2020 Simulator User Group week #41 summary (w/uplift)

Broken, August 2020 – blog post

The following notes were taken from the October 6th Simulator User Group meeting.

Simulator Deployments

Please refer to the server deployment thread for news and updates.

  • There are currently no planned deployments for week #41. An RC update that had been planned had to be pulled after QA found an issue when attempting to uploading items that had been previously uploaded and edited.
  • This means that Some RC regions should be started during the Wednesday, October 7th deployment window, but they will not receive any updates.

SL Viewer

There have been no updates to the current list of official viewers, leaving the pipelines as follows:

  • Current release viewer :Love Me Render #4 (EEP fixes), version 6.4.9.549455, released September 24th, promoted September 28th – 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):
    • Cachaça Maintenance RC viewer, version 6.4.10.549752, issued October 1st.
    • Mesh uploader RC viewer, version 6.4.10.549686, October 1st.
  • Project viewers:
    • Project Jelly project viewer (Jellydoll updates), version 6.4.10.549690, October 1st.
    • Custom Key Mappings project viewer, version 6.4.5.544079, June 30th.
    • Copy / Paste viewer, version 6.3.5.533365, December 9th, 2019.
    • Project Muscadine (Animesh follow-on) project viewer, version 6.4.0.532999, November 22nd, 2019.
    • Legacy Profiles viewer, version 6.3.2.530836, September 17th, 2019. Covers the re-integration of Viewer Profiles.
    • 360 Snapshot project viewer, version 6.2.4.529111, July 16th, 2019.

Cloud Uplift

More regions on the main (Agni) grid are being noted as being on AWS (see my previous TPV Developer meeting and CCUG meeting notes). As a result some are (prematurely) proclaiming this to be a sign that “the end of the uplift work is in sight”; however, Oz Linden sobered such statements, commenting:

I’m not sure that we’re at the beginning of the end … but we’re past the end of the beginning.

To which Mazidox Linden added:

We’re currently running some tests with production data on AWS regions, yep. … There are definitely some outstanding issues we’re aware of, and more we’re probably not (yet) that we’re trying to shake out.

One aspect of the current situation is that while there may be some regions with associated experiences running via AWS, the core data handling for experiences still lies within the Lab’s co-lo facility; this may affect the experience performance in those regions, but should be rectified as the uplift work continues.

In terms of when specific aspects of the uplift will be “completed” (remembering that LL is looking to have a majority of the work done by year-end), Oz Linden further commented:

We’re lifting as quickly as we can, consistent with checking for problems. So far it’s going better than expected, but making any prediction would jinx it.
For the curious – spotting a region hosted in the cloud via Help About. Top: a region hosted at the Lab’s co-location facility (note the agni.lindenlab.com in the address). Bottom: and a region running on a simulator in the cloud, using an AWS address.

As per K.T. Kingsley’s comment below, scripters confused about obtaining host names via scripted means should refer to this forum thread.

In Brief

  • The Jejina region (old-style Linden Homes) has been reported as having “weird” EEP settings that are out of sync with the surrounding regions, and also has a odd Map tile. The exact cause is unknown. Anyone seeing similar oddities in Mainland EEP settings / Map tiles should contact support.
  • A large swath of Satori suffered significant issues with regions staying up during a 24-hour period over the weekend. Exact cause is unknown, but the issue now appears resolved.

Jamee and Matt at Raging Graphix in Second Life

Raging Graphix Gallery: Jamee and Matt

The October exhibition at Raging Graphix Gallery, curated by Raging Bellls, brings us a joint exhibition by Jamee and Matt Thompson, perhaps between known to many in Second life as Jamee Sandalwood and MTH63, who recently officially partnered in SL.

Both are well known for their photography depicting the sights and art of Second Life, their individual styles an engaging mix of the contrasting and the complimentary, depending on subject and  – I assume – mood. Indeed, so complimentary are their styles that but for the tell-tales evident in some of the piece in this exhibition, and the occasional presence of a name in a canvas corner, all of the photographs offered here might be mistaken as being captured by the same photographer.

Raging Graphix Gallery: Jamee Thompson (Jamee Sandalwood)

Jamee’s work encompasses several genres, including landscapes, avatar studies, fashion photography and abstract pieces, although her landscapes predominant here. These generally tend towards softer tones and lighting, carefully processed to give a genuine feel for the time of day that frames them. However, more recently she has moved towards what she refers to as”shadow photography”, using both the play of light and shadows to create elements within her images, while at times also leaning towards darker tones in over composition.

Matt has also built a reputation as a landscape photographer, again as evidence in the pieces included in this exhibition. However, were Jamee sways towards softer tones and post-processed finishes, Matt often tends towards sharper, cleaner lines and finishes that – even when portraying reflections on the water – give his work a more crystalline finish, one so sharp in places that it feels as if a brush of the fingers over some of the lines of his images might well cut the finger.

Raging Graphix Gallery: Matt Thompson (MTH63)

This sharpness gives his pieces a sense of life and realism comparable to Jamee’s work, one that like hers reaches beyond the digital realm in which they were taken to offer something very tangible, whilst that same sharpness mentioned above offers that subtle contrast to Jamee’s work, gently pointing to the fact these these are pieces produced by two individual artists, even as they are unified by subject matter and tonal quality that can unify them into a single exhibit.

This complimentary flow is perhaps seen in the four pictures along the longest wall of the exhibition space, in which two of Matt’s landscapes bracket two of Jamee’s pieces that lie within her more “shadow photography” approach. The contrast of hard and soft lines, be it through finish or the use of the shadows inherent within the location where an image was taken and the tonal qualities of all four pieces, even with the differing approaches to post-processing offer all four as a continuous whole, the eye running easily across them as if they had sprung from the one artist’s eye and hand.

Raging Graphix Gallery, Matt and Jamee

Engaging, bold, and with a personal touch through the inclusion of The Rings, a piece marking their recent union in Second Life, this is another excellent exhibition at Raging Graphix, and it will run through until the latter later of October.

SLurl Details

Ruegen Island in Second Life

Ruegen, October 2020 – click any image for full size

Ruegen is a Homeland region designed by Andre Nalin (ReizWolf) we were pointed towards recently by Shawn Shakespeare. It takes its name – and is inspired by – Rügen, lying just off the coast of Germany’s Pomeranian coast in the Baltic Sea.

At some 926 square kilometres, Rügen is Germany’s largest island. – and as such, potentially a difficult subject to represent within the confines of the 65,536 sq metres that form the land area a single region. So rather than trying to model it in whole, Andre has used some of the features it is noted for as his inspiration, and created a sandy haven; an island clearly in more northern latitudes, and with features of its own to attract the eye.

Ruegen, October 2020

Rügen is particularly noted for its coastline, characterised as it is by numerous sandy beaches, lagoons, peninsulas, headlands, and inlets and bays that project into the island. Part of this coastline comprises the Jasmund National Park, famous for its vast stands of beech trees and chalk cliffs like King’s Chair. Awarded the status of a UNESCO World Heritage Site in 2011, it is one of the locations paid homage to within this build: a line of cliffs mark the region’s south side, topped by tall Scots pines.

I  can’t speak too much to the physical world Rügen as I only have Wikipedia and tourist sites to go by, so offering any real comparisons here would be a little pointless. However, this doesn’t matter, as the region’s design more than speaks for itself.

Ruegen, October 2020

The landing point lies on the east side of the island, just above a sweeping beach looking out over a cold blue sea – itself looking as one might imagine the Baltic to be. Two hills rise from behind this curving coastline, running to the west and another beach, a broad, shallow valley sitting between them. This valley is home to an ultra-modern house (a Cain Maven design that is eye-catching in its looks and has something of a Nordic twist to it).

Again, whether this is representative of the style of housing on the actual island is immaterial; it has a certain look to it that makes it a fitting subject for the region. It shares its space with a single greenhouse and a free-standing swimming pool that offers a break from the surrounding salt waters washing the coast. This house, looking down on the broad beach, is an automatic draw to the eye and feet, but I would note that while it appears to be open to the public, it sits within its own parcel, so could be private.

Ruegen, October 2020
Two other houses can be found on the island, both on the beaches. There’s a wooden house standing over the coastal waters as the beach curves around the north side of the island, whilst to the south, where the sands split into a small, shallow bay, there sits a thatched cottage watching over working fisher huts and a small pier with a fishing boat moored alongside.

Outside of these three houses, the only other buildings on the island are a little café, also built out over the eastern waters, a ruined beach house to the north and a little gazebo up on one of the hilltops. The rest of the island has been left wild and and open to exploration; the hilltops are crowned by trees (and a home to a camp site and deer), whilst the beaches offer multiple places to sit, some watched over by horses that graze on the tough grass that has pushed its way up through the sands.

Ruegen, October 2020

All of this makes Ruegen both easy on the eye and an easy, relaxing explore.

SLurl Details

  • Ruegen (Valium Sea, rated Adult)

2020 viewer release summaries week #40

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

Updates for the week ending Sunday, October 4th

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 viewer Love Me Render #4 RC viewer, version 6.4.9.549455, containing just the fixes for EEP, released on September 24th, promoted, September 28th.
  • Release channel cohorts:
    • Cachaça Maintenance RC viewer, version 6.4.10.549752, issued October 1st.
    • Mesh uploader RC viewer, version 6.4.10.549686, October 1st.
  • Project viewers:
    • Project Jelly project viewer (Jellydoll updates), version 6.4.10.549690, October 1st.

LL Viewer Resources

Third-party Viewers

V6-style

  • Kokua non RLV version updates to version 6.4.9.46528 and RLV variants to version 6.4.9.49470 on October 4th – release notes.
  • Restrained Love for Windows 64-bit updated to version 2.9.28 on October 1st, and then to version 2.9.28.1 on October 2nd – release notes.

V1-style

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links

Gods, Odds and Trees in Second Life

Seanchai Library

It’s time to highlight another week of storytelling in Voice by the staff and volunteers at the Seanchai Library. As always, all times SLT, and events are held at the Library’s home in Nowhereville, unless otherwise indicated. Note that the schedule below may be subject to change during the week, please refer to the Seanchai Library website for the latest information through the week.

Monday, October 5th: Running from the Deity

Gyro Muggins reads the 10th (chronologically speaking) story of Alan Dean Foster’s Pip and Flinx series.

Continuing his pursuit of an alien weapon’s platform, the Krang, Flinx finds himself heading into the Blight. However, his ship, Teacher, announces it is in need of repairs and that while its autonomic systems can handle them, it will nevertheless need raw materials from a planet. Flinx therefore opts to land on the nearest world – the planet the “Arrawd”, place roughly equivalent in technology to Earth in 19th century – and therefore normally forbidden as a destination within the Humanx Commonwealth.

The planet has a lower gravity than more Humanx worlds, something that benefits Flinx physically – but things go awry when he injures himself and is forced into the care of a local couple, who find his abilities and technology  – if the expression might be used – out of their world.

Despite his protestations, Flinx finds himself increasingly the centre of attention and the idea that he is some kind of deity – and while he finds himself drawn to the less complicated life on Arrawd and the fact it separates him from all the cares and worries he faces in the Commonwealth, he realises he must leave.

Unfortunately, by the time he arrives it this conclusion, three of the governments on the planet have decided to wage war in order to “earn” his blessings and claim him as their deity. And so, reluctantly, he has no other option but to both get involved in matters whilst simultaneously trying to escape the world view that he is some kind of god.

Tuesday, October 6th:

12:00 Noon: Russell Eponym, Live in the Glen

Music, poetry, and stories in a popular weekly session at Ceiluradh Glen.

19:00: Odd and the Frost Giants

Willow Moonfire reads Neil Gaiman’s story, originally written for World Book Day.

Winter isn’t coming – it’s refusing to go away, but no-one understands why.

Not only that, but Odd has run away from home, despite the fact he can barely walk and has to use a crutch. Nevertheless, he finds his way to the forest, where he encounters three animals: a bear, a fox, and an eagle, and they have a strange story to tell. Listening to them, Odd realises he must now embark on a strange journey, one he can barely imagine.

For he must now set out and save nothing less that Asgard, City of the Norse Gods. For it has been invaded by the Frost Giants, and while they hold it, winter will not pass away. 

It’s going to take a very special kind of boy to defeat the most dangerous of all the Frost Giants and free the mighty Gods. A boy who is resolute, cheerful and infuriating and clever…

…A boy just like Odd, in fact.

Also at Ceiluradh Glen.

Wednesday, October 7th, 19:00: The Halloween Tree at the Haunted Hollow

A special Halloween tale from Ray Bradbury for a special Halloween event in Second Life.

On All Hallows Eve, young Pipkin is due to meet his eight friends outside a haunted house on the edge of town. But as runs through the gathering gloom, Something sweep him away.

Arriving at the house in expectation of meeting Pipkin, his eight friends instead encounter the mystical Carapace Clavicle Moundshroud, who informs them that Pipkin has been taken on a journey that could determine if he lives or dies.

Aided by Moundshroud and using the tail of a kite, the eight friends pursue Pipkin through time and space, passing through the past civilisations of the Egypt, Greece, Roman, the Celts … witnessing all that has given rise to the day they know as “Halloween”, and the role things like ghosts and the dead play in it.

Then, at length they come to the Halloween Tree itself, laden with jack-o’-lanterns, its branches representing the confluence of all these traditions, legends and tales, drawing them together into itself…

Thursday, October 8th

19:00: The Night Stalker – Interview With A Vampire?

 Shandon presents another adventure into the unexplained from the canon of Carl Kolchak. Also in Kitely – teleport from the main Seanchai World grid.kitely.com:8002:SEANCHAI.

21:00: Seanchai Late Night

Finn Zeddmore presents contemporary Sci-Fi-Fantasy from such on-line sources as Light Speed, Escape Pod, and Clarkesworld ‘zines.

Art and the ecosystem at Nitroglobus in Second Life

Nitroglobus Roof Gallery: Animals on Earth

The start of October brings with it the opening – on Monday October 5th at 12:30 SLT – another provocative exhibition at Nitroglobus Roof Gallery, curated by Dido Haas.

Nitroglobus remains one of my most-visited (and most written about!) galleries because month in and mouth out, Dido encourages some of the most engaging artists to display their work there, and to do so within the frame of a theme she – or more usually the artist – has set. The result is that each most, Nitroglobus plays host to art that can provoke, evoke, emote, and engage on a level that I personally cannot help but find magnetic.

For October, the gallery is playing host to an installation put together by two artists working together under the banner of Dreamers & Co. They are Nette Reinoir (Jeanette Reinoir) – who is exhibiting her work within a gallery for the first time – and Livio Korobase, and they are  supported in part by drawings from the portfolio of physical world Dutch artist, Redmer Hoekstra.

Entitled Animals on Earth, the installation is designed to encourage us to use this time of enforced pause in our lives courtesy of the SRS-COV-2 pandemic to consider what is happening to the world’s ecosystem – its flora and fauna – directly as a result of mankind’s impact on the planet.

Modern societies have been treating Mother Earth as if it was their property; extracting resources, polluting constantly, changing the landscape, killing the animals and destroying its natural balance.
Since the Industrial Revolution, humanity has killed 83% of all wild mammals and half of all the plants on Earth. Two hundred species of living beings are extincted every single day. We collectively need to change so many things in areas such as the use of plastic, meat consumption, contaminating energies, day-to-day overconsumption and more.

– Statement by the artists

Nitroglobus Roof Gallery: Animals on Earth

Now to be sure, statistics and figures need context, and those relating to “daily” extinction rates can be called into question, as they tend to be inconsistent. For example, in 2015 the Millennium Ecosystem Assessment concluded that perhaps some 24 species of plant, insect and animal became extinct either regionally or globally every day – but the U.N. Convention on Biological Diversity put the figure at “up to 150”, a far larger number, even allowing for the “up to”. Other models present further differing rates, and all appear to be distanced from the fact that historically, we have “only” seen around 800 global extinctions of animals (land, air and marine), during the last 400 years.

However, this does not negate Animals on Earth‘s thematic message. The current epoch – the Holocene – is regarded as encompassing the sixth mass extinction level event (ELE) this planet has seen, the Anthropocene extinction; and event that is still very much on-going, and potentially accelerating. It has its roots in natural climate change as the Pleistocene period, with its rolling waves of ice ages, gave way to the warmer, wetter Holocene period, leading to the extinction of many of the large mammalian species that had acclimatised to the cold, dry ice ages, and an a matching marine megafungal extinction event that brought an end to many marine reptiles and fish due to changing sea temperatures.

But this period of extinctions was influenced by another factor: the rise of humans as organised hunter-gatherers, which gave rise to the first wave of over-hunting, accelerating the demise of many species. It was the start of a trend of human intervention and meddling in Earth’s ecosystem that has continued throughout the Holocene period such that within a few thousands of years, humankind has had one of the most dramatic impacts the Earth’s biomass has witnessed.

Nitroglobus Roof Gallery: Animals on Earth

From over-hunting, to disrupting natural environment as a result of increasing agricultural needs (notably livestock rearing) through to large-scale urban and other development and its associated infrastructure and waste, humans have significantly altered the world’s biomass in multiple ways,  own of the biggest being the distribution of mammalian life on Earth, which in 2018 was shown to be 36% humans, 60% livestock (notably cattle and pigs) and just 4% wild animals (source: The biomass distribution on Earth, Proceedings of the National Academy of Sciences). Nor does it end there; as the pre-eminent apex predator, human kind is regarded as a megahunter due to our predisposition to hunt and kill creatures pure for “sport” – an act that significantly increases the risk of regional (and even global) extinction of multiple species.

Thus, through our actions, we are directly responsible for continuing the Anthropocene extinction, and thanks to our broader impact on the climate, we are pretty much its primary driver. Our actions are bringing multiple species of fauna and flora and biota dangerous close to the edge of global extinction, we have irrefutably been responsible for many regional extinctions (rendering portions of the world and its oceans no longer habitable by species that once occupied them, even if those species survive to some degree elsewhere) over the last several decades.

It is all of this that Animals on Earth tries to encompass, and it tries to do so not by brow-beating with facts and figures or by doing so by being unduly heavy in its imagery, but by presenting us with images and models and interactive elements that in places fun (do make sure you kiss the frog) and which also serve to get the grey matter working, even if subconsciously.

Nitroglobus Roof Gallery: Animals on Earth
Flow with the thoughts and you’ll discover nature illustrates the Creator’s powers, whoever he/she is. Most of us, however, fail to appreciate nature because we’re entangled in our fast-paced lives, and life’s problems cloud our minds from grasping its beauty and lessons. Climate change, overpopulation, pollution, unfettered urbanization, and wars cause disasters to the natural environment. Little wonder we see less of nature and more of guns, nukes, and bloodshed in our cities.

Statement by the artists

Rich in colour thanks to Nette’s images, and very interactive thanks to Livio’s models and scenery (be sure to mouse-over things carefully – even  Redmer Hoekstra’s drawing are more than they seem – Animals on Earth encourages the visitor to consider Earth’s biodiversity as represented by the creatures with who we share the world, and presses us to imagine what life would be like in general terms were we to lose them.

With much to see and do – and to mull over / research – Animals on Earth officially opens to music by DJ Gorilla on Monday, October 5th,  appropriately enough, and will remain open through the rest of October.

SLurl Details