Second Life: more information about privacy and security in Tilia

via Linden Lab / Tilia

On Friday, July 19th, tucked away in the Tools and Technology section of the official Second Life blog, Soft Linden posted Information About Privacy and Security in Tilia.

His blog post follows on from the Tilia Town Hall meeting of Friday, July 12th, and explores more about Tilia Inc., itself and the issue of data security, which has been a topic raised at both the Town Hall and in the official Q&A forum thread.

Key questions addressed by the blog post comprise:

  • Where did the Tilia team come from? And why should I trust Tilia with my personal information?
  • Does Tilia change how my information is secured?
  • It sounds like a lot has changed at once. Aren’t large changes risky?
  • What does Tilia mean for Second Life privacy and security in the future?

The Tilia team is made up of people you previously knew as Linden Lab employees. We’re part of this team because we are passionate about privacy and security. Tilia includes employees who use Second Life alts in our free time. We know many of you as friends and creators in Second Life. So not only are our practices aimed at complying with an ever expanding list of U.S. regulations and laws, but we strive to go above and beyond. We want to protect the best interests of ourselves, our friends, and the countless Residents who support the world we love. We fully believe that Second Life wouldn’t be possible without working to earn your trust.

– Soft Linden, Where did the Tilia team come from? And why should I trust
Tilia with my personal information?

From my perspective, the post looks beyond the former introduce of Tilia into the lives of Second Life users in August to future intents with the company and its ability to both support Second Life and Linden Lab.

While we have already moved regulated information out of Second Life and into Tilia, we are actively migrating additional forms of information. Now that we have a new privacy and security foundation, we can extend the amount of information that enjoys this level of protection. If it pertains to your real life identity, we believe in leveraging Tilia protection wherever possible.

Aside from ensuring compliance with upcoming privacy and security regulations, our early goals are largely driven by Second Life. These goals include the option for users to select stronger authentication mechanisms, better mechanisms for our team to identify callers who request account help, and additional tools which support our fraud protection team.

– Soft Linden, What does Tilia mean for Second Life privacy and security in the future?

This would seems to suggest that Tilia might be the mechanism by which Linden Lab try to implement something that has oft been raised at various in-world user group meetings and at various chat sessions and town halls: two-factor authentication for accessing user accounts via the various Second Life web properties (secondlife.com dashboard, SL marketplace, etc), – but again, I emphasise this is purely speculation on my part.

Tucked between the two paragraphs quoted above, Soft also touches on s subject I’ve previously speculated on in Tilia – a further look and a little more speculation. – Tilia and opportunities for Linden Lab to extend their business and revenue-generating models:

We designed Tilia to support additional business customers, so we are able to justify larger privacy and security projects to benefit new business customers and existing Second Life Residents alike.

– Soft Linden, What does Tilia mean for Second Life privacy and security in the future?

But speculation aside, and while it may not address all questions relating to Second Life and Tilia, Information About Privacy and Security in Tilia should be read directly and in full by anyone affected by, or who may be curious / concerned about, the upcoming changes that come into effect from August 1st, 2019.

Related Information

Via Linden Lab

Tilia Related Articles, This Blog

The beaches of Carolina in Second Life

Carolina, July 2019 – click any image full size

Warm sandy shores and tropical environs welcome you in this land filled with wildlife, relaxing beaches, and grassy areas. I hope you enjoy your stay and please remember to pick up after yourselves when you go.

– Arol Lightfoot, describing Carolina

Carolina, July 2019

Region designs by Arol Lightfoot are always guaranteed to generate a lot of interest, and so it is with her latest Homestead design, Carolina.

As Arol’s description of the region indicates, this is a very rural, open island setting. Three houses sit within its sandy banks and beaches, two on the coast and the third a little more inland. They sit amidst circling birds while Flamingos strut over the more grassy aspects of the island and horses stroll under the haze-heavy sky.

Carolina, July 2019

The surrounding waters cut into the island to form bays and channels, giving the low-lying land a richly natural look, grass and sandy mingling easily, waterfowl sitting among the piers and rocks that help define the landscape. A curious mix of trees – oaks, palms and Lebanon cedar – rise above smaller trees with bent trunks as if bowed under the weight of their boughs and leaves, but together they help further define the island’s look.

This is a genteel landscape where cats mix easily with dogs, donkeys and goats, all of whom add their own personalities to the region – some quite cheekily so. The only oddity within the setting is the battered and ageing humps of an old roller coaster. It’s not the kind of ride you’d want to take, given the state of the rail-less tracks, despite the cars being present – but it does made an interesting focal-point for photography.

Carolina, July 2019

Photography is very much a raison d’etre for Carolina, again as the About Land description notes. Rezzing in the region is open, but as auto-return is turned off, those who take advantage of it are asked to remember to pick their items when they are finished.

Peaceful, with multiple places to sit and relax and with its wildlife rounded-out by the presence of otters, sea lions – and pandas, Carolina makes for a quiet visit for those so minded, a cosy island with opportunities to explore, to sit and to contemplate – just mind the sharks if you go for a swim!

Carolina, July 2019

SLurl Details

  • Carolina (Margarita Isel, rated Moderate)

2019 SL User Groups 29/2: Content Creation summary

Jilin Estates; Inara Pey, June 2019, on FlickrJilin Estates, June 2019blog post

The following notes are taken from the Content Creation User Group (CCUG) meeting, held on Thursday, July 18th 2019 at 13:00 SLT. These meetings are chaired by Vir Linden, and agenda notes, meeting SLurl, etc, are usually available on the Content Creation User Group wiki page.

Viewer Update

The current Maintenance RC viewer, Umeshu (version 6.2.4.528492 at the time of writing) is now considered “very close” to promotion to release status, with Vir linden noting that if SL viewer users notice they get a message to update “that’s very probably it.”

Bakes On Mesh

Project Summary

Extending the current avatar baking service to allow wearable textures (skins, tattoos, clothing) to be applied directly to mesh bodies as well as system avatars. This involves viewer and server-side changes, including updating the baking service to support 1024×1024 textures, but does not include normal or specular map support, as these are not part of the existing Bake Service, nor are they recognised as system wearables. Adding materials support may be considered in the future.

Resources

Current Status

  • There have been a couple of further issues show up during internal testing of Bakes on Mesh related to local appearance when editing an avatar’s appearance – changes don’t always resolve consistently, particularly with regards to texturing non-rigged meshes with bakes.
  • Transparencies on the Bake Service aux channels: after meeting with mixed expectations on how this should be handled (see recent previous CCUG summaries in these pages), the Lab is anticipating supporting two cases:
    • If a creator wants the aux channel to be opaque – this will require the placement of an opaque texture at the bottom of the bake stack (e.g. a skin-like universal), and setting Alpha Mode for the object (Edit > Texture) to None.
    • If a creator wants to have a translucent layer with portion of it see-through – this will likely require a universal wearable that just has transparent textures, and setting the Alpha Mode to Alpha Blending.
    • Vir noted that it is possible to have other combinations of textures and Alpha Mode settings, but these can give unpredictable results.  To help avoid this, the plan is to get some better documentation put together ready for when BOM reaches release status.

Note: there is an internal Bakes On Mesh review meeting scheduled for Friday, July 19th, at which the issues mentioned in the first bullet point will be examined. If these are determined to be edge cases, and no other issues are noted, the Bakes on Mesh project is liable to be moving to release status “very soon”. Creator wishing to test the capability are therefore asked to download the Bakes On Mesh RC viewer and use it and report and bugs or issues they encounter “right away”.

Animesh Follow-On

  • Vir is working on a project viewer in support of the new LSL functions that can be used to set visual parameters for Animesh objects.
    • It had been indicated that the capability would allow parameters to be looked up by name or ID, which is a little inconsistent compared to how things usual work (via using integer constants). It’s therefore been decided to support all of the applicable visual parameters by means of a set of corresponding constants.
    • There is no current time frame on when a project viewer may appear – this is dependent on the viewer being build and then passing through the Lab’s internal testing / QA.
    • Obviously, when the project viewer is released, it will be subject to further testing – including the impact updating the parameters for multiple Animesh objects (making them taller or shorter or fatter or thinner, etc) has on a region / viewer performance.
  • These commands will likely be throttled to prevent the mechanism being used as an alternate (and potentially impactful) means of animating Animesh. Concerns have be raised that the throttle could be set too low.Vir has requested that discussions on throttling wait until a project viewer is available, so they might b properly tested and discussed in terms of possible changes.
  • There are still requests for Bakes on Mesh for Animesh to be included in this project. This is unlikely, as it would require further extension of the BOM project before it has even gone live. Which is not to say Bakes On Mesh for Animesh might not be (part of?) a future project.
  • Attachment points for Animesh, however, may be something that is looked at “fairly soon”, possibly as a later part of this current Animesh follow-on.

Environment Enhancement Project

Project Summary

A set of environmental enhancements allowing the environment (sky, sun, moon, clouds, water settings) to be set region or parcel level, with support for up to 7 days per cycle and sky environments set by altitude. It uses a new set of inventory assets (Sky, Water, Day),  and includes the ability to use custom Sun, Moon and cloud textures. The assets can be stored in inventory and traded through the Marketplace / exchanged with others, and can additionally be used in experiences.

Due to performance issues, the initial implementation of EEP will not include certain atmospherics such as crepuscular rays (“God rays”).

Resources

Current Status

  • A further version of the RC viewer (6.4.0.529247) was issued on Monday, July 15th, but overall, testing is still on-going.
  • It’s been reported that the “forced sky update” ability in EEP could adversely impact performance. This is due to by looked at be the Lab.

Pixtoria: the art of Davenwolf Dagger in Second Life

Davenwolf Dagger – Pixtoria Galleries

I recently gained an introduction to the photography of artist, photographer, and Second Life resident, Davenwolf Dagger as a result of his participation in the July exhibition at Kultivate’s The Edge gallery (see: Kultivate: The Edge Gallery – July 2019), where his presented an eye-catching collection of black-and-white photos entitled The Blacksmith Series, that particularly caught my eye, both for the richness of their narrative and for the fact they indirectly reminded me to recall the time I was lucky enough to spend in Tasmania.

Coincident to my review of that exhibition, Davenwolf also sent me an invitation to visit his in-world gallery, Pixtoria Galleries – an invitation I was happy to accept.

Davenwolf Dagger – Pixtoria Galleries

Split between two levels, one on the ground and the other in a skybox, Pixtoria is a veritable tour de force of Davenwolf’s art  – and quite engagingly so. The ground floor provides an introduction to his digital images, running from the abstract through to fractal-like pieces to those suggestive of exotic, alien landscapes to a – for me – fascinating piece entitled DNA, with is marvellous suggestion of constructs and building-blocks and hint of architectural constructs.

The ground level gallery space is small, offering a social area on its upper floor rather than more images, but it is enough the whet the appetite and encourage the visitor to click the teleport disk to reach the sky gallery.

I’m a bit of a creator and perfectionist so I’m always making something. Whether it be in SL or the real world I like to keep myself entertained by creating artworks, photography, drums, videos, sculptures etc., you name it and I’ve done it over the years. Some projects I’ve had with better success than others but I eventually get there in the end.

– Davenwolf, describing his life and art

Davenwolf Dagger – Pixtoria Galleries

The sky gallery is a much larger affair, split into two levels of two halls apiece, the upper levels connected to the lower by elevators. The lower level is home to more of Davenwolf’s digital art, one hall devoted to pieces that continue the themes evident in some of the ground level pcitures, with experiments in line, colour, form and tone. Some of these offer a clear fractal influence (Trident, the triptych like Connections and Spiral), while others present more “organic” forms.

Across the floor, in the other lower level hall are some utterly wonderful images expressing the beauty of geometry as a model for art. Spheres, rings, cones and more sit on chequerboard patterns and under expressive skies, their colours and reflective surfaces offers wonderful depth, so much so you feel like the reflections should move in response to your own camera / avatar movements. Tucked into one corner of this hall are two pieces – Urban Decay and Stranded – that each contain an especially powerful narrative.

Davenwolf Dagger – Pixtoria Galleries: The Blacksmith Series

The upper levels of the gallery featured, at the time of my visit, two exhibitions of Davenwolf’s photography. The first focuses on The Blacksmith Series, his marvellous black-and-white series noted above, captured in an old working environment in Launceston, Tasmania, and, across the intervening atrium, Ward 21 Morisset Asylum.

The latter is an utterly evocative series, taken (I assume) in a disused wing of the psychiatric hospital that opened in 1908 either within, or very close to, the town of Morisset, New South Wales, Australia. Reaching its peak in the 1960, when it houses up to 1600 patients, today it still tends to dominate the town’s reputation, despite now having a patient population roughly one-tenth the number from the 1960s.

Davenwolf Dagger – Pixtoria Galleries: Ward 21 Morriset Asylum

Davenwolf’s pictures capture halls and rooms now broken and decaying, but which are now the home of graffiti. Utilising light and shadow, camera angle and choice of lens, and the occasional image of a man, Davenwolf uses the condition of the ward and the presence of the graffiti to give  – and pardon the term, no pun intended whatsoever – graphic interpretation of a mind in turmoil.

When viewed as complete sets, The Blacksmith Series and the Ward 21 Series are striking in their storytelling. However, the individual pieces within each also stand as collectable images in their own right.  Similarly, the digital images offered through the gallery will natural grace any art collection, making any visit to Pixtoria Galleries doubly worthwhile.

SLurl Details

Of flying saucers and alien encounters in Second Life

 

Cornhub, July 2019 (click any image for full size

Cornhub is a rather curious region, one which apparently changes perhaps more regularly than other public regions (designer Mya Milena notes of the region, “we change themes like socks”!). At the time of writing this piece, it offers a look into one aspect of modern-day mythology: that of flying saucers and alien visitations.

We were dawn to the region after seeing Ricco Saenz’s pictures of Cornhub on Twitter (and you can read about his explorations here). But if I’m honest, they didn’t entirely prepare us for what we found: this iteration of Cornhub is quirky, unexpected, different and, well, strange, with the flying saucers just a part of the story. However, it is the one I’ll start with, as it is perhaps the most obvious.

Cornhub, July 2019

Sitting in the midst of this desert landscape is a crater out of which rises the crashed hull of a flying saucer, bodies of “greys” lying on the cracked ground where they were either thrown during impact or staggered to on escaping before collapsing. A second flying saucer is circling above, wobbling in its flight in the way such vehicles tend to do in those old 50s sci-fi B-movies.

A sign by the roadside that passes the crash site points the way to the “UFO Crash Site Roswell, New Mexico”. So, whether this crash is intended to represent that so-called incident is debatable. Certainly, other signs in the area suggest this is might actually be the legendary (in alien conspiracy theory circles) “Area 51” (officially, the  Homey Airport or Groom Lake in the middle of the Nevada Test and Training Range) – which is roughly 900 miles from Roswell.

Cornhub, July 2019

For those perhaps unfamiliar with the Roswell incident of mid-1947, it was triggered when a special high-altitude balloon being used by the (then) US Army Air Force in a top-secret endeavour came down some 75 miles from the town of Roswell. That secret endeavour was Project Mogul, an attempt to detect the sound waves generated by Soviet atomic bomb tests using special equipment suspended from high-altitude balloons.

Due to the sensitive nature of Project Mogul, various official statements were made about the nature of the crash were contradictory or simply didn’t match the facts (one USAAF report referred to the crash being a “weather balloon”, although the Project Mogul balloons were very different beasts). The event occurred just two weeks after aviator Kenneth Arnold made his famous report of seeing nine “saucer-like” flying objects near Mount Rainier, Washington State, so when a report was issued that a “disc” (albeit one apparently small enough to be held in the hands) had been recovered at the crash site, the press briefly went wild with speculation – something which, 30 years after the fact, resulted in Roswell becoming infamous as an alleged “UFO crash site”.

Cornhub, July 2019

Whether you chose to see the Cornhub flying saucer crash as being a play on the so-called Roswell UFO incident is up to you. For my part, I found myself leaning more towards the road sign with its arrow being more a passing reference to Roswell, and the setting within the region far more of a play on the whole mystique of “Area 51” and its place in both “UFO / Alien visitation” mythology and some science fiction films.

There are certainly enough clues for the latter being the case: the Area 51 signs, the military vehicles parked close by, and the spacesuited figures of humans also scattered about the crash site. The latter in particular take on more of a sci-fi meme: the suits carry the NASA logo and look to be modelled on modern US EVA spacesuits. However, they also appear to have been ineffective in projecting those wearing them from something undoubtedly nasty in the immediate vicinity of the crash.

Cornhub, July 2019

North of the crash site is what might be the edge of a town, one which might be taken as Roswell if one goes in that direction, or perhaps some little hamlet on the edge of the Nevada Test and Training Range. It offers a curious mix of buildings: there’s a very 50’s style diner and drive-in diner sitting alongside an 80s video game arcade, while SL table-top games can be found in the parking lot. Meanwhile, just across the road, there’s a concrete tower block that might at first appear to be a military-style structure (and thus suggestive again of “Area 51”), but which is in fact an apartment building, a trailer park (travelling UFOlogists?) located in the car park at its base.

Elsewhere, back towards the middle of the region, sitting between the flying saucer crash site and the region’s landing point, the top of the Statue of Liberty’s head rises from the dried sands, almost in a nod to the Planet of the Apes franchise and adding a further twist to the setting. Meanwhile, and off to the south where it stands alone, is the warehouse-like bulk of a television recording studio, apparently the home of “Cornhub’s Blind Date”.

Cornhub, July 2019

Eclectic, unusual, overlooked by a Hollywood-echoing hillside sign spelling out the region’s name, and with a pot-pourri of ideas, Cornhub in this current iteration makes for an undoubtedly a strange – but also curiously photogenic. But remember, it might not be around too long, so should you want to visit, it might be best to do so sooner rather than later!

SLurl Details

  • Cornhub (North Korea, rated Moderate)

Linden Endowment for the Arts to officially close

Linden Endowment for the Arts: Eidola, 2019

The Linden Endowment for the Arts (LEA) is to officially close on August 31st, 2019. The announcement came via a notice came via a note card circulated via the Linden Endowment for the Arts Info group, and follows on from a contraction of the scale of the LEA’s operations in Second Life and an announcement made in November 2018 stating the organisation would be going through a restructuring.

The Committee of the Linden Endowment for the Arts regrets to inform residents of Second Life that the LEA regions will be closing at the end of August 2019…

The Linden Endowment for the Arts (LEA) was established to help create a centre of arts activity in Second Life. It was founded in 2010 and launched its first events in 2011. For the last eight years, it has been a collaborative venture between Linden Lab and the arts community. Guided initially by a board of renowned Second Life artists and more latterly also bringing in people with a strong interest in promoting the Arts in Second Life, the LEA has been committed to providing access to engaging experiences in the arts for the Second Life community. Over the last eight years, through its exhibitions, programs, and events, the LEA has fostered awareness of artists’ contributions to our virtual world and encouraged others to get involved and be inspired.

– from the announcement of the LEA’s forthcoming closure

Linden Endowment for the Arts: Exodus: A Trip for Life, 2017

Sponsored by Linden Lab, and with 29 regions at its disposal, the LEA was initiated under Mark Kingdon’s tenure as CEO at Linden Lab to function as something of a “arts council” in Second Life, run directly by a committee of residents. The core ideals behind the LEA – as expressed on the official website were to:

  • Provide a starting point for artists in Second Life, and for those interested in art to make connections and display their work.
  • Encourage and cultivate art and artists within Second Life.
  • Foster community, creativity, and innovation among artists and all residents interested in art.
  • Provide a way for artists to promote their art.
  • Collaborate with existing art regions, galleries, exhibits, and performance spaces to help nurture their valuable participation in SL arts.
Linden Endowment for the Arts: City Inside Out, 2015

The regions were split into two primary programmes: the “core” regions (nine in all) which could be used by artists from across Second Life for relatively short-term projects, and 20 Artist in Residence (AIR) regions that could be “booked” for six months at a time. Following the announcement of the restructuring in November 2018, the 20 AIR regions were wound down as the last batch of installations for 2018 came to an end. With the formal closure at the end of August 2019, the remaining nine core regions will be shut down.

The LEA was a brave attempt to try to help promote arts within Second Life, although its very nature was bound to be somewhat controversial. Indeed, following its formation, there was a certain degree of hostility directed towards it, a lot of which was unfair.

Linden Endowment for the Arts: Speculum, 2015

As was pointed out to me after I wrote the article on the 2018 restructuring announcement, running any organisation like the LEA is going to be a thankless task; there is no remuneration for time given, there is always going to be hostility over actions taken and the grants awarded, and so on; it really can be a thankless task. Nevertheless, there were times when the committee really didn’t help itself, such as failing to adequately act in accordance with its own by-laws after a committee member openly griefed a privately-held arts region in 2015 (other than hiding those by-laws when challenged under them following said incident).

However, there can be no doubting then when all is said and done, the LEA did a tremendous amount of good for the artists who participated in its programmes, offering many the means to express themselves and reach audiences in a manner that might never otherwise been able to achieve.

Linden Endowment for the Arts: Astral Dream Project – Leonardo 500, 2019. One of the last LEA core region exhibitions

For example, there have been collaborative projects too numerous to mention; there have been individual installations offered for use by a wider community (take Chic Aeon’s MOSP installations for example); there have been works embracing political and social issues (such as the 2LEI installations); investigations into matter of health (which through their construction and presentation may well have offered catharsis to the artists behind them). There have been installation that have allowed the many faces of art of be examined, explored and enjoyed music, song, dance, storytelling, the visual interpretation of classic works. And there have been those that have simply offered the opportunity for us to express joy and laughter – and so much more.

As such, and while the LEA many have had its warts and at times had to face undue criticism, it has through its nine years of existence been a force for good for those arts who have been able to make use of its facilities and it has certainly helped enriched art within Second Life and allow many to appreciate work and installations they might otherwise never get to see. So, it’s not unfair to say its passing will be missed.

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