Sansar: R26 – the thumbs-up release

The new avatar VR gesture and ability to hold objects correctly – parts of the R26 Thumbs Up release. Credit: Linden Lab

On Tuesday, October 9th, Linden Lab issues the October release for Sansar (R26). Called the thumbs-up release, it includes some significant updates and additions, not all of which I can review in-depth, simply because they are VR-oriented. However, the VR such is not perhaps the most significant element within the release – although it is impressive.

This article is designed to provide an illustrative summary of the release, but do note the lack of an VR headset and controller on my part means that any features described in detail here are looked at from the Desktop Mode.

The full release notes for R26 are available here.

Permissions / Licensing System

This is perhaps the most anticipated element within the release. With it, content creators can now set permissions against their goods, allowing them to be sold and re-sold via the Sansar Store.

Resale Price and Buyer’s Permissions

Sansar’s permissions system is built around the concept of the supply chain: creators can sell complete items “as is”, or they can create items – such as components as well as complete objects like a house or a suite of furniture, etc.,), expressly for other creators to use in their own creations which can also be sold on to consumers, with both the maker of the object and the creator of the original item receive payment.

This means, for example, a creator might make the engine and gearbox for use in cars and place them for sale / resale in the store for use in vehicle products built by others. When one of those vehicles is subsequently sold, the creator of the engine / gearbox receives a commission from the sale.  To achieve this, the permissions  / licensing system has two key elements:

  • The Resale Price: set by the original creator, it defines the price at which the item must be resold and is their commission on any re-sales of that item / any objects in which it is used. So using the car engine / gearbox example, if the resale price for these is set at S$400, then anyone building a car using them must factor this amount into their car price, as the engine / gearbox creator will receive S$400 from the sale of each car using the engine / gearbox.
  • The Buyers Permissions: set by the creator of an object sold via the Store, these define what purchasers can change with the object when they have bought it.
Creators can now set permissions on the elements in their objects purchasers can change, or they can opt to offer then with full permissions. Credit: Linden Lab.

There are some important concepts around resale prices and buyer’s permissions, so please read the official documents linked to above – particularly the small print.

Additional Notes On Permissions

  • Save to Inventory: Objects with edited properties or with additional components can now be saved from a scene in Edit mode back to inventory.
    • With this release, it is still not possible to join two objects together.
    • Note: Legacy items created by other store sellers cannot be saved back to the inventory.
  • Licensing: Any item uploaded to Sansar or saved back to inventory will not contain a basic license with information of the avatar uploading / saving it. This is part of the mechanism to allow items to be resold and commissions paid.
  • Disable materials editing: it is no longer possible to change the materials of legacy items purchased prior to this release. For new items, materials editing can be enabled by giving full editing permissions or limit it by setting it to property changes only.

Store Integration

With the September 2018 R25 release, Linden Lab took the first step towards integrating the Sansar Store into the client. At that time, users could browse the store from within the client, but when wishing to purchase an item would be transferred to the web version of the Store in their browser to complete their purchase.

With this release, purchases can now be completed within the client.

With R26, it is possible to browse the Sansar Store within the Sansar client and complete purchases from within it as well

Continue reading “Sansar: R26 – the thumbs-up release”

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Sansar “watch room” contest: S$5,000 + Oculus Rift

Courtesy of Linden Lab

Linden Lab is running another Sansar experience creation competition, this one with a S$5,000 first prize (equal to US $50) and an Oculus Rift headset and touch controllers (approx US $400) up for grabs.

For this competition, entrants are asked to build a “watch room” – a space where people can gather to watch a media stream on one of three topics: anime, sport or pets. The “watch room” can be as complex or as simple as entrants desire, so long as the environment matches the subject matter of the media stream (so if the video is of pets, then pets should feature in the experience design).

The Dotaworld lounge space, by Sansar’s Community Manager, Eliot, is offered as a suggestion for a simple “watch room” layout – although entrants to the content should decorate their environments to match the style of media they have chosen

Videos themselves should be drawn from Twitch, YouTube or Vimeo, and should be played on a purpose-built media surface, or a suitable media surface obtained through the Sansar Store, some examples of which include:

All of which are available for download and use free-of-charge.

Entries are made by publishing completed entries in the Sansar Atlas and then sharing a link to the experience on Twitter, using the hashtag #MySansarLounge and tagging @SansarOfficial with the link.

OpTic Gaming’s official Greenwall VR Sansar experience could be considered an example of a more complex watch room style of experience

The closing date for entries is Sunday, September 30th, 2018. The full rules for entry can be found on the Sansar website, with perhaps the most important being that experiences entered into the competition cannot break copyright law or feature intellectual property – including the media stream – that the user does not own the rights to.

More Star Trek in Sansar: the Roddenberry Nexus

Sansar: Roddenberry Nexus; Inara Pey, August 2018, on FlickrSansar: Roddenberry Nexus – click any image for full size

In May 2018, Linden lab via their design team of Sansar Studios launched a collaboration with Roddenberry Entertainment, run by Eugene “Rod” Roddenberry Jr, the son of Star Trek creator Gene Roddenberry. It saw the opening of a new experience, The Bridge of the USS Enterprise (read here for more) and came with a promise of “more to come”, probably around the time of the Star Trek Las Vegas 2018 convention (Auguest 1st through 5th, 2018). Well, in keeping with that promise, on Wednesday, August 1st, Linden Lab and Roddenberry Entertainment unveiled the next step in their Sansar collaboration.

The Roddenberry Nexus is billed as “the final frontier of fan engagement. Experience the legacy of Roddenberry in a whole new way – never-before-seen props, costumes, and so much more.” And it is a beautiful build; albeit one perhaps a little light (for the time being) on the kind of detail Trek fans like myself might like to see.

Sansar: Roddenberry Nexus; Inara Pey, August 2018, on FlickrSansar: Roddenberry Nexus: The experience is fairly complex, starting at the spawn point, bottom right, proceeding through the lower exhibition space, thence via corridor to a teleporting “turbo elevator” to the upper three galleries, which are linked by a central lift platform

The spawn point for the experience is very mindful of the cabin designs seen in 1979’s Star Trek: The Motion Picture (ST:TMP), complete with corner lighting column. Here one can listen to an introduction to the Nexus from Rod Roddenberry before passing through the waiting door into a ship’s corridor.

This leads to the first display room, which, other than the couch at the far end is a little suggestive of the engineering space found in the Enterprise-D of Next Generation fame. It i dominated by a model of the McQuarrie concept for a radically altered USS Enterprise design, which is seated on what could otherwise be taken to be representative of Geordi La Forge’s engineering table.

Sansar: Roddenberry Nexus; Inara Pey, August 2018, on FlickrSansar: Roddenberry Nexus: personal memorabilia from the lives of Gene and Majel Roddenberry, reproduced in Sansar

This was the design (seen at the top of this article) being considered for one of the potential returns of Star Trek following the 1969 cancellation of what was to become known as a The Original Series (TOS). This design is perhaps most readily associated with the unproduced TV series, Star Trek: Phase II, however, as the text accompanying the model notes, originally, the design was put forward for a Star Trek film, Planet of the Titans, which was pushed to one side in 1977 in favour of the new TV series concept. While both film and series were ultimately never made, as every Trek fan will know, and as the text again confirms, the design did make two on-screen appearances in Star Trek; The Next Generation, and formed the inspiration for the Crossfield class of vessel seen in the latest incarnation of TV-based Trek, Star Trek Discovery.

Also to be found on this level are some wonderful miniatures representing props from the original series and Trek’s first big screen outing. There are also models more personal to the life of the Roddenberrys: a reproduction of the Kaypro wordprocessor model used by Gene Roddenberry after he gave up on the typewriter (a computer perhaps made most famous by science fiction author Sir Arthur C. Clarke), a copy of Majel Barrett-Roddenberry’s personalised car license plate, and a model of the infamous IDIC Medallion.

Sansar: Roddenberry Nexus; Inara Pey, August 2018, on FlickrSansar: Roddenberry Nexus: recalling the 1973 Star Trek animated TV series

Beyond this, on the additional levels, reached by teleport and a working elevator, can be found more in the way of reproductions of various Trek uniforms, together with artwork from (again) ST:TMP in the form of storyboard sequences, and also from one of the more overlooked aspects of the franchise – the 1973 animated series. Additional displays along the corridors complete the initial content, while communications panels spaced throughout the experience provide audio information from a range of hosts, all of whom have ties to, or worked on, the various Trek incarnations.

In terms of the individual series and films, the Nexus is perhaps a little light: The Motion Picture gets fair coverage, but the other films – outside of things like uniforms and insignia – are almost entirely absent. However, Trek is a big subject, and much of the latter history is more than likely fairly familiar to most Trek fans, so this can perhaps be forgiven, particularly as the Nexus will be expanded over time. The infamous Kelvin Universe and Star Trek Discovery are present, albeit in a most subtle manner (check the insignia display along one corridor). It’s also probably not unfair to say that trying to cover everything  – even leaving aside 52 years of history being voluminous – is likely made more difficult by the complex web of rights involved in Trek (CBS holding the television rights, Paramount retaining the big screen rights and so on).

Sansar: Roddenberry Nexus; Inara Pey, August 2018, on FlickrSansar: Roddenberry Nexus: prop from The motion Picture (l), the original TV pilot of The Cage (c) and The Original Series (Klingon disruptor, r)

Those attending  STLV 2018  have the opportunity to visit the Nexus in VR – and possibly wind an Oculus headset and “Roddenberry Goodies” in a raffle. There weren’t too many people availing themselves of the experience during my three visits – but then, I’m across the Atlantic and half a continent away from Las Vegas, so it’s unlikely my visits coincided with times when I was in the experience (05:00 and 07:00 Las Vegas time on my 2nd and 3rd visits).

As a means to attract an audience, approaches like this – offering something unusual and with a guaranteed niche audience – is a subtle way of increasing people’s awareness of Sansar, if not a guarantee of obtaining extended growth in terms of active engagement. Certainly, if it is emphasised the Nexus and The Bridge of the USS Enterprise can both be accessed from PC systems without the need for VR and the Nexus is to be grown in scope, it might encourage some of those visiting by way of STLV to keep an eye on Sansar for the future. That said, I am a little surprised that while the spawn point offers a teleport to the Hollywood Art Museum, there doesn’t appear to be an opportunity for people to hop over to The Bridge of the USS Enterprise.

Sansar: Roddenberry Nexus; Inara Pey, August 2018, on FlickrSansar: Roddenberry Nexus: reproductions of storyboard art from Star Trek: The Motion Picture

Given the niche nature of Trek fandom in the global scheme of things, the fact that Linden Lab have struck up a working relationship with Roddenberry Entertainment led me to wonder how many Trek fans might be at the Lab. It was a question, alongside one concerning future plans for the Nexus, that I was able to put to Jason Gholston, who heads-up the Lab’s Sansar Studios.

Yes… Many Trek fans at Linden. Sansar Studios’ Torley loves Star Trek! This is just the beginning. We should see the Roddenberry Nexus expand in time! So many fantastic stories to tell and artefacts to share.

– Jason Gholston, head of Sansar Studios, on support at the Lab for Star Trek and future Nexus plans

So why not pull out your communicators / tap your combadges and beam over to the Nexus!

Experience URL

The Smithsonian American Art Museum in Sansar

No Spectators: The Art of Burning Man – Truth is Beauty, by Marco Cochrane

Monday, July 23rd saw the launch of the latest joint venture Sansar experience developed by Linden Lab’s Sansar Studios and Intel, who this time are working with The Smithsonian American Art Museum (SAAM) to present No Spectators: The Art of Burning Man, an intriguing experience that helps demonstrate the potential of VR in bringing art and culture from the physical world to those not readily in a position to visit them first-hand.

No Spectators: The Art of Burning Man is also the title of a physical world exhibition at SAAM’s Renwick Gallery in Washington DC, that runs through until January 21st, 2019 and which serves as the inspiration for the Sansar experience.

As the name implies, the exhibition is a celebration of art from Burning Man, the annual experiment in community and art, influenced by ten main principles, held in the Black Rock Desert of north-west Nevada (and which will be very familiar to many Second Life users). The Sansar experience offers a faithful reproduction of the exhibition in a space modelled directly on the interior of the Renwick Gallery itself.

No Spectators: The Art of Burning Man – Tin Pan Dragon by Duane Flatmo

The physical world exhibition is a collaboration between SAAM, through its Lloyd Herman Curator of Craft, Nora Atkinson, and the Burning Man Project, the non-profit organisation responsible for producing the annual Burning Man event in Black Rock City, and takes its name from a saying common among those who attend the Playa the area in which Burning Man is held.

“‘No Spectators’ is a long-standing saying on Playa. You are encouraged to fully participate. It’s all about being there, being fully present, and not just observing. Two of the ten principles of Burning Man are radical participation and radical inclusivity, meaning that there are no outsiders. Everyone is part of the experience.”

– Nora Atkinson, Lloyd Herman Curator of Craft, Smithsonian American Art Museum

Nora Atkinson has also been instrumental in bringing the exhibition to Sansar. The Smithsonian has a mission to reach a billion people globally with its art, and VR is one of the means the museum has identified as allowing them to achieve that goal – although the idea to use Sansar as a medium originated with Intel.

No Spectators: The Art of Burning Man – Paper Arch by Michael Garlington and Natalia Bertotti, with the version at the Renwick inset

Over the course of the last year, the technology giant has been building a relationship with Linden Lab and Sansar. In January 2018 for example, Intel’s entire Consumer Electronics Show (CES) booth was reproduced within Sansar, together with a walk-through model of the Intel 8th generation CPU core. Nor was that all, Intel introduced the Sansar Ready Player One experience, Aech’s Garage (and reviewed here) to the world through CES, featuring it and Sansar in a keynote address at CES given by Intel’s CEO, Brian Krzanich.

Nor has that been all, Sansar later went on tour (so to speak) with Intel, turning up at places like the 2018 Sundance Film Festival, where Sansar has again be on demonstration under the hashtag of #FutureofStorytelling, which has been strongly associated with VR.

Intel has also worked in the past the the Smithsonian, producing Beyond the Walls, a room-sized VR experience, developed for the HTC Vive system. It reproduced a garden that American writer Henry Adams, created, featuring a sculpture by Augustus Saint-Gaudens, in memory of his late wife, Marian Hooper “Clover” Adams. That experience was so successful, Intel sought to work with the Smithsonian again, and the Renwick exhibition and Sansar came across as a perfect match.

We had an idea that VR would be a compelling medium to take people to places they haven’t gone to, or will never go to, and produce really meaningful experiences.

– Raj Puran, Intel’s Director of Business Development

No Spectators: The Art of Burning Man – Evotrope by Richard Wilks with Michael Conn and Victor Rodarte. The archway to the left is the teleport to the Playa experience

Within Sansar, No Spectators: The Art of Burning Man is home to reproductions of some of the iconic pieces from the Renwick’s physical world exhibition, including the towering Truth is Beauty, by Marco Cochrane, and the beautifully intricate Paper Arch by Michael Garlington and Natalia Bertotti. The latter has been especially reproduced by the artists for the Smithsonian exhibition, given the original was actually burned at Burning Man.

The startling thing with all of the pieces on display is the level of detail within them. Within VR / first person, it is akin to getting right up close and personal with the “real thing” on a 1:1 scale that is truly unlike many other art environments. Get right in close to Truth is Beauty, for example, and the extraordinary intricacy of the original’s design is revealed.

Currently, the Sansar team, working with the Smithsonian and Intel, have reproduced the ground floor exhibition spaces at the Renwick – the first floor halls are part of a project to be unveiled soon. Intel have also produced a video (below) which intriguingly shows a holographic approach to displaying some of the art: an open space where avatars can select and rez additional works. I’m uncertain if this is meant to be part of the actual Sansar experience, the pieces seen in the video are actually displayed in the “Playa” – an “outdoor” space reached by passing through an arch (and experience teleporter) at the back of the ground-floor exhibition halls – perhaps it’ll appear in the future.

As noted above, No Spectators: The Art of Burning Man is part of an extensive project between Intel and the Smithsonian to digitise more of the museum’s 157 million objects and present them through the virtual medium as transformative and engaging educational / cultural experiences – although it’s not at this time clear how extensive Sansar’s role will be within this broader project.

As a part of the work, Intel has indicated that Beyond the Walls will be re-released in 2018, featuring the art of Saint-Gaudens, together with that of sculptor Hiram Powers, painter Frederic Edwin Church and contemporary media artist Alex Prager.

The Playa is an outdoor exhibit annexed to No Spectators: The Art of Burning Man. This is a little more of a disappointment, coming over as a haphazard display without any real context for the Burning Man Playa. Given the Renwick’s own exhibition spills over into outside spaces, it would perhaps have been nice to see this experience reflect that. But perhaps there is more to come here as well; or perhaps it is simply a holding space for art to be added to the next phase of the No Spectators experience …

As someone who has a passion for real and virtual art, I can honestly say I’m looking forward to seeing how experiences like this ground within Sansar as the capabilities of the platform continue to be built out and allow for more imaginative ways by which visitors to such exhibits can interact with, and learn about, the art they present.

With Sansar, we hope not only to make the museum experience more accessible, but to also empower people to curate experiences of their own and share their unique perspectives with the world. We’re thrilled to be supporting this transformation of art and education, and we’re excited to find forward-thinking partners in Intel and the Smithsonian.

– Jason Gholston, Head of Sansar Studios

Experience URL and Related Links

 

Lab issues a further e-mail on EU GDPR and user privacy

On May 25th, 2018 the European Union’s General Data Protection Regulation (GDPR) comes into force. While an EU regulation, the GDPR not only applies to organisations located within the EU but it will also apply to organisations located outside of the EU if they offer goods or services to, or monitor the behaviour of, EU data subjects.

Earlier in May, the Lab issued a blog post providing an initial outline of their compliance with the GDPR, which covers both Second Life and Sansar. In that post they promised they would provide further details on how EU citizens can exercise their rights under the GDPR. On May 24th, they issued an e-mail summarising updates to their Privacy Policy. The e-mail reads in full:

We value our relationship with our community and your privacy.  We have updated our Privacy Policy to increase transparency and comply with the European Union data protection law known as the General Data Protection Regulation (GDPR), which goes into effect on May 25, 2018. We encourage you to read our policies in full, but here are some highlights of what’s changed:

  • We provide additional details about the types of data that we collect, the ways in which we use it, and the measures we take to keep your data safe,
  • We added information about new choices and controls for users to manage their privacy, and
  • We added information about user’s rights regarding their privacy.

The updates to our policies will go into effect on May 25, 2018.  If you have questions, please contact us at privacy@lindenlab.com.

Thank you for being part of the Linden Lab community!

The Linden Lab Team

The specific sections of the Privacy Policy that have been updated are:

Obviously, you should read the privacy Policy in full, rather than just these sections. The above list is provided only as a guide.

Captain’s Log: on the bridge of the USS Enterprise in Sansar

The Bridge of the USS Enterprise; Inara Pey, May 2018, on FlickrThe Bridge of the USS Enterprise, NCC-1701 in Sansar

Tuesday, May 22nd saw the launch of a new  enterprise for Sansar, with the public opening of a model of one of the icons of the original Star Trek TV series: the Bridge of the USS Enterprise, NCC-1701.

The experience has been developed as a joint venture between Roddenberry Entertainment, run by Eugene “Rod” Roddenberry Jr, the son of Star Trek creator Gene Roddenberry, and Linden Lab through Sansar Studios.  It has been designed as a tie-in with the Mission Log Live podcasts / live streams hosted every Tuesday by Ken Ray and or John Champion, which cover all things Star Trek (and often beyond), with news, discussions, Q&A sessions, guests, and  so on.

The core rendering for the experience has been produced by OTOY, the creator of the OctaneRenderer. Some might be familiar with OTOY’s work on the opening title sequence of HBO’s stunning TV series Westworld. Given this pedigree, and having seen some of the publicity shot (as I covered here), I admit  – as a long-term Star Trek fan – to looking forward to seeing the experience first-hand.

The Bridge of the USS Enterprise – a Sansar social space where people can watch weekly broadcasts of the Mission Log Live series, hosted by Ken Ray (seen on the viewscreen) and John Champion

Sadly, the official opening of the experience between 03:00 and 06:00 BST on the morning of Wednesday, May 23rd – FAR too late (or early!) for me. So it wasn’t until well after the event had finished that I was able to jump into the experience and have a look around.

The Bridge of the USS Enterprise is, first and foremost, visually stunning. It is beautifully rendered, with almost everything a Trek fan would expect to see there and (for the most part) in the correct colours. Visitors arrive close to the turbo elevator doors at the back the the bridge; to the left is the Engineering station, Montgomery Scott’s usual station when on the bridge, and to the right, Uhura’s Communications with Spock’s science station just beyond it.

Of course, the Captain’s chair is there, sitting in the central well behind the helm / navigation console and facing the main viewscreen. A point of note here is that the show isn’t actually recorded  in the experience, but is intended as a place where fans of Star Trek and science fiction can drop into and watch the live stream broadcasts – or catch up with them after the fact – and enjoy the ambience of the Bridge. I understand that for the opening, around 25-30 people gathered in the experience – which must have been cosy, and Ken and John, the hosts of the show, dropped in after the fact.

The Bridge of the USS Enterprise; Inara Pey, May 2018, on FlickrThe Bridge of the USS Enterprise – “The engines cannae take it, Cap’n!” – Scotty’s bridge station

All of the detailing ia for the most part exquisite, although it is – aside from the viewscreen – a static rendering (at least in Desktop Mode with Sansar – I cannot speak to VR mode).

For the hardcore Trek fan there are perhaps one or two missing elements: the commissioning plaque is absent from the wall next to the turbo elevator doors; Spock’s station is lacking his “I see all through this box with a glowing slit” dohicky, for example. Also, the helm and navigation console also appears to have been taken from the game Star Trek: Bridge Crew, rather than conforming to the original TV series design and colours. On the flip side, it’s interesting to see the upper sensor dome that sits above the bridge deck shown as a skylight with stars zipping by – something of a nod of the head towards the original Trek pilot episode The Cage, perhaps?

The Bridge of the USS Enterprise; Inara Pey, May 2018, on FlickrThe Bridge of the USS Enterprise -“Take us out of orbit, Mr. Sulu. Ahead, warp factor one…”

It would be nice to see some interactive elements in the design – being able to touch Sulu’s console and see his weapons target / sensor relay unfold itself, or to be able to “flick” switches on the ring consoles and see the images on the screen above them change – just to give visitors more of a sense of presence (not to mention the hoary old ability to sit on the chairs). However, these little niggles aside, for those who like / love / appreciate the original Star Trek TV series, the experience is a wonderfully nostalgic homage.

It’s a little disappointing that the first Mission Log to be broadcast with the opening of the experience didn’t show more in the way of images of the space to encourage interest among Trek fans watching the show – although it certainly was mentioned several times. However, this was somewhat made up for the broadcast including an interview with one of the incarnations of James T. Kirk himself, Vic Mignogna, the man behind the engaging web series Star Trek Continues, which picks up right where the original series left off at the end of its third season, and includes some unique follow-ups to some of the episodes from that series and well as featuring several special guest stars from the worlds of Star Trek.

The Bridge of the USS Enterprise; Inara Pey, May 2018, on FlickrThe Bridge of the USS Enterprise – “The engines cannae take it, Cap’n!” – Scotty’s bridge station

While Sansar and the Enterprise bridge aren’t visually featured in the show, it is interesting to hear some of the comments Ken and John make in passing about Sansar – particularly where their avatars are concerned. While casual in nature, they do perhaps reflect one of the more noticeable “limitations” with the platform that even casual users are noting: the “sameness” evident in Sansar avatars at the moment, born out of a current lack of broad customisation capabilities.

Overall, Bridge of the USS Enterprise is an interesting experiment on the idea of offering social environments in virtual spaces that are specific to audiences who might not otherwise have an interest in such environments. With the planned tie-in with the Overwatch League now apparently on hold (assuming it still goes ahead), Bridge of the USS Enterprise is Sansar’s sole “partnership” social space of this kind right now, so it’ll be interesting to see how it continues to be used.

The next Mission Long Live event will be on Tuesday, June 5th, as John and Ken will be taking a break on Tuesday, May 29th.

Additional Information