A scene to remember in Second Life

Oboeru; Inara Pey, June 2018, on FlickrOboeru – click any image for full size

Update: Oboeru has closed. SLurl in this article have therefore been removed.

A fog horn plaintively calls in the early morning light, the Sun slowly burning through the dawn haze as it rises over the eastern horizon. Cicada song mixes with that of birds greeting the dawn and the stridulation of crickets, while in the background the dull rumble of waves breaking on a shoreline resonates through the air.

These are the sounds that greet visitors to Oboeru (“Remember” or “learn” in Japanese), a Homestead region designed by  Manis Lane and Axiom (Axiomatic Clarity). This is a place that is hauntingly romantic in its near-desolated nature; a low-slung archipelago, the main island of which has been clawed by long fingers of water, its outliers of varying sizes separated from it by channels which can be surprisingly deep.

Oboeru; Inara Pey, June 2018, on FlickrOboeru

This is a place which seems to brood under the early morning half-light; the deep mewling of the foghorn seeming to cloak the islands in an air of sadness. And yet this feeling of loneliness combines with the rugged setting with its patches of scrub grass, scatterings of copses of tall Scots pine and gatherings of shrubs and bushes, to present a place of mystery tinged with that hint of romance.

A single table of rock rises from the centre of the region, giving shape to the north-south “spine” of the main island. The single-storey building crowning this plateau calls to visitors as they arrive at the landing point, sitting on a knuckle of land to the north. Reaching the building takes a little effort – the plateau is pretty much sheer-sided, but a way up onto it can be found on the southern side

Oboeru; Inara Pey, June 2018, on FlickrOboeru

The building has the look and feel of a clubhouse; outside the front of the place is room to enjoy music and perhaps dance, while the rooms inside offer plenty of space to set on large sofas. Each room has its own bric-a-brac to set a cosily untidy setting for people to relax within; music also a theme indoors as well as outside.

There are a couple of other structures to be found in the region. To the west, and sited to offer a clear view of sunsets over the ocean, stands a tall tower of slowly rusting metal, creepers hanging from its frame as if a giant wave has at some point draped seaweed over it. Metal stairs climb two sides of the tower, offering a way up to its rusted platform, where an old sofa awaits, facing the sea under a canopy of circling gulls.

Oboeru; Inara Pey, June 2018, on FlickrOboeru

The second structure lies to the north-east, on one of the larger outlining islands. This is the ruins of a church or chapel,  windows now without glass, bushes reclaiming the space inside its walls as much as the space around it. Yet it is far from forlorn, and the stairs climbing to the flat roof offer another route up to a place where one can sit and remember or reflect…

There are numerous places to sit scattered over the landscape – from rooftop to tower to chairs amidst flowers. Board walks strike out over water, but sometimes with no direct connection to the land; but be warned, some of the channels the sit within are quite deep, as I’ve noted, so wading out to a board walk might hold a surprise.

Oboeru; Inara Pey, June 2018, on FlickrOboeru

Oboeru is an atypical region in its styling and approach. There is – as I’ve noted – something hauntingly beautiful about the entire region – the design, the windlight, the aural sound scape. Not a region to be missed.

SLurl Details

  • Oboeru (Landscape Dialog, rated: Moderate)

With thanks to Miro Colas for the pointer to Oboeru

Milly Sharple’s new fractal insanity

Fractal Insanity – The Art of Milly Sharple

Update, June 15th, 2018: I received the following from Milly – “I know I said I was staying put for a while but I ran out of space!” So, this being the case, she has relocated her gallery to Serena Montecito, where her art now resides in two buildings, rather than the single build described below. All SLurls in this article have been updated to reflect the new location. My thanks to Milly for letting me know.

I last wrote about Milly Sharple’s extraordinary art in October 2017. At that time, she had – as a result of a huge amount of support  / demand from friends – established a new gallery, after previously announcing she was retiring from Second Life art. A lot has happened since then; for one thing, her gallery of that time has since closed. Gone it may be, but the opportunity to experience Milly’s art as she would like it to be witnessed, has not.

“The old gallery never felt quite right to me,” Milly told me recently, “and I have re-opened a new version of Fractal Insanity – The Art of Milly Sharple at a new venue.”

Fractal Insanity – The Art of Milly Sharple

The new gallery, located in a sky sphere, showcases the rich diversity of Milly’s art. There is – obviously – her marvellously captivating fractal art, both static and animated.  The new gallery, with it predominant use of black and grey, brings these pieces sharply to life, the subdued wall panels and dark block walls bring out the rich depth of colour and contrast of these pieces.

Fractal Insanity – The Art of Milly Sharple – Woman With Cat – quite possibly my favourite of Milly’s pieces on display

Alongside of the fractal art, are pieces of Milly’s work in mixed media. These are also brought into vivid focus by the finish applied to the gallery building.

As much as I am a deep admirer of Milly’s Fractal art – I have to admit her mixed media work is as equally stunning – and quite possibly more enchanting. The use of colour, coupled with the almost etching-like finish to many of the pieces brings brings them to life in a remarkable way. Whether floral representations, animal studies or pieces with a more fantasy edge, or presenting an image such as a portrait through the use of fractals, these pieces are utterly captivating.

The gallery building offer two floors of display place – the ground floor and a mezzanine above. However, this is not all there is on offer, as Milly explains.

“I have closed the roof in to make more space and also added a sky sphere … There are teleporters in the gallery that go to the two extra levels.”

These teleport disks can be found on both of the lower levels of the building. At the time of my visit, the first of the upper levels – reached by teleporting to Rooftop 1 or Rooftop 2 – focused on Milly’s fractal work; the sphere above it, a selection of Milly’s animated etchings, which again should not be missed during a visit.

Finished with 3D art items, some by Milly herself and others modified by her, Fractal Insanity – The Art on Milly Sharple is a very welcome expansion of a public display of Milly’s art, and one which should be seen to be fully appreciated. One which, once seen, is liable to draw the discerning admirer of art back to it time and again. For those who enjoy their time visiting, kitty would appreciate a donation via his jar alongside the coffee machine.

Fractal Insanity – The Art of Milly Sharple

Congratulation to Milly on her new gallery – and my thanks to her for extending an invitation to visit.

SLurl Details

Lab provides “Unloop” viewer for 32-bit Windows users

On May 31st, 2018 Linden Lab updated the Love Me Render Release Candidate, viewer version 5.1.5.515811 to de facto release status.

Unfortunately, during the release process, there was an error defining the location of the Windows 32-bit version of the Second Life viewer download, which meant Windows users downloading the viewer when first released received the 64-bit version, regardless of which version of the operating system they are running.

While the issue has been addressed, it did leave some 32-bit Windows users found their systems stuck in a loop of trying to install the 64 bit version of the viewer. As I noted at the time, instructions were issued on how to break out of the loop. However, it appears some 32-bit users may still be encountering problems.

To this end, the Lab has released the “Unloop” Release candidate viewer, version 5.1.6.515965, which as the release notes state:

…is a special release just for Windows 32 bit systems who were caught in an endless loop of 64 bit viewer updates between 5/31/2018 and 6/1/2018. Except for its incremented build number, it is in every other way, identical to the last release.

So, if you are a 32-bit Windows user and are still having issues as a result of the promotion of the Love Me Render release, you might want to try a fresh installation of the Unloop viewer.

2018 SL UG updates #23/1: Simulator User Group meeting

ONI Zen; Inara Pey, May 2018, on FlickrONI Zen – blog post

Server Deployments

As always, please refer to the server deployment thread for the latest information.

  • On Tuesday, June 5th 2018, the Main (SLS) channel was updated with server maintenance package 18#18.05.25.515749, containing internal fixes and server-side support for the upcoming new Estate Management ban list management changes.
  • On Wednesday, June 6th, the three main RC channels – LeTigre, BlueSteel and Magnum – should be updated with a new server maintenance package, 18#18.05.30.515812, comprising:
    • Additional work to support localised Abuse Report categories.
    • Improvements to object updates as part of ongoing performance improvements.
    • Removal of the logging of a trivial message.
    • Internal fixes.

Week #23 should see the decommissioning of the RC Cruller channel, established to help those experiencing issues with the use of media URLs for data storage (see BUG-216032). Those affected by the update who are unable to complete their unpacking of data stored in media URLs by the end of the week, should use the deployment thread to indicate how much longer they need.

SL Viewer

There have been no updates to the current group of viewers in the pipeline at the start of the week, although merges and updates following the recent promotion of the Love Me Render viewer are expected. At the time of writing, the list reads as:

  • Current Release version 5.1.5.515811, dated May 31, promoted June 1 – formerly the Love Me Render Release Candidate – NEW
  • Release channel cohorts:
    • Pálinka Maintenance RC viewer, 5.1.5.515527, dated May 21.
  • Project viewers:
  • Linux Spur viewer, version 5.0.9.329906, dated November 17, 2017 and promoted to release status 29 November – offered pending a Linux version of the Alex Ivy viewer code.
  • Obsolete platform viewer, version 3.7.28.300847, May 8, 2015 – provided for users on Windows XP and OS X versions below 10.7.

Environment Enhancement Project (EEP)

EEP is coming along. There is a possible fix for the back-end issue we were seeing. I’m wiring up some of the UI so that people can start to use it… Just pulled in a couple of the shader updates that one of the other Lindens has been working on.

– Rider Linden, discussing EEP progress, Simulator User Group, June 5th, 2018

Other Items

Region Crossings

I am making small steps … for example, tomorrow’s update has better logging where the target region you cross into is tracking everything and logs when it has re-seated an AV on a vehicle, and sent updates for all attachments … I’m not aiming for a big system monitoring region crossings in real-time, but I’d like to know better stats on how long they take and the failure rate … I know it would look ugly but it really would make sense technically if crossings forced you to stop, get across, then keep going and not estimate movement and all that.

– Simon Linden, discussing region crossings at the Simulator User Group, June 5th, 2018

The last of Simon’s points is something Joe Magarac (animats) has been working with through the use of scripts, as previously discussed in these pages.

llName2Key

llName2Key is one of two new LSL deployed in connection with the upcoming return of Last Names (see this blog post and this blog post for more). It’s been noted that the wiki page (linked to above) lacks proper information (its companion, llRequestUserKey as a wiki page which is also a little brief).

The function should return the Agent ID for the named avatar (based on it seeking the first name or the first name and last name), if the avatar is in the region where the function is run. If the last name is omitted, “Resident” is assumed. However, there appears to be a bug some search criteria work when they should fail (e.g. “Firstname R” (or “@R”) seems to work when “Resident” avatars on a region, when it should fail. A bug report is to be raised.

 

Looking into Devin’s Eye in Second Life

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye – click any image for full size

Miro Colas recently tweeted me with a suggestion that Caitlyn and I pay a visit to Devin’s Eye, a Homestead region which recently opened in Second Life. As the name was familiar to me, we hopped over to take a look, confirming in the process that Devin’s Eye is the work of Roy Mildor and Ally Mildor (Ally Daysleeper), and represents something of a continuation of their work as we first came across it in Devin, back in January 2017, offering as a does the opportunity to visit two sim-wide locations  – one on the ground, and the other in the air. (As a point of note, Devin still exists, but appears now to be under private ownership.)

The ground level location offer a rugged island setting with offshore mountain ranges to the east and north. The landing point is located towards the centre of the island, close to a cove that cuts into the island from a narrow neck of a channel spanned by a log bridge, with a smaller and entirely land-locked body of water close by.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

The south-eastern quarter of the region is given over to a rocky highland area, rising in steps to coastal cliffs that shelter in their landward lee, and somewhat incongruously, a motorcycle repair shop. The land before this slopes gently away towards the inland waters, largely denuded of trees but given over to growths of tough grass and shrubs, with the remnants of another barn and the bulk of a farm tractor sitting upon it.

These uplands continue northwards along the east side of the region, becoming gradually more verdant, becoming the home of grazing horses and coloured by shrubs and plants whilst offering several places visitors can sit and snuggle both on the ground and up in a wooden tower.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

To the west and north, the rocky lowland flow around the landlocked pool and watery coves to reach sandy beaches as fir and temperate deciduous trees slowly yield to palm trees out on the sandy headlands. Bridges of various types offer ways across the different bodies of water, connecting sand with sand or to the gently rising uplands to the south.

There is much to be found here. The open nature of the landscape, largely devoid of set routes through it, encourages visitors to explore. So it is that in wandering, visitors might come across a little clearing here where the opportunity to dance is offered, or find a bubble car rezzer there, allowing them to float over the landscape from above (the usual PAGE UP/DOWN, arrow & WASD + E/C keys to rise, descend and move), whilst elsewhere might be found a little camp site or beach-side chairs might be found, or a rowing boat to cuddle on… These are just some of the many attractions  the region has to offer.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

For the more active, there’s the opportunities to walk out along the pier to the north or go for a swim using the rings in the surf along the beaches or to ride the zip line ride running down from the southern uplands.

When taken as a whole, Devin’s Eye at the ground level can initially can come over as a curious potpourii of themes and scenes  which might in other circumstances clash one to another – the random wreckage of a plane crash, the motorcycle repair barn on its rocky shelf, the random placement of railings, the more coherent placement of fishing boat hulk and beach, together with the offshore scenes of boats at anchor, and so on. Yet the simple fact is – it all works, the different ideas and settings flowing together naturally to offer visitors something unique to enjoy.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

The upper level of the region – referred to as Devin 2 – can be reached via a number of teleport boards scattered across the ground level setting (one most notably placed alongside the landing point), which also offer quick hops to various points at ground level.

Devin 2 is remarkably similar to its former namesake at Devin, presenting an area which might be taken as a part of the Sahel Zone of Africa, with rolling dunes, some of which are covered in a thin but tough mat of grass, scattered trees and a lone watering hole where the local wildlife – elephants, zebra, rhinos, gazelle and giraffe – come to drink and seek shade while camels troop by. Only the cheetah appear to be looking for more than a drink and a rest as they pad towards the little dazzle of zebra. For those so inclined a dune buggy rezzer is available here – but as the landscape joins almost seamlessly with a region surround, keep an eye on your direction and distance from the region’s four sides if you want to avoid collisions!

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

As with Devin, Devin’s Eye offers visitors a rich environment to explore and discover and with plenty to do. Should you enjoy your visit, please consider a donation towards the region’s continued availability as a public place.

SLurl Details

Four unique talents at the Rose Gallery

The Rose Gallery: Sisi Biedermann

The Rose Gallery, located at Kaya Angel’s stunning Angel Manor, and curated by  Shakti Sugafield (Shakti Adored) is hosting a further ensemble art exhibition across its two floors of exhibition spaces, featuring 2D and 3D work by several SL and physical world artists.

On the ground level, in Galleries 1 and 2, Sisi Biedermann presents a series of 17 images of her physical world art, the majority of which might be drawn together under the collected title of Illusions (although several of the pieces do have a title of their own). Rich in colour, all 17 are individually stunning pieces of art.

The Rose Gallery: Sisi Biedermann

Fantastical, emotive, evocative, and each with its own story to tell, these are pieces with a glorious depth and beauty. Some are presented in a “flat” traditional style of paint on paper / canvas; others are presented in an embossed, richly textured finish that is marvellously  tactile in appearance – in this, I found myself particularly drawn to Illusions 10, a simply exquisite study of two kingfishers. Some of the images present their subject matter in a fairly straightforward study, others are more abstract in tone, which one or two have an almost Bosch-like feel about them, albeit it without his darker thoughts and representations.  Any and all of them would add grace to one’s home (and are available for sale).

The Rose Gallery: Juro

Also on the ground floor, Galleries 3 and 4 offer ten pieces by digital and virtual artist Juro (JurisJo). These are quite the most stunning studies of Second Life wildlife and animals I’ve yet seen. All feature Juro’s preferred use of yellow and red within them, together with a rich processing of sky, all of which draws the eye into each image, encouraging the visitor to focus on the primary study within it whilst also adding context and depth the overall scene.

The ten pieces presented across the two halls range from the highly evocative through to the gently humorous, the mix carefully balanced so that the eye is both awed and captivated, and the lips given cause to relax and smile. Who cannot, for example find their breath catching at the sight of White Tiger or Goodnight Sun (to name but two of the more dramatic pieces), whilst also feeling the need to offer a chuckle on seeing Baja Sands or Owls (again to name but two of the lighter pieces)? Would that we had room to display all of these pieces at home.

The Rose Gallery: Juro

Take the gallery staircase up and to the right, and you’ll arrive in Gallery 7, featuring an artist whose work is entirely new to me. Matt Thomson has 20 years experience as a physical world digital artist and photographer. His work might at first glance appear to be abstract in nature.  It’s an approach Matt calls Techno Fusion, combining traditional  mediums for art – oil, watercolour, acrylics, ink – brought together as “music”, blending and mixing like the rhythm and beat of dance track. “Let your eyes have a treat,” he says of his work. “Colour is the music as it blends it dances weaves a tapestry that allows your eyes to follow the flow … enjoy the dance!”

The Rose Gallery: Matt Thomson

The rearmost gallery space on the upper floor is given over to a display of sculptures by Reycharles Resident. Mounted on plinths and along the walls, this exhibit features some 14 3D pieces of varying sizes, although their respective LODs might require you cam into some of them in order for them to render correctly.  The pieces are richly diverse: from delicate pieces that appear almost woven together, through to sold pieces which appear to have been carved from a single block.

The Rose Gallery: Reycharles Resident

For those looking for an additional  treat, Shakti offers a small selection from her personal collection of Molly Bloom’s always fascinating and eye-catching  – and perception defying – art. This includes one of my personal favourites of Molly’s work The Queen is NOT Amused, a simply marvellous triptych.

A set of four – or five, including the modest display of Molly’s art – very different displays of art, all of which are more than worth the time taken to store through the Rose Gallery’s halls.

SLurl Details