 the RCs are likely to be updated as follows:
    • BlueSteel and LeTigre should receive EEP update server maintenance package 19#19.02.08.524296.
    • Magnum should receive server maintenance package 19#19.02.11.524360, comprising further internal fixes.

EEP Update

The EEP server update to be deployed to BlueSteel and LeTigre comprises:

SL Viewer

There have been no viewer updates at the time of writing, leaving the current pipelines as:

  • Current Release version 6.0.1.522263, dated December 5th, promoted December 13th. Formerly the Spotykach 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):
    • BugSplat RC viewer, version 6.1.0.523335, January 23rd. 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.
    • Estate Access Management (EAM) RC viewer, version 6.1.0.523351, January 23rd.
    • Love Me Render RC viewer, version 6.0.2.523177, January 16th.
  • Project viewers:
  • Linux Spur viewer, version 5.0.9.329906, dated November 17th, 2017 and promoted to release status 29th November, 2017 – 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.

In Brief

  • Viewer disconnects / crashes: some people on “older” hardware have been reporting what appear to be viewer disconnects / crashes of late after only being logged-on for around 15-30 minutes (see: this forum thread). This has been noted by the Lab, and a potential fix is being tested on Aditi. The problem here is that forum posts don’t always give the level of detail required for LL to really diagnose matters. Jira is always the preferred method of logging issues – and it is important to use the official viewer when doing so.
  • Name Change Issue: as reported in my last SUG meeting summary, a creator preparing for the upcoming Last Names / name changing capability encountered an unusual situation: the Lab had changed a user’s account name. However, when sending information to an external HTTP request (object UUID, object name, owner name of the object, etc.), to the creator’s customer database, a HUD used by the user was sending their original account name not their revised name. The issue is now believed to be a stale cache issues, as noted last time.

Edie Horngold at DiXmiX

DiXmiX Gallery: Edie Horngold

Now open at DiXmiX Gallery, curated by Dixmix Source, is an exhibition of art by Edie Horngold entitled What’s the Pointe? It is located in the gallery’s White Gallery exhibition hall on the mezzanine level, and as might be hinted at in the title, it has something of a ballet theme to it.

On display are 13 images presented in black-and-white or soft tones, each focused on a dancer, either in full or on a specific aspect of her dance. or attire – such as ballerina flats in the case of the latter, or the hands placed in premiere en bas in the case of the former. Some present poses that might not be considered “traditional” ballet poses, but certainly echo the central theme.

DiXmiX Gallery: Edie Horngold

The use of black-and-white / soft tones causes the eye to be drawn into each of the images far more effectively that had they been rendered in colour. It also gives them a crisp depth that gives them a degree of life that again, might not be as evident were the images produced in colour.

While it is likely to be accidental rather than by design, the monochrome nature of What’s the Pointe? offers a powerful and engaging contrast with My Anonymous Shadow, the exhibition of work by Dixmix Source on display in the Grey Gallery hall, and which you can read about here).

DiXmiX Gallery: Edie Horngold

SLurl Details

1st annual International Photography Festival

Stock image via timesarrow.com

Annie Scott-Siegel (claera) and Nils Urqhart have announced the “First Annual International Photography Festival” to be held at the Art’e Gallery in Helvellyn.

Running from Saturday, April 13th through to Sunday, May 12th, 2019, the festival will highlight physical world photography submitted by Second Life artists and photographers. It is open to submissions meeting the following criteria:

  • Submissions must be photographs taken in the physical world – no images from Second Life or other games or 3D platforms or digital art or renderings.
  • All content must be family friendly. Images can depict the human body in all of its forms, but any nudity must be presented tastefully.
    • No sexually explicit imagery will be tolerated (and will be returned).
    • Any lewd depictions of under-age subjects will be rejected and reported (even if they are not nude).

Images may be offered for sale, and participants can advertise their involvement in the festival. There is no fee or commission for any sales.

Submission Details

  • The deadline for submissions is 23:59:59 SLT on Sunday, March 31st, 2019 no exceptions.
  • Submissions must be in the form of a texture with a minimum size of 1024×1024.
    • Do not send a box or NC containing multiple submissions.
  • No more than 15 images per artist.
  • Each image must contain the photographer’s avatar name (not Display Name) as part of the submission’s Name field, and the photograph’s Description field.
  • Submitted image textures should have the following permissions: No-Modify/Yes-Copy/No-Transfer for review.
    • Any frame submitted for use with textures should be a single prim, set to the same permissions.
    • Please do not use scripts in a submitted frame.
  • Artists will be responsible for the layout of their own installation at the gallery ahead of the festival opening.

All submissions should be made directly to Nils Urqhart or Annie Scott-Siegel, in-world. Questions or enquiries should also be directed to Annie or Nils.

In the Forest of Astray in Second Life

Forest of Astray; Inara Pey, February 2019, on FlickrForest of Astray – click any image for full size

The Forest of Astray is a Full region that offers a curio of a setting to explore, parts of which might be currently be under renovation.

Designed by 絵理子 (Eriko), this is a setting that, though a clever use of horizontal space and design, has the feeling of being far bigger than 256 metres on a side, and within which it is quite easy to become disoriented whilst exploring – just as you might in an actual forest.

Forest of Astray; Inara Pey, February 2019, on FlickrForest of Astray

Within the forest, the region is divided by streams and hills into a number of different settings, which are brought together by the paths and trails the meander under bough and leaf and over bridge and water, neatly sewing everything into a cohesive whole. Included within these settings are a farm, two houses, a beach and cabin, a fishing wharf with boats, gardens, old ruins of towers and houses, and walled Japanese house, glades where flowers grow and deer play, a reed-sided estuary fed by two streams, ponds and waterfalls, greenhouses-as-pavilions and more.

It is at the farm where visitors begin their journey, up in the north-east corner of the region. From here, a track hops over a bridge and winds outward and over a narrow channel of water to where a second bridge (which can also be reached by a grassy path running along the water’s edge)  leads the way into the forest proper.

Forest of Astray; Inara Pey, February 2019, on FlickrForest of Astray

Here the path winds between the trunks of giant oaks, the air alive with birdsong, the ground gradually becoming obscured by mist that becomes even thicker once another bridge has been crossed, and the sounds of piano might be heard. Follow the music and you’ll find an aged piano, its wood mildewed and mossy, sitting within the ruins of a building set on the far side of a path cutting across the one your on, presenting two routes of further exploration.

Take one, and you’ll be led by twist and turn lit by wolves carrying lanterns in their jaws, to the ruins of an old stone tower overlooking the junction of several streams. Take the other route from the piano and it will lift you up out of the mists before bringing you to a wall marking the boundary of a large property, the ground dropping sharply away on the other side into a fog bound bowl, reached via a pair of gates.

Forest of Astray; Inara Pey, February 2019, on FlickrForest of Astray

Here, under its own windlight and with rain falling steady, is a setting well suited to Halloween. Crows circle just above head height, strange figures loom out of the mists while the house stands as a shadow, old and decrepit, a strange (and decidedly sexual) tableau framed within its rotting walls, the upper floor given over to BDSM equipment.

If such a scene is not to your taste, simply pass the gates by and continue along the path outside of the wall and turn left at the point where it ends in a stone circle. A short distance across the grass you’ll find  a track lit by a scattering of luminescent confetti running down a short slope. The confetti points the way to where another grassy path runs by a glade of tall grass lapping around the feet of a pavilion; a place where a dance can be enjoyed. Stay on the path, and it will take you past – or to – the tower ruins, where it becomes the riverside route leading back to the wooden bridge crossed earlier.

Forest of Astray; Inara Pey, February 2019, on FlickrForest of Astray

A cobbled path runs along another side of the glade with its pavilion,  directing people through gabled gates to yet anther bridge, and thus to the southern aspects of the region. This offers even more to explore along winding paths: glades where angels might lie sleeping; gardens with hot tubs and dancing; hidden pools of clear water; the white frames and columns of the previously mentioned greenhouse and its companion pavilion – and more.

Choose the right paths here, and the rest of the setting will open to you, be it the bridge reaching back to where the Japanese house and onsen lie snug between wooded rocks and the sea, or the board walk reaching around a headland to the beach. A further path can be found, passing over stepping-stones and through a narrow gorge to where stone steps lead up to the south-east corner of the region, in which sits the largest house on the island, raised above the fishing wharf.

Forest of Astray; Inara Pey, February 2019, on FlickrForest of Astray

It is here – and on the beach – where indications that parts of the region might be under some remodelling were visible during our visit; furniture was floating over the beach cabin, while things around the house were in slight disarray (I’m actually not entirely sure whether the large house is supposed to be open the public; a request to Eriko for clarification passed unanswered; so take care with invading privacy while exploring, just in case).

Even with these little glitches, Forest of Astray makes for an engaging visit, with plenty of opportunities for photography and romance for those wishing to enjoy a dance.  The adult undertones aren’t restricted to the house in the north-west corner, some of which might not be wise for a Moderate region – but these also aren’t particularly overt enough to question a visit. Overall, this is a unique location and well worth a visit, one that is well worth setting aside to explore simply because there is to much to find and see.

Forest of Astray; Inara Pey, February 2019, on FlickrForest of Astray

SLurl Details

2019 viewer release summaries week #6

Logos representative only and should not be seen as an endorsement / preference / recommendation

Updates for the week ending Sunday, February 10th

This summary is generally 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.
  • Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.

Official LL Viewers

  • Current Release version 6.0.1.522263, dated December 5th, promoted December 13th. Formerly the Spotykach Maintenance RC viewer – No change.
  • Release channel cohorts:
    • No updates.
  • Project viewers:
    • The Environmental Enhancement Project (EEP) viewer updated to version 6.0.2.524123 on February 6th.

LL Viewer Resources

Third-party Viewers

V5/V6-style

  • No updates.

V1-style

Mobile / Other Clients

  • MetaChat updated to version 1.2.9101 on February 8th (release notes).

Additional TPV Resources

Related Links