Cica’s Colourado in Second Life

Cica Ghost: Colourado, February 2024

February 2024 brings us a touch more whimsy from Cica Ghost, with the opening of her latest installation, Colourado. Continuing the theme found within several of her more recent installations, Colourado presents a seen designed to raise a smile and allow with child within each of us a little room to come out and play, a sentiment reinforced by the quote accompanying the installation:

Inside every old person is a young person wondering what happened. 

– Terry Pratchett

Cica Ghost: Colourado, February 2024

It’s a sentiment I find increasingly true with the passing years, although I also admit that I try to live by Ashleigh Brilliant’s words as well¹, so whimsy and fun always appeal.

Within the installation, we are presented with a sleepy village with its houses scattered among open spaces and high plateaux and peaks which go some way to explaining Cica’s play on the installation’s name and that of a certain US state (the name also obviously reflecting the setting’s colour palette). And when I say “sleepy”, I’m not writing figuratively; the houses all wear curly night caps of the kind beloved of cartoon, and some have a look about them suggesting they are ready to toddle off to the land of dreams (particularly those with wide-open fronts, even if the large space is really for people to practice balancing on the gently pogoing stools within).

Cica Ghost: Colourado, February 2024

On first encountering them, I thought the denizens of this little hamlet were fruit. I think this was because the first ones I encountered were purple in colour and they put me in mind of the adverts for a certain blackcurrant cordial drink we have in the UK (and which may well be known by other names elsewhere). However, they are in fact potatoes, small and (very) large, and are far from limited to being purple in colour. These happy villagers share there space with a mix of wildlife, all of whom appear to be equally at home in the village and its surroundings, and equally friendly.

As is common with Cica’s installations, there are several interactive elements, so you can sit and chat with a potato, try the stool balancing mentioned above, express your joy through dance under the eaves of house or the balloon-like trees, climb and cross ladders – you can also go for a spin if you wish, although wearing a swimming costume and being prepared to hold you breath are both advisable!

Cica Ghost: Colourado, February 2024

SLurl Details

  • Colourado (Mysterious Isle, rated Moderate)
  1. “The older you get, the more important it is to not act your age.”

Space Sunday: space elevators

An artist’s concept of a space elevator moving along a long tether between its base on a Pacific island and a space station. Credit: unknown

A recent comment on Space Sunday, from Gwyneth Llewelwyn concerning the concept of space elevators got me thinking as to whether or not I should cover this idea in a little more detail – or as much as I can in under 2,500 words! So here we go.

For those unfamiliar with the concept, a space elevator is a proposed means of payload transfer (cargo and people) between Earth and geostationary equatorial orbit (GEO – 35,786 km) by means of large scale transport units called “climbers” moving up and down a cable system generally referred to as a tether. Such a system would, it is claimed, make routine, shirt-sleeve access available to everyone, and would reduce the cost of payloads from the current average of around US $12,125 per kg to as little as US $200 per kg and without the need for all that tedious mucking about with cylindrical things using propellants with a propensity to go BANG! in unwanted ways if given the chance.

Konstantin Tsiolkovsky as he looked around the time he first toyed with the idea of what would become known as a the space elevator. Credit: unknown

The concept actually dates back as far as 1895, when the “grandfather of modern rocketry”, Konstantin Eduardovich Tsiolkovsky (1857-1935) was inspired by Eiffel’s tower in Paris. He calculated that any object carried up a tower reaching as far as GEO would acquire sufficient horizontal velocity during its ascent so has to remain in orbit on reaching 35,786 km altitude and being released.

Tsiolkovsky’s idea was more an exercise in mathematics and orbital mechanics than an actual design proposal; even the title of his paper on the subject was Day-Dreams of Heaven and Earth. He was well aware that any tower built from the ground up would increase in mass to a point where it could no longer support itself and so collapse under its own weight long before reaching any significant altitude.

However, with the arrival of the space age, the concept was reborn, thanks to Yuri Nikolaevich Artsutanov (1929-2019). He actually never heard of Tsiolkovsky’s paper, although he was similarly aware that building up was a non-starter, so he came up with the idea of building down – starting from GEO and using a tensile structure.

He first published his idea in 1959, outlining how a large space station in GEO could be used as an “anchor point” for two cables – one going towards Earth, and the other on the opposite side of the station to counter the mass of the first cable, helping to keep the station in place and, once the Earth cable was anchored to the planet, act as a counterweight to maintain tension throughout the structure.

In writing his paper, Artsutanov also calculated that in order to maintain a constant stress throughout its length, aiding its stability and strength, the cable extending down to Earth would need to tape as it descended, becoming gently narrower and narrower. Thus, he laid the foundations for what has become the most recognised concept for building a space elevator.

A simplified diagram of the space elevator concept. Credit: Skyway and Booyabazooka

Unfortunately, Artsutanov’s work didn’t reach an audience outside of the former Soviet Union until the mid-1960s. By that time, and quite independently, similar proposals for a tensile space elevator had by written by David Edward Hugh Jones (1938-2017) in the UK (1964) and by US engineers J.D. Isaacs, A. C. Vine, H. Bradner and G. E. Bachus in 1966 (although they called their idea the “sky hook”), which led to Artsutanov’s ideas passing largely uncredited until the late 1970s, when his paper finally gained the international recognition it deserved.

Only of the key points of the tensile system has is its potential flexibility of use, as identified and proposed by numerous researchers over the past 60 years. For example, if a waystation were to be built some 8,900 km above the Earth as the tether descended, it would have a gravity environment equivalent to that of the Moon, while a second waystation built some 3,900 km altitude would have a gravity environment equivalent to Mars. These could thus be used as training facilities for crews heading for the Moon and Mars, allowing them to acclimatise to the lower gravity environments.

Similarly a waystation built on the counterweight tether at a distance of 23,750 km from Earth would mean that any satellites or craft released from it would have insufficient velocity to maintain a stable orbit. Instead, they would spiral down towards Earth, gaining a small degree of angular momentum in the process, such that by the time they reached an altitude of 300-400 km, they would be moving at orbital velocity and remain there.

Further, if the counterweight tether was extended out to 100,000 km from Earth, it would provide points from which vehicles and payloads could be released with sufficient velocity to enter transfer orbits to the Moon or the L1 or L2 Earth-Sun Lagrange points; whilst those released from the end of the tether could be sent on their way to Mars and beyond.

All of these ideas helped promote the concept as both potentially viable and very desirable, and by the late 1970s, the idea of the space elevator was starting to enter public consciousness – helped, no doubt in part by science fiction authors like Arthur C. Clarke, who made the space elevator the nucleus for his 1979 novel The Fountains of Paradise (in fact Clarke became so enamoured with the idea, he wrote his own scientific paper on the subject, also published in 1979,entitled The Space Elevator: “Thought Experiment” or Key to the Universe?).

However, despite decades of research and ideas – and even s further resurgence of the idea in the last decade or so, the space elevator is still only a concept and despite predictions to the contrary, is likely to remain so for the foreseeable future.

This is because right now, we simply do not have a material with the necessary tensile strength / density ratio required for a space elevator to support both its own mass and the mass of anything built on it or travelling along it whilst also remaining somewhat flexible. This ratio has been calculated  as being 77 megapascal (MPa)/(kg/m³). By comparison, titanium, steel or aluminium alloys have a tensile strength / density ratio of just 0.2–0.3 MPa/ kg/m³ (and would result in a structure far too heavy and rigid even if they could be used), whilst Kevlar and carbon/graphite fibre are more flexible, lighter a, stronger and better suited – but still only have a ratio of 1.0–4.0 MPa/ kg/m³.

So far, individual CNTs have not been grown any longer than 50 cm, whilst CNT “forests” – CNTs grown together so that they can used to form structures – have yet to go beyond 14 cm length before their structure collapse (for reference, the forest shown above is some 13 cm long and 4 cm across. Credit: Waseda University

Much has been made of carbon nanotubes (CNTs) providing the solution. First invented in the early 1990s, these are tiny tubes about 100,000 times smaller than the width of a human hair with a huge amount of tensile strength for their mass (perhaps as much as 100 MPa / kg/m³. But there is a snag. Thus far, the longest researchers have been able to grow individual CNTS is just 50 cm, whilst CNT “forests” (hundreds of CNTs grown together so that they can be drawn out into a thread-like length (the idea being that the threads can then be woven together in increasing thickness to produce super-strong cables, as well as being used in other ways) haven’t exceeded 14 cm in length when drown out before they start to collapse. Thus, there is a long way to go before CNTs can be used to manufacture something as massive as a space elevator cable.

Diagram showing the (exaggerated for clarity) flexing and bending a space elevator tether undergoes as a result of Coriolis force being impacted on it by an ascending climber. Credit: Skyway

The reason the tether must be capable of flexing and moving is two-fold. Firstly, as climbers ascend and descend along the tether, they either gain or shed angular momentum. This means that an ascending climber will reach a point where its angular momentum is greater than that of the cable it is travelling along. As a result, a Coriolis force will be applied, causing the cable to bend to the west. Similarly, a descending climber will reach a point where its angular velocity is less than that of the section of tether it is travelling along, and the resultant Coriolis force with flex the tether to the east.

Whilst some of this flexing (and the oscillations it might induce in the entire structure) can be mitigated to some degree – the oscillations can be countered by placed the structure’s centre of mass somewhere above GEO, for example, whilst pairing-up climbers so that when one is ascending another of an identical mass is descending so that the forces they apply to the cables of the tether can cancel one another out to some degree – it will still be necessary for the tether to be able to bend, flex and sway (within reason!) in response to forces placed on it through the movement of climbers (as well as natural forces like winds).

The second reason for the tether being capable of movement is a matter of safety: much of the space it will be moving through is cluttered with thousands of satellites and millions of piece of space debris on 10 cm or grater in size. While collisions between such debris and space vehicles are rare, they do occur – so it is essential the tether has a means  – however limited – to avoid any debris large enough to be tracked (and thus risk significant damage on impact) and any satellites in orbit which cannot get out of its way should their orbits intersect with its passage through space.

There are other issues – location of the base station (most of the Earth’s equator is open ocean, after all), power requirements (which will be huge), and so on. However, none of these are actually insurmountable, so in the interests of brevity I’ll take them as read here.

All of which mean that, while the construction of a space elevator is not beyond the realms of possibility – technologies such as CNT production will improve, for example – it is not something we’re likely to see happen in the next few decades. Not that this has stopped some like Japan’s Obayashi Corporation from dreaming, as the video below demonstrates – just take the timeline with a pinch of salt!

But were a space elevator to be built, what would travelling it be like? Well, for a start you can forget the zooming ride depicted on the above video! Whilst being cost-effective means getting payloads to and from GEO as quickly as possible, there are actually limitations as to how fast climbers can realistically ascend / descend in order to avoid over-stressing the cables section they are travelling along.

Speed also needs to be limited to ensure passengers are not subjected to prolonged periods of excess of G-forces. As such, a speed of between 300-400 km/h has been suggested for climbers. Whilst this might sound fast, it actually means that a trip to GEO would take as long as crossing the Atlantic on an ocean liner – 4 to 5 days. Given this, climbers used for passenger operations will have to offer a range of passenger amenities – including the ability to move around relatively feely. All of which means climbers will be fairly substantial vehicles, even if only carrying a modest number of passengers – so forget the Disney-esque all sitting in a little capsule and watching Earth recede behind you and *ping* you’re there; riding a space elevator to GEO is liable to be quite the experience!

Which brings me to a final point in this rapid-fire run-down of the concept. And that’s the fact that perhaps the space elevator is best suited for use not here on Earth, but on Mars (as identified by Kim Stanley Robinson in his Mars trilogy). There are several reasons for this.

Mars’ gravity is 38% that of Earths. This means its equatorial orbit distance is just 17,032 km above the planet. These facts combine to mean that not only can a Mars space elevator be much smaller (or shorter, if you prefer) than one on Earth, it could be built out of existing materials – no need for exotic CNTs. That said, there are two slight hiccups with this idea. first, we have to actually get to Mars and reach a point in its development where a space elevator is warranted. Secondly, Mars’ inner moon, Phobos, orbits inside the planet’s equatorial orbit distance, crossing the equator every 5.8 hours. As such, it presents a significant threat to any space elevator, which must therefore have an ability to move itself aside on those occasions went it and Phobos would otherwise be occupying the same volume of space.

However, most intriguingly is an idea to use Phobos itself  – which is tidally locked with Mars, so always has the same side facing the planet) as the platform for a novel space elevator system. This would see two tethers built out from the Moon – one towards Mars and the other as the counterweight – to a distance of 6,000 km. This would place the end of the Mars-facing  tether just above the denser atmosphere of the planet, and travelling some 0.52 km/s fast that the planet is rotating. Craft could then be launched from Mars with a delta-V of just 1,872 km, much less than required to reach orbit, to dock with the tether as it skims around the planet, and / or landers could be dropped off to touch down without the need to slam into the atmosphere at Mach 25.

The Phobos space elevator concept. Credit: National Space Society

Meanwhile, the counterweight end of the tether would by moving at 3.2 km/s – just 1.8 km/s short of Mars escape velocity. So it could be used to start payloads on their way back to Earth with only minimal propellant needs at launch – or it could give a kick-start to crewed vehicles designed to rendezvous with a Mars cycler craft as it skips around the planet, allowing the crew to make a return to Earth aboard the cycler, again for far least propellant use than would be required with a launch from the planet’s surface.

Again, this is not intended to be an in-depth look at space elevators, so there are aspects I’ve not mentioned or glossed over to piece this piece to a reasonable length. However, if the subject is new to you, I hope this acts as a reasonable primer, and we’ll be back to the more usual format for Space Sunday next week!

Sunday February 4th, 2024 is Mole Day in Second Life

Temple of the Prim, one of the many Mole builds to be found around Second Life

Sunday, February 4th, 2024, marks the annual Mole Day celebrations in Second Life, and all SL residents are invited to attend festivities at the Bay City Fairgrounds, North Channel.

First held in 2010, Mole Day honours the members of the Linden Department of Public Works (LDPW), affectionately known as the “Moles”, resident builders and scripters contracted by Linden Lab to work on a wide range of projects in support of Second Life.

Since their inception, the Moles have have been responsible for many of the larger in-world Mainland development projects – most notably Bellisseria and the Linden Homes, although they created many of the more famous sights in Nautilus and elsewhere, as well as undertaking initial development of Zindra, the Adult continent and the futuristic-themed Horizons. They also maintain the Mainland road and rail infrastructure and Mainland waterways.

Beyond that, the Moles help develop content such as “new starter” avatars, including the Senra brands; they help develop and build Linden Games (and the Portal Park), play a key role in support Linden Lab partners in developing themes regions (such as the Motown Experience), and provide input and support to some of the out-world LL web properties.

One of the first major projects undertaken by the Moles was that of developing Bay City – hence the City’s annual celebration honouring them.

Normally held on the same day as Groundhog Day in the United States, Mole Day is open to all residents wishing to join in with the festivities, and will take place at the Bay City Fairgrounds on February 4th commencing at 11:00 SLT. The event will feature DJ GoSpeed Racer of KONA stream followed by a live performance from Evee Blackstar (Harleen Jester) at 12:00 noon SLT.

About Bay City and the Bay City Alliance

Bay City is a mainland community, developed by Linden Lab and home to the Bay City Alliance. The Bay City Alliance was founded in 2008 to promote the Bay City regions of Second Life and provide a venue for Bay City Residents and other interested parties to socialize and network. It is now the largest group for Residents of Bay City.

Related Links

2024 week #5: SL CCUG meeting summary

Hillvale Beach, December 2023 – blog post

The following notes were taken from my audio recording and chat log transcript of the Content Creators User Group (CCUG) meeting held on Thursday, February 1st, 2024.

  • The CCUG meeting is for discussion of work related to content creation in Second Life, including current and upcoming LL projects, and encompasses requests or comments from the community, together with viewer development work.
  • As a rule, these meetings are:
    • Held in-world at the Hippotropolis Campsite, where it is chaired by Vir Linden, in accordance with the dates and times given in the SL Public Calendar.
    • Conducted in a mix of voice and text.
    • Open to all with an interest in content creation.
  • The notes herein are a summary of topics discussed and are not intended to be a full transcript.

Official Viewers Status

  • The Maintenance W RC viewer – bug and crash fixes – updated to version 7.1.3.7701974306 on January 31st, January 31, 2024.

The remaining official viewers stood unchanged from the start of the week at the time of the meeting:

  • Release viewer: version 7.1.2.7215179142, formerly the glTF PBR Materials Maintenance RC, issued December 15, promoted January 8, 2024 – numerous bug fixes and improvements.
  • Release channel cohorts:
    • Emoji RC viewer, version 7.1.3.7453691714, January 22, 2024.
    • glTF PBR Materials Maintenance-2 RC viewer, version 7.1.3.7467259489, issued January 12, 2024.
    • Maintenance X RC, version 7.1.1.7088410646, December 7 – usability improvements.
    • Maintenance Y RC, version 6.6.17.6935642049, issued November 21 – My Outfits folder improvements; ability to remove entries from landmark history.
  • Project viewers:

General Viewer Notes

  • The Emoji viewer is still on the path towards an RC update, and it is still hoped it will get promoted to de facto release status Soon™.

Graphics / glTF

  • The “glTF featurettes” work is progressing, with the viewer following the current glTF Maintenance-2 RC viewer set to include:
    • Geenz Linden’s work on Hero reflection probes and reflections / mirrors and Cosmic Linden’s work on applying glTF materials to terrain.
    • Updates which will allow the glTF / PBR swatch boxes in the Build / Edit floater display previews of the materials being selected, rather than grey boxes.
    • Possibly, the first series of additional glTF extensions – Index of Refraction.
    • These capabilities (together with 2K textures support – see below) will be sitting behind debug settings, and so a) will need to be enabled by those wishing to test them; b) should be understood to be incomplete features subject to update and change / possible breakage.
  • 2K Textures:
    • The Lab is starting to assess the potential to allow 2K textures within SL. Such support will require “careful assessment” in terms of VRAM footprint, the risk of out of memory crashes on older systems and the like.
    • Runitai Linden believes that if there are issues with the viewer attempting to load a full 2K texture even when it is very small (or very distant), then it is a case of making the viewer “smarter” it terms of how it handles and samples / loads textures.
    • Support for 2K textures is available for general testing on Aditi (the Beta grid) within the RumpusRoom 2048 region.
    • One identified win is seen as terrain texturing, as 2K terrain textures at the region level should not overly tax systems and eliminate the current issues of blurriness / low texel density.

Mirrors

  • Work has been continuing of late, with what is described as a “significant” increase in reflection quality, and is starting to look “correct” as well as working with PBR.
  • Further performance tuning is required, and the clipping is “off in a lot of circumstances”.
  • The focus is on presenting planar reflections (utilising a cub map generated by a “Hero” reflection probe which is selection on the basis of the avatar’s proximity to it), with Geenz Linden noting it has the potential to allow more “fancy things” down the road.
  • It was noted that the approach taken has to offer a balance between intended use (to create actual mirror surfaces) against unintended uses (such as using the mirror capability within a highly polished floor), rather than trying to enforce some nebulous rule of “this functionality is ONLY for mirrors”), as well as taking into the consideration that it needs to be relatively easy to use.

Terrain

  • Cosmic Linden has indicated that once the PBR shader, etc., is working for terrain as per her current project, consideration is being given to allowing the same terrain shader to in-world objects.
  • So, for example, a mesh tunnel might be created and placed in-world, and then the outer face of the model set to display whatever the surrounding terrain might be.

“Combat Committee”

A reminder that:

  • The first meeting of the “Combat Committee” User Group will be held on Thursday, February 8th, at 13:00 SLT, and so will be alternating with the Content Creation User Group.
  • The venue for the meetings will be:  Longfellow/142/255/30.
  • The initial format for the meetings will be text-only, but this may become a mix of voice / text according to attendees’ preferences.
  • Further details are available on the SL wiki, and the meeting is now on the SL Public Calendar.

Rider Linden acknowledged the fact that I (aka “someone”) had pointed out having two user group meetings with the same abbreviation (CCUG) alternating between the same time slot on the same weekday might be confusing for some (even if the meetings are in different locations), so the name for this meeting might be changing.

In Brief

  • The transition from Jira to Github Issues  / Canny is still in progress at LL and is taking up resources and time, hence the slow-down in some areas of work (such as RC viewer updates. As per previous reporting, the work is due to be completed by the end of February, when Jira will cease to be used.
    • The use of Canny remains a source of unhappiness among those who tend to raise bug reports, largely as a result of its limited functionality in some areas (such as no support for any other attachment type other than static images).
    • The Lab is continuing to work with the Canny development team to try to improve things.
  • As was noted in the previous CCUG meeting, the placing of incomplete features (such as the glTF terrain and mirrors functions mentioned above) behind debug settings is a part of a more general move to add features and capabilities to the viewer more iteratively, allowing individual capabilities to be added (and potentially tested on a limited basis by those interested), but only fully exposed to all users once they have been validated / have any required supporting functionality / capabilities available to them.
  • There was a general discussion on the viewer UI and how it tries to meet the needs of very different groups of users  – content creators and “general” users, and how it might be made more responsive to specific modes of use – if you are using the viewer to explore, take photos, play a game in-world, and carry out basic building / editing, etc., then the viewer can be run in a “generic” mode to do all of these things, but if precision tools are required for design and creation, then the viewer can be switched to a mode which provides more specialised options through floaters and menus.
  • The question was asked that if SL is to support the “entire” glTF specification, including animations, does this mean future support for custom skeletons, and if so what does that mean for the current animation marketplace (e.g. preventing confusion as to what will / will not run against different skeleton types).
    • Runitai Linden’s viewer was that if custom skeletons are to be supported, then it would require suitable tools which allow for animation / joint retargeting (e.g. animations made for the current Bento skeleton could be retargeted of any other given skeleton, and vice versa). However, whilst there are tools to achieve this, they would require investigation and assessment.
    • There are limitations on how far retargeting will go, however (and it will not be entirely devoid of creator intervention), so if custom skeletons were to be allowed in SL, it was noted that expectations could be in part managed by specifying with which actual skeleton(s) the offered animation / avatar, etc. has been designed to work.
  • Concern was raised as to the constraints which might be applied if SL has an open gateway to importing glTF meshes from external sources such as SketchFab, where the content may well look pretty but is hardly appropriate for real time game rendering, the view being the Land Impact alone is not going to be sufficient.
    • The view from the Lab is that there will be some form of weighting system at import, at least analogous to Land Impact, but better suited for the acceptance / rejection of content, and this will vary for different content types (e.g. glTF scenes might be assessed of number of nodes, how many bytes in the asset, how many instances of the asset, etc.).

Next Meeting

† The header images included in these summaries are not intended to represent anything discussed at the meetings; they are simply here to avoid a repeated image of a gathering of people every week. They are taken from my list of region visits, with a link to the post for those interested.

Studies in light and shadow, and Photopoetry in Second Life

Gallery Asaki Yume Mishi, Jan / Feb 2024: Noa Cloud – Photopoetry

I recently had the opportunity to visit two small and very different art exhibitions presented by two diverse creative talents in Second Life; and while they are entirely unrelated in terms of their visual composition and content, both appealed to me in such a way that writing about both within a single article struck me as not unreasonable.

The first is a very modest – I wish it were more extensive! – exhibition by Noa Cloud, presented at the Gallery Asaki Yume Mishi, which has a novel underwater setting. Noa is perhaps best known amongst SL explorers as the holder and creator of [REN], with its seasonal designs and opportunities for photography (and which is also the home of his own gallery); however, he is also a gifted writer, a musician and actor, and an explorer of Second Life as well as an expressive photographer of both avatars and Second Life landscapes.

Gallery Asaki Yume Mishi, Jan / Feb 2024: Noa Cloud – Photopoetry

Within Photopoetry, Noa combines both his writing and his photography both directly and indirectly. Directly, because within the selection of pieces is a slideshow featuring all six of the presented pieces taken from around Second Life, each with its own single-stanza poem presented in both Japanese and English. As I don’t speak Japanese myself, I cannot say of they all form traditional Haiku, but the flow of their English metre suggests they are free-form Haiku (which do not necessary follow the 5-7-5 on), and each certainly has an implied kigo.

Indirectly, because while the combination of each image with a poem leans the observer into a line of thought suggested by the poet-artist, Noa also includes the six pieces individually around the gallery space (and within the slideshow prior to its accompanying poem gently fading-in), allowing visitors to view them free from any suggestion of rhyme and meaning. Thus, each piece is able to speak to us in its own right – and there is much each has to say; Noa’s photography carries within it a mix of homage to Nature’s beauty – often combined with a sense of spiritual reflection or uplift – together with a hint of mystery or social commentary, all of which makes for a thoroughly engaging visit.

Nitroglobus Roof Galley Annex: Frank Atisso – Shadows and Strength

Frank Atisso is also well-known within Second Life. He was the founder of the Art Kornersl blog which later morphed into the Art Korner Exhibits HUD and the Art & Photography Calendar. He also founded the Art Korner Gallery and currently co-runs the Artsville Hub, exhibitions at both of which have been, and continue to be, featured within this blog. And if that weren’t enough, Frank also keeps himself busy as a DJ in-world! However, his work as a photographer is something which may be less well known, and so his exhibition at the Annex of Dido Haas’ Nitroglobus Roof Gallery offers an excellent opportunity for those who have not done so to acquaint themselves with it.

Entitled Shadows of Strength, this is an exhibition of male semi-nudes (something of a rare subject in SL!) which are specifically designed to explore the complex interplay of light and shadow within photography. Presented as chiaroscuro greyscale pieces, the nine images comprising Shadows of Strength are on a technical level a perfect embodiment of the technique: using bold contrasts (light / dark) to frame the entire composition and achieve a sense of volume and depth in modelling three-dimensional objects and figures within a two-dimensional canvas.

Nitroglobus Roof Galley Annex: Frank Atisso – Shadows and Strength

However, these are pieces that achieve for more than a technical embodiment of a technique. Such is the subtle interplay of contrasting light and dark in all their varying volumes and as determined by the subject’s pose and the positioning of the (off-camera) illumination, the eyes is naturally drawn to the manner in which both light and shadow ebb and flow across the subject, both of them giving subtle emphasis in their own way to changing skin and muscles tone which also highlighting features and hiding others to give an intrinsic and life-giving depth to each piece.

Thus, within each of these pieces we have not only a single-frame study of the human form and the use of light and shadow, but also an exploration of mood, thought, emotion, even vulnerability (particularly in those images where the subject is not looking at or towards the camera), conveyed as narrative threads to further engage the eye and mind.

Nitroglobus Roof Galley Annex: Frank Atisso – Shadows and Strength

Both Photopoetry and Shadows of Strength will remain open through February 2024, and I recommend both to fellow patrons of the arts in Second Life.

SLurl Details

Checking out the Second Life Community Exhibition

Second Life Community Exhibition (SLCE), January 2024

On Tuesday, January 30th, 2024, Linden Lab announced the opening of a major new addition to their Welcome Hub / Motown Experience gateway, which itself opened in June 2023, as I wrote about in Linden Lab and Motown: a new approach to user on-boarding in Second Life.

The new addition – called the Second Life Community Exhibition (SLCE) – is designed to occupy north-west corner region of the nine-region Lab-managed estate, replacing what had been the laser tag area. However, at the time of writing it was limited to a smaller area extending outward from the main Welcome Hub region, between the Motown and and shopping regions. In terms of it’s purpose, it is intended to do exactly what the name suggests: provide active communities within Second Life with the opportunity to promote themselves to both established users visiting the Welcome Hub and its associated regions as well as to incoming new users arriving at the Hub.

Following the design design aesthetic of the Welcome Hub, the Community Exhibition area currently has room for some 32 community displays, with eleven occupied for the opening. According to the official blog post on the Exhibition, the displays will be cycled between communities as time goes on, in accordance with the response of new users to the various displays when visiting the exhibition – a statement which tickles my curiosity as to how such “resonating” will be measured (purely on the basis of the number of teleports from any supplied portal? If so, what about those displays providing access by giving landmarks or HUDs?).

Second Life Community Exhibition, January 2024

The ten communities initially presented comprise: Boystown (LGBTQ+ friendly), Drivers of SL (hosts of the famous Grid Drive events, as well as helping to represent sailing and flying in SL), Virtual Ability Inc., Non-Profit Commons, Club Furzona (Furry community focused on music, writing, animation and 3D modelling amongst much more), BURN2 (the unofficial virtual celebrations marking the physical world Burning Man traditions), plus four well established communities offering people both a sense of community and a place to live: Bay City, the Caledon community and estate, the Confederation of Democratic Simulators (CDS) and (my “home town” of) Second Norway.

Linden Realms is also represented, although it’s hard to consider it a “community” in the traditional sense. However, of all the Linden games introduced into Second Life, it does seem to be the one with the most enduring popularity, and it certainly offers the potential for new users to make friends whilst racing around and collecting gems, so its inclusion shouldn’t be sneered at.

Second Life Community Exhibition, January 2024 – expansion area for further community displays

Nor are these merely static informational areas – the aim is to both promote communities to Second Life residents and bring residents into the communities. As such, and as indicated earlier in this piece, each participating community is expected to provide some form of access into their community / experience, be it via teleport portal or HUD landmark giver, etc. In addition, communities can provide links to other resources they might have – websites, Discord channels, etc., – and displays / exhibits can utilise multi-media, etc.

Communities wishing to join the Exhibition can do so via the SLCE application form, which includes general guidelines on requirements / expectations. As to the rest, I’ll leave it to Strawberry and Patch Linden to discuss, via the Lab Gab recording below.

Overall, this would appear to be a good initiative – outreach to new users (and even existing users) is something communities and groups within Second Life can find difficult, so providing what is very much a “doorstep” opportunity to reach people through a  physical resource like this is something a broad cross-section of communities and groups could find beneficial, allowing for acceptance and length of time(s) featured within the Exhibition space.

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