Month: September 2021

In the press: Second Life, Tilia Inc & the Metaverse

Posted on by Inara Pey

Friday, September 3rd saw an article by VentureBeat’s Dean Takahashi – no stranger to Linden Lab, Second Life and LL – doing the rounds, entitled Will the metaverse bring the second coming of Second Life? While I personally find the term “the metaverse” to be one of the must frequently over-hyped / over-used terms in recent years, Takahashi’s article makes for an interesting read on a number of levels.

The first is that VentureBeat is a well-regarded tech news and events on-line magazine that includes the supplement GamesBeat that focuses on the world of computer, mobile and video games. Between them, they draw down some 6 million unique visitors a month and 12 million page views. That’s potentially a lot of exposure for articles within the publication, and Takahashi’s article was a headline piece for GamesBeat’s front page (although it has since slipped down the ranking somewhat).

Dean Takahashi, lead writer, GamesBeat

The initial part of the article is something of a re-tread of Second Life’s history for those of us familiar with the platform. While the ground covered may well be familiar (and the quoted numbers possibly subject to quibbling in some quarters), this re-treading nevertheless frames SL for those not familiar with it or were unaware it is still around and doing moderately well for itself.

This part of the article also helps frame Linden Lab as an “elder statesman” (so to speak) of the user-generated content frontier, having long since tackled many of the issues and hurdles that those attempting to now define and provide “the metaverse” are just starting to tackle. All of which makes for good reading and certainly helps carry the message that in this day of Facebook, Microsoft, et al trying to foist their visions of what “the metaverse” should be, Linden Lab has the right to say, “been there, done that – and still doing it!”.

However, it’s the latter part of the article that drew my focus, with its referencing of both Tilia and recent moves on the part of the Lab to develop “partnerships” to try to “grow” SL. Both of these are also parts of the article I’ve witnessed as causing some negative gnashing of teeth in some circles, which has also framed my thinking in writing this piece.

In particular, Takahashi’s revelation that Tilia has cost Linden Lab $30 million has raised eyebrows and some grumblings about what this might mean for Second Life’s future.

via the Tilia website

This needs a little context. While LL has spent what seems like a huge amount of money on Tilia, as Takahashi notes, it has been over a 7-year period, starting not long after Ebbe Altberg joined Linden Lab as CEO, and the initial expenditure was required; as Takahashi goes on to point out, for a company like LL to be able to make pay-outs to users (and generally handle fiat money on behalf of its users) it must comply with a range of US federal, state, and international regulations.

In terms of US requirements, this has meant LL had to become a licensed money transmitter at both the federal and state levels – a move more easily achieved by ring-fencing the services that handle all payment processing / transfer into an entity of their own. Had it not do so, then LL would have hit a wall in its ability to make pay-outs. Beyond this, Tilia Pay’s regulated services benefit Second Life in a number of other ways (allowing the use of credit / debit cards within services such as the Marketplace through to assisting with overall user account management and security, for example).

Obviously given a large amount has been sunk into Tilia, it is natural for the Lab’s new owners to want to leverage this expenditure. But this doesn’t mean Tilia and Second Life are, or will become, an “either / or” proposition for the Lab’s future direction.

Rather if Tilia can be made a success, it would mean that Linden Lab – after more than a decade of trying – has gained a second revenue stream it can utilise to help it remain viable moving into the future. Further, it’s long been the philosophy at LL that as long as SL has users enough to ensure it remains a healthy generator of revenue / income, there is little reason to shut it down / sell it, and I’d question this philosophy being radically altered by the success of a second product within the company’s portfolio.

At the end of the piece, Takahashi brings in the subject of Zenescope, and LL’s focus on “partner collaborations”. This appears to be part of what has been referred to as the drive to grow the user base.

It’s not necessarily a bad idea – working with organisations that have established audiences of their own and which could leverage Second Life to add a new dimension of engagement for those audiences. However, it is one that has some significant hurdles to clear: attractions have to be built-out, events need to be organised and run at a tempo that keeps an incoming audience engaged and coming back at a reasonable cadence to make the effort worthwhile, and their must be a path to a practical return on the investment made (time, effort money), and so on; to say nothing of getting people into the experience and comfortable with the viewer UI.

Zenescope Metaverse a new partnership endeavour involving Linden Lab opened in August 2021, but failed to capture the imagination for me See: The Zenescope Metaverse In Second Life

There’s also the question that, even if successful in bringing an audience to Second Life, just how well such partnerships might actually convert members of the audience into engaged Second Life users – something that will be an important measure of success by the current user base, if not necessarily to LL or their partners, who will likely use other criteria to measure the success of these ventures.

In mentioning such partnerships, Takahashi’s piece open the door to broader thinking around where LL might potentially go with this idea in the wake of of the move to AWS.

For example, it’s already been hinted that at some point, LL might look to offer an “on-demand” product. Doing so could potentially be advantageous to potential partners, in they it present a way for them to offer their users experiences in Second Life at a more advantageous price that a 24/7 product that might only be used once or twice a week. Beyond this, there is the question of whether LL might consider entirely private grids for dedicated partners / clients / markets, and even white-labelling such a capability if they did so (thus essentially providing a Second Life Enterprise style of product in a manner and cost that would be far more appealing that that endeavour).

However, given these thoughts do go beyond the article, I’ll put them to one side for now, and just say that if you haven’t already done so, I do recommend giving Will the metaverse bring the second coming of Second Life? a read.

Space Sunday: the ISS, SLS, brown dwarfs and other bits

Posted on by Inara Pey
The ISS as of September 2021, showing the newly-arrived SpaceX CRS 23 resupply vehicle docked alongside the Crew Dragon Endeavour. At the far end of the station are the Russian modules: the recently-arrived Nuaka, Zvezda and Zarya, which has been found to have small fissures in its outer skin. Credit: NASA

Some sections of the tabloid media became excited this week about “cracks” being discovered “on the International Space Station”, with one or two predicting the end of the ISS is now nigh.

The cause of the reports was the announcement by Energia NPO, the company responsible for fabricating the Russian-built elements of the ISS, that “superficial fissures” have been found in the outer skin of the Zarya module.

The Zarya module imaged from the space shuttle Endeavour in December 1998, as the shuttle approach the module in preparation to attach the US Unity module. Credit: NASA

Zarya – also called the Functional Cargo Block (FCB) – was the first module of the ISS to be launched (November 1998), and was initially responsible for providing electrical power, storage, propulsion, and guidance to the ISS during the early years of assembly. However, as more specialised units, notably the Russian Zvezda module (attached to the aft end of Zarya), were launched, the role of the Zarya module has been gradually downgraded to the point where today it is primarily used for internal and external storage space.

Thus far, neither NASA nor Roscosmos have indicated whether or not the fissures have caused any internal pressurisation issues for the station. However, similar fissures – likely the result of exposure to extremes of temperature as the ISS passes between direct sunlight and the cold shadow of Earth and back every 45 minutes – were discovered on the Zvezda Module in 2019, and despite repairs in 2020 and 2021, they continue to be an annoyance.

Whether the Zarya fissures will become a similar issue can only be determined in time – but they are a reminder that while the ISS is not in imminent risk of a major failure, it is genuinely showing its age, particularly the three original modules – Zvezda, Zarya and Unity – all of which are at least 25 years old (including fabrication / construction time), and are potentially becoming increasingly vulnerable to fatigue. Such issues might also cause Russia to make further noises about withdrawing from the ISS after 2024, this time of the grounds of the station’s increasing age, so they can start work on their own space station.

The Accident – the Strangest Brown Dwarf

Brown Dwarfs are sometimes called “failed stars”, in that they have a mass that sits above the most massive gas giant planets we have so far discovered, but below that of the smallest stars. This leaves them incapable of achieving hydrogen fusion, hence the idea they have “failed” as stars. However, they are massive enough to give off considerable infra-red radiation, which tends to point to them being extremely old.

In reviewing data returned by the Near-Earth Object Wide-Field Infrared Survey Explorer (NEOWISE), citizen scientist Dan Caselden has discovered the strangest brown dwarf to so far be discovered – so strange it has been given the nickname “The Accident”.

Located around 50 light years from Earth, it is officially called WISEA J153429.75-104303.3 and classified a Class Y substellar object – the oldest and coolest classification of such brown dwarfs. All of which is really not that interesting; astronomers have discovered many brown dwarfs in local space around our solar system over the last 30 years.

A comparison between a “typical” brown dwarf and other stellar and planetary objects. Credit: NASA

What is strange about The Accident is firstly, it is spinning about its axis at a speed of 200 kilometres a second (that’s 720,000 km/h)- 25% faster than the next fastest stellar object of its kind.

The second – and more intriguing – thing is that The Accident has the oddest brightness pattern of any brown dwarf. Due to their nature, these objects only give off light in the infra-red wavelengths, and The Accident’s output is – at least in part – at the end of that part of the spectrum that points to it being really old: perhaps 13 billion years old – almost as old as the galaxy itself (13.6 billion years. This extreme age is also supported by The Accident’s rotational speed, something that could only be achieved via  thousands of encounters with massive stellar objects down the aeons.

But there’s a twist: The Accident is not consistent in its infra-red brightness, as it also “shines” in parts of the infra-red that indicate that it is a lot, lot, younger than the other data suggest, making the object an anomaly – and accident of nature, so to speak, hence its nickname. This difference in brightness has puzzled scientists, and has led to The Accident starting to get a lot of attention to determine what might be going on inside it.

Some of this attention is also devoted to studying it on the basis of its age – if it really is 13 billion years old, then it formed at a time when the galaxy was a very different place in terms of chemistry, a time when many elements we take for granted (carbon and methane being just two) simply could not exist. Thus, understanding its nature and composition could reveal more about the galaxy’s formation and birth. What’s more, that so strange an object should be found so relatively close to Earth suggests there could be many of these unusual brown dwarfs awaiting discovery.

Virgin Group Ups and Downs

Sir Richard Branson is having some ups and downs in his space endeavours.

The ups are with Virgin Orbit, the smallsat launching service that uses the LauncherOne rocket, lifted to altitude by a modified 747 before being launched, to place payloads of up to 300 KG to a Sun-synchronous orbit or 500 KG to low Earth orbit.

Following the first successful launch of a commercial payload to orbit at the end of June, the company has now passed a critical Federal Aviation Administration (FAA) environmental review that could allow it to use Andersen Air Force Base, on the island of Guam in the western Pacific Ocean, as a base for launch operations.

Virgin Orbit has passed an FAA environmental review that could pave the way for the company to offer payload launchers out of the US territory of Guam in the western Pacific Ocean. Credit: Virgin Orbit

If final approval is granted – and the FAA do have reservations about Virgin Orbit being able to operate from such a remote location – the company plan to use Guam to make up to 25 air launches over a period of 5 years, possibly commencing before the end of 2021.

Following the success of the June launch, Branson noted that Virgin Orbit is to be capable of highly responsive launches from almost any point in the world. To this end, the company has already signed an agreement with Spaceport Cornwall (Newquay Airport) in the UK, and the Brazilian government has selected the company to provide launch services out of that country’s Alcântara Space Centre. These, together with Guam and their existing facilities at the Mojave Air and Space Port mean that Virgin Galactic may soon have four launch locations around the world from which it can reach a variety of orbital inclinations as required by customers.

VSS Unity drops clear of its air launcher, MSS Eve during the Unity 22 mission, ahead of engine ignition. Credit: Virgin Galactic

The down is with Virgin Galactic, the sub-orbital, tourist-focused service. Following its first successful passenger-carrying flight in July (see: Space Sunday: Unity 22 Flies), the FAA announced on September 2nd that the the sub-orbital VSS Unity is grounded, following a review of that flight, forcing a halt to the company’s operations.

The review has been triggered following an article appearing in The New Yorker magazine stating the pilots on VSS Unity ignored a warning triggered during the vehicle’s powered ascent that should have caused them to abort the flight and return the the ground. The warning indicated the vehicle was not climbing at a sufficiently steep angle to remain within it’s “entry glide cone” – the volume of space in which it can make a safe unpowered glide back to a successful runway landing at the end of the flight – during its return to Earth, and so could miss the runway entirely.

While the company has defined The New Yorker’s report as “inaccurate”, telemetry from the Unity 22 mission shows that the vehicle did exceed the limits of FAA-defined “protected airspace” for one minute and 41 seconds during the descent to landing, further justifying the FAA’s decision to order the grounding, preventing any further operations by Virgin Galactic for the next few weeks.

Virgin Galactic had been gearing-up for its next crewed flight for VSS Unity, a dedicated research flight for the Italian Air Force that would carry aloft Colonel Walter Villadei, Lt. Colonel Angelo Landolfi and aerospace engineer Pantaleone Carlucci, alongside Virgin Galactic’s chief astronaut instructor Beth Moses and pilots Michael Masucci and C.J. Sturckow when the ground of the spacecraft was announced. The mission will now not fly until the FAA concludes their review of the Unity 22 flight.

Continue reading “Space Sunday: the ISS, SLS, brown dwarfs and other bits” →

Seiiki: [Valium]’s new sanctuary in Second Life

Posted on by Inara Pey
Seiiki, September 2021 – click any image for full size

In July, Vally Lavender opened the latest iteration of her region of [Valium] with a new design by Dandy Warhlol (Terry Fotherington). Entitled Suaka, the Indonesian term for “sanctuary” it was initially  offered as a special retreat for [Valium] group members, but has since been opened to the general SL populace. It stands as an engaging, restful setting, rich in opportunities for escape and for photography (see: A sanctuary with a touch of Indonesia in Second Life).

She has now added to the estate with the arrival of a second Full region, and has again engaged Terry to handle the landscaping with the intent to extend the idea of refuge and respite – in which he has admirably succeeded -, and she kindly offered me an invitation to visit as the region opened to [Valium] group members (L$395 joining fee) – although the region will be open to the general public from Monday, September 6th, 2021, for a period of time.

Seiiki, September 2021

Entitled Seiiki, the Japanese term for “sanctuary”, the new region sits to the south of Suaka, the two separated by a narrow band of water passing between their respective sandy shorelines, a path of stones breaching the water to provide a dry passage between the two. Crossing this path not only allows visitors to pass between the two regions with ease, it also moves them between two settings with very different root influences, for while Suaka draws on Indonesia and other parts of south-east Asia, Siieki draws its inspiration from Japan with touches of China sitting within it.

From is northern beach, Seiiki also presents a very different terrain to Sauka, although the two do flow together quite naturally. Where the latter is predominantly low-lying, Seiiki rises swiftly from its beach to present a rocky vista of cliffs, plateaux, hard shoulders of rock and flat-topped peaks that sit as foothills to the green mountains that rise beyond it. It is also a richly wooded location, the lower slopes home to dense coverings of what appear to be bamboo palms of the Rhapis genus, thus giving the first tilt of the region towards China, where this particular bamboo palm is common.

Seiiki, September 2021

These woods flank a small valley leading inland and reached via steps that run up from the beach to a simple Torii gate. This little valley is home to a small café and is clearly the preserve of another Chinese influence: panda bears. These have clearly decided the stubby valley is theirs by rights, and a mix of small family groups and lone adults have marked out their little spaces within it, wandering, playing, eating and – in one case, at least – seek the bear necessities of life, be they bamboo fronds or catching some rays whilst perched in the natural curve of a Palmetto tree trunk!

It is from this little valley that explorations of the rest of the region all commence. On the east side, just beyond the café, stone steps climb up to a low promontory of rock with its flanks heavy with the bamboo palms mentioned above by way of a small gateway. On reaching the top of this finger of a hill, the path quickly offers a choice for those reaching it: tarry at the broad pond where duck play, follow a path leading back north along the shoulder to where a second, shaded pond hides, the home to koi and a simple little shack that is home to a cuddle-point, or venture further up into the hills by means of a choice of routes.

Seiiki, September 2021

The first of these routes takes the form of narrow planks laid over the grass that wind past an abandoned hut by the side of the pond to reach a bridge, beyond which sits Seiiki’s little end-of-the-line train station, a small terminus on a single-track line. The second route follows the stone steps as they continue upwards to reach what might have once been a shrine set within its own walled rock garden but which is now a place for yoga and meditation as it sits neatly on a square plateau of rock that looks down over the head of the region’s central valley.

This valley head takes the form of what might generally be a peaceful pond, reached from the café along a grassy path in part marked by scattering of small white stones. The pond is watched over by a figure of Buddha offering his blessing, adding to its sense of peace, and who is in turn guarded by two Japanese crane. However, it is fair to say the serenity here may at times be broken by the hissing rumble of steam trains (or just the rumble of locomotives, given the track has overhead powerline for electric trains) as they pass over a trestle bridge that spans the gap between two tunnels above a small reservoir located upslope from Buddha and his pond.

Seiiki, September 2021

Reached via a short set of steps, the wall of the reservoir both holds back the water and presents a path to a set of broad, flat stone that break the surface of the water to lead the way to where ancient stone steps switchback their way up and around the curving flank of the region’s highest cliffs. Those who take this giddying walk will find themselves at a high wooden vantage point that looks back down the valley, and a second stairway that runs back down the cliff-face. This descends way of a sake bar (the alcohol possibly welcome after the climb!) to another of the setting’s hideaways in the form of a little koi house nestled on its own rocky ledge, from where visitors can wave to those on the train as it huffs its way over the bridge, either to or from Seiiki’s little railways station.

To the west, and reached by another stone stairway, the region offer a spa sitting within a large Edo-style building (with most of the other buildings in the region in the same style), again built over water to present another place of peace and retreat.

Seiiki, September 2021

Rich in detail, if a little heavy on some systems if you run with Shadows and other bells and whistles enabled all the time, Seiiki is a more than worthwhile companion to Suaka, the two of them offering a richness of space and setting for people to lose themselves. As noted above, Seiiki is open to [Valium] group members only until Monday, September 6th (joining fee L$395 – which goes directly towards the upkeep of both regions) – where after it will be open to the public at large, alongside Suaka, for an unspecified (at the time of writing) period of time.

 SLurl Details

  • Seiiki (ValiumSL 1, rated Moderate)

Lab issues updated Project 360 Capture viewer

Posted on by Inara Pey
via Linden Lab

On Friday, September 3rd Linden Lab issued the latest update to the 360º Snapshot viewer – now called the Project 360 Capture viewer – with the release of version 6.4.23.563579. It represents the most significant update to this viewer we’ve seen, and it comes after a significant pause in its development.

As the name of the viewer suggests, it is designed to take 360º degree panoramic images of the environment around the camera. It does this by simultaneously taking six images around the current camera position – one each at the four cardinal points, plus one directly overhead, and one directly looking down. These are then “stitched” into an equirectangular projection image (e.g. one that can be projected as a sphere), which can then viewed through a suitable medium – such as Flickr (other mediums are available!).

An “unwrapped” Maximum quality 360º image captured using the Project 360 Capture viewer, showing the 6 captured images “stitched” together (click on this image to see it in 360º format in Flickr)

The first iteration of this viewer appeared almost five years ago, in October 2016, and came with a certain amount of complexity involved – including the need to install a local environment for previewing captured images. Later iterations of the viewer improved on this, but the viewer continued to be hit by conflicts with the Interest List.

In simple terms, the Interest List lightens the load – objects, textures and updates to active objects, etc., – the viewer has to process when rendering. It does this by ignoring things that are not in the camera’s direct field of view. This is why, for example, when you turn your camera away from the direction you are looking, it can take time for objects and their textures to render. However, for a 360º-degree image, everything needs to be properly rendered in the viewer – whether in the current field of view or not. Overcoming this problem has proven difficult – and it (admittedly with other factors also coming into play) caused work on the viewer to be halted for an extended period.

This version of the viewer overcomes most of these issues, and makes the creation of 360º snapshots straightforward through the use of a new 360 Snapshot floater that is independent of the “standard” snapshot floater, and the use of some additional back-end code to overcome the Interest List. This new floater can be accessed from within the Project 360 Capture viewer in one of four ways:

  • Via World 360 Snapshot.
  • By pressing CTRL-ALT-SHIFT-S.
  • By enabling the 360° snapshot toolbar button in one of the toolbar areas.
  • By expanding the standard snapshot floater to show the full preview and clicking the Take 360 Snapshot link in the lower right corner of the preview panel.
Accessing the 360 snapshot floater (this can also be done via CTRL-ALT-SHIFT-S or by expanding the standard snapshot floater to show the full preview and clicking the Take 360 snapshot link in the lower right corner of the preview panel

The floater itself comprises several elements:

  • The image Quality radio buttons and selection button (labelled Create 360 Image).
    • The quality buttons appear to utilise the viewer’s screen buffer to render the different image types, so Preview appears to use the 128 vertical buffer, while Medium and High use the 512 and 1024 buffers respectively, and Maximum the 2048 buffer (i.e. the full 4096×2048 resolution).
    • When you have selected your preferred quality, click the Create 360 button to generate a preview.
    • If you alter the image quality at any time, you’ll need to click on the Create 360 button again to update the preview / take a fresh image at the new image quality.
  • A checkbox to disable avatar rendering during the image capture process.
  • The preview panel. This will show a rotating image from the current camera position until refreshed, and this image can be manually rotated / panned up and down by clicking on it and dragging the mouse around.
  • The Save As… button that actually saves the image to your hard drive.

To take an image:

  1. Position your camera.
  2. Select the image quality – for finished images you’ll need to set High or Maximum quality using the radio buttons.
  3. Click the Create 360 Image button to generate a preview in the floater’s preview panel.
  4. Click on the preview image and drag it around to ensure what you’re seeing is what you want / that things like textures have actually rendered correctly.
  5. Check the Hide All Avatars option, if required – this will cause the process to include all avatars present (it will not alter their in-world rendering).
  6. When you are satisfied with the preview, click Save As… to save it to your hard drive, renaming it if / as required.

Remember, if you change the image quality, you must also click Create 360 button to update the preview AND image capture process to the new image quality, before click Save As… again.

Once captured – again as noted – images can be uploaded to a suitable display platform such as Flickr – the images contain the necessary metadata that should automatically trigger the 360-degree viewing process (just click on an image in flicker to manually pan around up / down).

An “unwrapped” Maximum quality 360º image captured using the Project 360 Capture viewer, showing the 6 captured images “stitched” together (click on this image to see it in 360º format in Flickr)

General Observations

  • An easy-to-use iteration of the 360º snapshot viewer that brings good quality and ease-of-use to the process.
  • The ability to avoid rendering avatars not only helps avoid issues of rendering / motion blurring when taking a 360º image, it enables the easy capture of landscape images. It also, obviously, allows for the capture of posed avatars if required.
  • There are still some issues in rendering out-of-view (relative to the visible field of view for the camera) items and textures at High and (particularly) Maximum quality images – note the blurring of the vessel name in the first 360 image above.
  • The lowest quality Preview option is simply too blurred to be of real value – perhaps using 256 rather than 128 might improve this (if only slightly)?

Viewer Links

Moni’s Images of Decay in Second Life

Posted on by Inara Pey
IMAGOLand: Monique Beebe – Images of Decay

There is something about Monique Beebe’s avatar-centric images that never fails to attract my attention. Her work has a unique blend of art, narrative, post-processing skill, and layering that allows her to create single-frame stories that carry a depth of mean that demands the attention of the eye and mind.

This is once again the case with Images of Decay, which opened at Mareea Farrasco’s IMAGOLand (Gallery 1b – use the teleport disk at the landing point) on September 2nd. Here Moni offers a selection of images with a central theme which wraps itself in layer of possible interpretation – whilst also allowing the observer to view them as intriguing studies in the use of light, colour and balance to present a captivating self-portrait.

The title of the exhibition – Images of Decay – might sound a little off-putting, but as noted, it can be taken on a number of levels. Predominantly offered in dark dark tones and colours – burnt umber, burgundy reds, shades of black and grey, these are intentionally “dark” images, each piece post-processed to add a rusting, metallic look to it, a discolouration that marks face, breast, arm, and so on. In some of the images, it is highly pronounced, in others it is more of a mottling. In one or two cases, due to the use of projected light and post-processed filters, it is subtle enough to give the impression of tattooing.

IMAGOLand: Monique Beebe – Images of Decay

As a first interpretation, this filtering / colouring might be seen as simple expressive colour play on the part of the artist. On another, and taking the title of the exhibition into consideration, they might be might be seen as experiments in giving a sense of age / the passage of time to the images themselves. It might also be taken as a reflection of life itself, and the undeniable fact that we are all doomed to grow older, age, whither, die and decay; that the beauty / vitality we have today is actual impermanent – but in being so, it is also part of life’s greater cycle.

This latter layer narrative is perhaps most clearly seen within the trio of images Girl, Lady, Woman, the idea of aging is clearly represented in the images as we take each in turn. So so might they also speak to how society can perceive women as they age, and our beauty is seen as fading over time (or to put it another way, decaying with the passage of time).

IMAGOLand: Monique Beebe – Images of Decay

There is an emotional content present within these pieces that adds additional layers to them. Many either directly or indirectly draw attention to the subject – to Moni’s – eyes, be it through the use of masks or eye shadow to highlight them, or face masks bubble gum or even  the wrap of a turban to obscure other parts of the face or the eyes themselves. In this way, we are drawn to each image and inhabit the emotions we might perceive as being present within them. Elsewhere, this emotional content is transmitted through the use of pose and lighting.

In places, this emotional element speaks directly to the idea of decay and the passage of time, in others, in other, the idea of decay emphasises the emotional content of a piece. Take, for example, Innocence and Light of Sadness. Within them the colours of decay do much to convey the essential emotion within them – the loss of innocence if the former, and the pain of sadness in the latter.

IMAGOLand: Monique Beebe – Images of Decay

Taken individually as as a whole, this is another richly engaging exhibition by Moni, one that should not be missed.

SLurl Details

2021 CCUG and TPV Developer meetings week #35 summary

Posted on by Inara Pey
Hidden Bottle, May 2021 – blog post

Update, September 4th: not long after this article was published, the 360° Snapshot project viewer was updated, so the viewer list here has been updated, and my first impressions of the update viewer can be found here.

The following notes were taken from my audio recording and chat log of the Content Creation User Group (CCUG) meeting held on Thursday, September 2nd 2021 at 13:00 SLT, and the TPV Developer’s meeting of Friday, September 3rd.

With the meetings once again falling on the same week, and with the degree of overlap in content between the two, core discussion points from both have been combined into this one summary. The TPV meeting was recorded by Pantera Północy, and her video is embedded at the end of this article, for those wishing to refer directly to that meeting.

Meeting Details

  • CCUG meetings are held on alternate Thursdays each month (generally the 1st and 3rd Thursday, vagaries of month start / end dates allowing), with dates available via the SL Public Calendar. The venue for the CCUG is the Hippotropolis camp fire.
  • TPV Developer meetings are generally held on alternate Fridays each month, although dates are not currently listed in the SL Public Calendar. The venue for meetings is at the Hippotropolis Theatre.
  • Both meetings are currently chaired by Vir Linden, and are led using Voice, although attendees can use either Voice or text to provide input / feedback (with text generally being the preferred medium).

SL Viewer

MeshOptimiser Project Viewer

The MeshOptimiser project viewer, version 6.4.23.562614, was issued on Wednesday, September 1st. This viewer replaces obsolete GLOD mesh simplification in the mesh uploader with a newer Mesh Optimiser library.

About Level of Detail (LOD): as your observation point moves away from mesh objects, so does the need to render them in high / complex detail, as that complexity / detail naturally becomes less visually distinguishable. One of the more effective ways to reduce rendering complexity of a scene is to provide object models with simplified Level of Detail (LOD) that can be displayed at greater distances, reducing the rendering load on the viewer. MeshOptimiser is an improved means of achieving this. It simplifies a mesh to fit specified limits within the mesh uploader, producing models with multiple layers of greater LOD simplicity.

Notes:

  • This viewer currently includes an option to continue to use GLOD, if preferred, although this may be removed in the future.
  • Currently, MeshOptimiser is only being used in mesh uploader, it is not being employed within the mesh rendering pipe.
  • The use of MeshOptimiser does not alter the LOD validation code in the uploader – although this is seen by creators  as something that needs addressing (and is something that Beq Janus of the Firestorm Team, who has been submitting code contributions related to the uploader has been looking at).
  • There is some concern that if MeshOptimiser does not support edge protection, it could have a negative impact on mesh clothing, which has been noted by the lab.

Performance Floater Project Viewer

The Performance Floater project viewer, version 6.4.23.562625, was issued on Thursday, September 2nd.  This viewer introduces a new floater that pulls together options related to viewer performance under a new toolbar button somewhat confusingly called (in comparison to the viewer’s use of “Performance” in its name) of “Graphics Speed”. See my separate article on this preliminary release of this viewer for more information.

Remaining Viewer Pipeline

  • Release viewer: version version 6.4.22.561752, formerly the CEF Update RC viewer, issued July 24 and promoted August 10  – NEW.
  • Release channel cohorts:
    • Happy Hour Maintenance 2 RC viewer, version 6.4.23.562602, dated August 20.
    • Simplified Cache RC viewer, version 6.4.22.561873, dated August 9.
    • Grappa Maintenance RC, version 6.4.22.561850, dated July 29.
  • Project viewers:
    • 360° Snapshot project viewer, version 6.4.23.563579, issued September 3.
    • Legacy Profiles viewer, version 6.4.11.550519, dated October 26.
    • Copy / Paste viewer, version 6.3.5.533365, dated December 9, 2019.

General Viewer Notes

  • The 360° Snapshot project viewer should see an update in the next few days.
  • A update for the Copy / Paste viewer has an update currently with the viewer QA team, and which should hopefully be appearing “pretty soon”.
  • The Muscadine project viewer has been removed from the available project viewers, as there is no simulator side support for it. This does not mean the project has been abandoned – it is just on hold until work can resume and the necessary simulator support implemented.
  • As a part of reducing the volume of viewer updates that are being queued either as Alternate Viewers or awaiting entering project or RC status, LL is looking to start combining updates into single releases. As a part of / start to this process the two Maintenance RCs that are currently available (Grappa and Happy Hour) are likely to be merged.

Graphics News

  • The work to Integrate the Tracy debugger / system analyser  to allow for better cross-platform profiling of client hardware to help with cross-platform graphics development is now drawing to a close, with an internal test viewer producing worthwhile client analysis data.
  • Work is progressing with the next batch of graphics updates that will see light of day in the Love Me Render 6 RC viewer at some point.

Aditi Log-ins

As a result of the move to AWS, logging-in to Aditi, the Beta grid, for testing purposes, etc., has been a issue for some tome, both in terms of being able to log-in and in getting inventory correctly synced with Main grid (Agni) inventory.

  • The inventory syncing issues now appear to be resolved, although anyone still encountering problems is asked to file a support ticket.
  • There has been some improvement on the ability to log-in to Aditi, although issues with time-outs due to back-end handshaking failures are still apparent. Some have lengthened the timeout set via the LoginSRVTimeout Debug setting to try to overcome this
  • Further log-in fixes for Aditi are in progress (including for the time-out issue), but no time frame at present on when they will be deployed.

In Brief

  • An invite-only “creators channel” has been started on Discord by a group of users. While not an official LL communications channel, some Lindens have been invited to join it, and have been taking questions.
    • This move is not seen as particularly helpful to content creators in general or those interested in content creation due to its “invite only” status.
    • Some at the CCUG meeting voice the opinion that a better channel for passing question to the Lab ahead of meetings would be via the official forums.
  • BUG-227543 “Set ‘Press to talk’ as default mode in Official Viewer” has been on the accepted list for two years, but is coming to the fore again due to new users entering SL being unaware their microphone is live for the moment they enter SL on the official viewer and then accidentally activate Voice. The change is now apparently being tested, and so will hopefully be appearing in a Maintenance RC at some point Soon™.
  • Feature request BUG-215951 “Option to allow nearest neighbour on textured faces” currently has a status of Closed, although it is seen as a potentially useful feature. The major issue in trying to implement it is that it would require a new field in the asset database for each face on an object, and there is no easy way for LL to further extend the allowable per object data fields.
    • This formed part of a wider conversation around texture rendering, including the use of texture atlases, changes that might be possible with the eventual shift to a new rendering engine and the potential for procedural based rendering to be implemented for SL.
  • Concern continues over the issues many are experiencing with group chat and the manner in which it is giving rise to an “exodus” of people from SL to Discord (at least for group chat purposes).
    • The fear is that as people become more accustomed to Discord and its features and the ease with which they can communicate / share, etc., they’ll have increasingly less reason to log-into Second Life. Given that Discord tends to be used alongside of SL rather than in lieu of it, it’s hard to judge if such fears are valid.
    • One potential source of frustration that does tend to be felt is that when this issue is raised, it can often – if unintentionally – appear to be dismissed with comments akin to “we’re aware of the problems”.
    • That said, feature request BUG-230899 “Split Group Chat from Groups and Extend its Functionality” has been accepted for future consideration.
  • Catznip is testing an option to reduce the resolution of the screen buffer(s) in the viewer via slider (e.g. so a 1080p screen can be set to a buffer of 720p or even 540p). This has the benefit of speeding up performance (do to lower-resolution rendering, but it can made the world look blurry as a result. However, LL has expressed an interesting in taking a look at the code if contributed.
  • Source Filmmaker is a tool that has been developed for making mini movies using video games, and being able to edit scenes, set poses, etc., in real-time “within the game” (so to speak), essentially by caching assets, etc., locally and then manipulating them. The question was asked whether a similar tool – IF it could be made to work in SL – would violate things like DMCA. Such a tool would require a detailed proposal for LL to pass to their legal team before a considered response could be given.