Our Digital Selves: living within a virtualised world

Coming to a screen near you in 2018  – and not to be missed. Via: Draxtor Despres

In 2016 I wrote about the work of Tom Boellstorff and Donna Z Davis (respectively Tom Bukowski  and Tredi Felisimo in Second Life). Since 2015 Donna – a strategic communications professor at the University of Oregon specialising in mass media & society, public relations, strategic communication, virtual environments and digital ethnography – and Tom –  a professor of anthropology at the University of California, Irvine – have been engaged in a National Science Foundation funded study formally entitled  Virtual Worlds, Disability, and New Cultures of the Embodied Self, and more informally referred to as Our Digital Selves.

Their work, which will continue through into 2018, focuses on the experiences of people with disabilities – visible and invisible – who are using immersive virtual spaces to represent themselves, possibly free of the shadow of any disability, engage with others and do things they may not be able to do in the physical world.

Donna Z Davis and Tom Boellstorff (Tredi Felisimo and Tom Bukowski in Second Life), co-researchers in Virtual Worlds, Disability, and New Cultures of the Embodied Self, supported by the University of California, Irvine; the University of Oregon; and the National Science Foundation.

The work encompasses many aspects – physical, mental, technical, for example – of occupying both a physical space and a digital environment when living with both visible and invisible disabilities – the benefits that can be enjoyed, together with the potential risks / fears. Some of these aspects, particularly the more positive, are perhaps familiar to us: the power of being defined by who we are as a person, rather than in terms of a disability; the freedom presented by the ability to embody ourselves within an avatar howsoever we like, and so on. Other may not have been fully recognised for the fear they can create; while the “new era” for VR system may well be liberating for the able, it can be a frightening / debilitating threat for some with disabilities.

Given the extent of the study, it obviously crosses the physical / digital divide.  There have been experiments and discussions in-world. And there have been real-world interactions between Tom and Donna and those participating in the study.

One of those who has been following the study closely is Draxtor Despres. He has featured Tom’s work in The Drax Files World Makers, and is now engaged in producing a documentary  – also entitled Our Digital Selves – about the study, travelling with Donna and Tom to meet some of those participating in the work. While not due for release until early 2018, the first official trailer for the documentary was made public on Tuesday, October 11th, 2017.

Members of the study meet in-world. Credit: Draxtor Despres

“I’m not sure how long the finished piece will be,” Drax informed me in an exclusive one-to-one about the trailer and the film. “I’m aiming for around 40 minutes, but am currently editing an hour-long cut. It’s a massive project. We’ve been travelling across the United States and across the Atlantic meeting with people and interviewing them.”

It’s a massive undertaking; Drax goes on to note that there are around 15 participants in the study who have been involved in the filming, and he has around 3 hours of recording with each. Some of this was necessary simply to get to know people and overcome perfectly natural barriers – shyness, nervousness, and so on – and establish trust; however, it still means there is a lot which needs to be synthesised into a cohesive whole, whilst also doing justice to the stories of all of those volunteering to participate in the film.

Part of the study has involved participants being provided with a 32m x 32m parcel on Ethnographia Island which they could use to share their experiences, insights, and thoughts on their disability. Shown here, Jadyn Firehawk sands before her exhibition space (May 2016).

Nevertheless, the first public trailer does much to establish the structure of the documentary and present an accessible framework against which the broader story will naturally unfold.

This promises to be one of the most engaging, moving and informative documentaries on virtual living, embodiment and personal expression since, perhaps, Login2Life, and something that should not be missed once available. In the meantime, I’ll leave you with the trailer  – and the hope that, subject to feedback from Donna, Tom, Drax and those involved the work, I’ll be able to bring more on the documentary and the study in the run-up to the release of the completed film.

For Max and Lyrric: L$ one million raised in Second Life

For Max – October 3rd through 10th, 2017 – Over L$ 1,000,000 raised

The For Max event closed its doors on Tuesday, October 10th having broken through the L$ 1,000,000 barrier of funds raised to help Maxwell Graf and his partner in the physical world, Lyrric Fei.

The event was rapidly put together by Charlotte Bartlett, Sophia Harlow and Blazin Arubet with the assistance of Apple Fall and Shiny Shabby, at extremely short notice after Max reveal he and Lyrric were facing a heartbreaking plight thanks to a physical world situation (both have been on an overland journey to start a new life after the situation forced them out of house and home).

Writing on the event’s Facebook page, Charlotte Bartlett said:

I am literally shaking as I write this, as the level of love, help and generosity of the Second Life Community has shown us what true spirit means. The amount raised has topped across the donations/raffle and creator items over 1,000,000 Linden. This hopefully gives our Max a safety net for the short-term so he and his family can start to plan their new chapter. A list of all sales is already available to Max for audit (locked script) and donations/raffle in addition.

The total equates to just over  US $4,000, which will help Max and Lyrric in starting their new life. Nor is that all.

As I reported when For Max opened, Kylie Sabra also launched a sale of her art in support of Max and Lyrric, which ran for the same period as the shopping event. I’ve reached out to Kylie with an enquiry on how things went, but have yet to hear back. When I do, I’ll update this article.

Don’t forget as well, that even if you missed the For Max events, you can still help Max and Lyrric by visiting Rustica, their fabulous in-world store and purchasing one or two of Max’s range of furnishings, apparel, accessories, building kits and more.

Also benefiting Max and Lyrric, Kylie Sabra raised an additional L$ through the sale of her art

This is the second time this year a respected, liked and loved creator in Second Life has encountered a major life-impacting crisis, only to see the community in which they have so long played a role rally around, unbidden in support – and with remarkably similar outcomes.

In April 2017, I was privileged to work with Saffia Widdershins on Filling the Cauldron, an event aimed at helping and supporting creator Elicio Ember and his family. held over a near-identical period, that event  also raised US $4,000. The speed of response, support and outpouring at both these events again shows not only the generosity of all those involved, whether as organisers, participating creators or artists or entertainers, or as attendees shopping and donating – but also the depth of caring for one another inherent in the Second Life community.

Thank you to Charlotte, Sophia, Blazin and all involved in For Max.  To Max and Lyrric: stay safe and stay warm – and see you in Second Life soon!

Exodus: A Trip for Life in Second Life

Exodus: A Trip for Life

Art can be expressive in many ways. It can be an outflow of creativity, a reflection of moods and emotions, a cathartic release of hopes, fears, wants or needs; or an echo of joy or contemplation or endeavour or of life itself. And it can be a voice of conscience commenting on society, culture and politics.

Exodus: A Trip for Life is a full region installation which falls squarely it that last bracket: offering a voice of conscience in response to our societal and political outlook. In doing so, it touches – invokes – something we can so easily lose sight of – even when it might appear we are trying to empathize.

Exodus: A Trip for Life

Designed by Kicca Igaly and Nessuno Myoo, Exodus: A Trip For Life deals with the discomfiting issue of the world’s refugee crisis, which became a hot button topic on several fronts of the past couple of years; one in which some essential truths have perhaps been lost in the clamour of angry voices, political posturing, and perceived threats to security, jobs and income.

“It almost seems,” Nessuno says in introducing the installation, ” As if all the evils of our society, unable to find effective solutions to the problems which from time to time appear, have found, in the dark threat of the foreign ‘invader’ , the perfect scapegoat.”

Exodus: A Trip for Life

And yet the simple truth is, these feared ‘invaders’, these people risking life and limb and family, do so not because they’re seeking to exploit our vulnerabilities and our way of living. They do so because they already are vulnerable; their war of life has already been destroyed through war and / or political / religious upheaval and oppression. Everything they have known has been torn apart in ways we cannot understand; far from coming here as exploited, they arrive as the exploited, preyed upon in their journey by criminals and traffickers; people more interested in taking money and possessions than in saving lives.

All of this, and more is brought forth in Exodus: A Trip for Life. It starts out at sea, where a battered hulk rides a heavy swell, figures crammed into its rotting hold or crawling desperately up to the main deck and clinging in fear to anything looking remotely solid. The vessel is tossed by waves of money – a reference to the physical price those aboard have paid, while strings rise from the hull to a puppeteer’s controllers, a further reference to the exploitation inherent in trafficking the desperate, as they are time and again forced to travel in vessels unfit for purpose (and it is no coincidence that the bows of this ship bear two names, again underlining the dire circumstances faced by so many).

Exodus: A Trip for Life

Ashore, the imagery continues. New arrivals walk along a road, watched from a distance by locals, the gap between the two groups as telling at the walls that constrain the refugees to that single, lonely road. A camp sits close by, but again separated from  the locals as if in quarantine from the rest of the land, by walls and iron gates. Both the road and the camp stand as metaphors of how we see refugees; they may not be so alien, they may appear more human – but they are still “others” to be kept at bay. And we are far more comfortable when they can be moved from our sight and thoughts, as symbolised by the line of arrivals slowly vanishing into a white mist. They pass and are gone – to where does not matter, nor does the fact their plight still goes with them; we can resume our lives.

Poignant, pointed, provocative, richly nuanced and threaded with a wealth of observation and commentary, Exodus: A Trip For Life may not sit well with some; it may not even by easy to entirely decipher on a single pass. But it does have a voice; one that reaches into our conscience to whisper a stark reminder about the realities of the world around us even as sound bites, posturing and the fickle lens of the media would distract us and divert our thoughts and feelings.

Exodus: A Trip for Life

SLurl Details

SL project updates 41/1: server, viewer

Oh Deer, Heavenly Waters; Inara Pey, October 2017, on FlickrOh Deer – blog post

Server Deployments for Week #41

As always, please refer to the server release thread for updates and the latest news.

  • On Tuesday, October 10th, the Main (SLS) received the server maintenance package previously deployed to the RC channels.  17#17.09.29.509228, intended to address the unintended returns issue of two weeks ago – see The Return of the Living Objects: A Pre-Halloween Horror Story for more.
  • On Wednesday, October 11th, the RC channels should be updated as follows:
    • BlueSteel and LeTigre should be updated with a new server maintenance package, 17#17.10.06.509429, containing internal fixes
    • Magnum should also receive a new server maintenance package, 17#17.10.06.509394, also containing internal fixes.

Neither of the RC updates should have user-visible changes.

SL Viewer

There have been no viewer updates thus far this week, leaving the pipelines as follows:

  • Current Release version 5.0.7.328060, dated August 9th, promoted August 23rd – formerly the Maintenance RC
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself):
    • Voice RC viewer, version 5.0.8.329250, dated September 29.
    • Maintenance RC viewer, version  5.0.8.329115, dated September 22nd.
    • Wolfpack RC viewer,version  5.0.8.329128, dated September 22nd – this viewer is functionally identical to the release viewer, but includes additional back-end logging “to help catch some squirrelly issues”
    • Alex Ivy 64-bit viewer, version 5.1.0.508209, dated September 1st
  • Project viewers:
  • Obsolete platform viewer version 3.7.28.300847, dated May 8th, 2015 – provided for users on Windows XP and OS X versions below 10.7.

Touch, Camming, Experiences, Avatars and Feedback

Note: the following is not indicative that the Lab is considering behavioural changes in Second Life at this time. The topics were simply raised with a view to generating discussion and feedback.

There are a lot of things  we can do in a region which might not always be in the spirit of what is intended by the region owner, particularly if the region is designed for a specific purpose, such as an experience or game. We can, for example, cam ahead, seek out secrets, identify traps or hazards and find ways to avoid them. We can also reach across a region to touch things when perhaps it would be better if we could only do so up close.

There are various ways to limit some of this – scripts can be used to limit touch, as can RLV, for example. But for things like experiences and games, it might be better if the region owner had the option to perhaps enforce limits on how far away from their avatars people can cam or touch.

However, this has to be balanced against those situations where camera and “long-distance” touch can be essential. Shopping at a crowded event, for example can be made much less of a fight against crowds and lag by using Area Search, the camera, and far touch to obtain specific items (even flycamming and far touch can make shopping a lot easier in any situation). Ergo, there’s a risk that imposing limits on either could have a more detrimental effect on people’s willingness to shop in popular locations.

Given that crowds themselves are a problem, would it be worthwhile limiting the number of avatars seen within a region in some way? Perhaps a limit set through the estate controls, or by some method within the viewer such that avatars / imposters beyond a certain radius aren’t rendered / have updates ignored by the Interest List until they come within the specified distance – just like people can move in and out of view in a real crowd.

Again, how something like this might work – should it really be a control at estate level, or would it be better as an option users could tweak (which would get my vote) – would have to be thought through in detail. Particularly given we already do have some control over the rendering, at least, of the avatars around us through various methods (e.g. render friends only, derender selected avatars, CTRL-ALT-SHIFT-4, avatar rendering, etc.); while although each of them might not be perfect, they can give flexibility of control to individual users.

As noted, the Lab aren’t planning any changes specific to any of the above  – but by throwing questions out and listening to feedback, concerns, alternative ideas, they are perhaps pulling ideas and thoughts into the melting pot on how SL might be refined and offer better controls and means to improve people’s individual and joint experiences.

Autumn comes to La Vie in Second Life

La Vie; Inara Pey, October 2017, on FlickrLa Vie – click any image for full size

La Vie has reopened! Please come pay a visit! And don’t forget to put your pics in the Flickr group. I can’t wait to see you and all of your art!

Thus read the invitation Krys Vita sent out to members her group a few days ago, inviting folk to drop into her homestead region of La Vie and enjoy its new look, and with an additional prod from Max and Shakespeare, Caitlyn and I hopped across to see how things had changed. The last time we were in the region, it was a tropical paradise designed by Krys and TreMeldazis; for this iteration, Krys has once again collaborated with Arol Lightfoot.

La Vie; Inara Pey, October 2017, on FlickrLa Vie

“It was time for a change I think,” Krys said as we arrived. “La Vie has been around a long time!” Seasonal changes are not uncommon within Second life regions, and with this rebuild, Krys and Arol have embraced the look and feel of autumn – with just a hint here and there of Halloween, some obvious (such as the pumpkins dotted around), others perhaps not so (such as the ghost-like blankets hanging in the windows of a barn!).

On arriving, visitors find themselves close to a farm-house and the aforementioned barn. A pick-up truck and tractor are parked close by, just off the track running by the farm. This offers explorers a choice of directions in which to most obviously head: east or west. Follow it east, and it quickly curls to the north, taking you by grassy banks, a little stall perched atop of them selling apples, to a box bridge crossing the narrow vee of a sluggish stream.

La Vie; Inara Pey, October 2017, on FlickrLa Vie

Another pick-up truck is sitting on the rack beyond the bridge, a trailer hitched to its tow bar, the track itself coming to an end a short distance beyond it. Across a short expanse of long grass and under the lee of gnarled trees, the old stone walls of a graveyard beckon – perhaps another nod towards Halloween, with the mist gathering about the aged tombstones and a raven keeping a cocked eye on those who visit.

The graveyard is overlooked by the back of a tree house with adjoining artist’s studio, both of which sit just above the ground on the splayed fingers of strong branches. Connected to one another by a quaint little wood and rope bridge, they look northwards across a quiet pond where swans and geese share the water with cormorant and heron. More rugged and wooded land lies westward of these tree houses, deer roaming beneath boughs still heavy with yellowing leaves, before the landscape opens a little, offering a quarter corner for a single trailer camp site, before the track resumes its meander back to the farm.

La Vie; Inara Pey, October 2017, on FlickrLa Vie

This is a place of muted colour, where gulls wheel, fishing boats and nets lie offshore, and farm animals wander and graze. Away from the main track, explorers may find little nooks and places to sit – a little camp fire here, and old picnic bench there, or cosy tree hut hidden among branches and leaves, a swing slung beneath…

Saddled horses also roam the land, or sit and lie in the shade of trees. Touching any of them will allow you to haul yourself up into the saddle and then take a ride around the land; when you dismount, the horse will be content to wander or lie down once more.

La Vie; Inara Pey, October 2017, on FlickrLa Vie

Finished with another fitting sound scape, Lie Vie in autumn is the latest in a series of wonderful designs by Krys and Arol, and a setting that shouldn’t be missed.

SLurl Details

  • La Vie (La Vie, rated; Moderate)

Highlighting my interview with Gem Preiz for Kultivate Magazine

Fractal 397 (Wreck, 2016) by Gem Preiz, on FlickrFractal 397 (Wrecks, 2016) by Gem Preiz, on Flickr

I’ve been an admirer of Gem Preiz’s fractal art ever since I first encountered it several years ago on my travels as a reviewer of art in Second Life.

This year, 2017, marks the fifth anniversary of Gem’s first exhibitions in Second Life, and he has been marking the with two retrospectives. The first, A Retrospective, was held at the start of the year, and you can read about it here. The second, appropriately called Five Years of Fractals, opened in September 2017, and you can read about it here.

To help celebrate this anniversary – and the fact that Gem himself is fast approaching his 10th anniversary in SL -, I had the opportunity to sit down with him in late September 2017 and discuss his work with him on behalf of Kultivate Magazine. It was a fascinating opportunity to learn about his arrival in Second Life, his art, his interests and inspirations. If I say so myself, the interview is well worth taking the time to read simply because Gem does have so much to say that is worth reading; this being the case, I thought I’d help whet appetites by offering a few excerpts from our chat.

No Frontiers 10 by Gem Preiz (2017), on FlickrNo Frontiers 10 by Gem Preiz (2017)

On Second Life and The Potential for Artistic Expression

I actually discovered Second Life in 2007 while on a trip to America. I was actually there to study new technologies for use in business, but discovered a world with wonderful personal opportunities in this social and playful virtual world.

My awareness of the potential for sharing creations coincided with a growing interest in digital imagery. In particular, I discovered two artists – Fiona Leitner and Milly Sharple … Seeing Milly’s work helped me see the possibilities for displaying my own art within Second Life, and in reaching an audience from around the world while also having the freedom to create exhibition spaces which would be impossible in the physical world.

On His Passion for Fractals

I have a science and maths-focused education and have always worked with technology. Because of this, the computer naturally became my paint brush.

Some of my passions include ecology, Earth sciences, and humanity’s relationship and place in Nature. Astronomy and cosmology particularly bring together my fascination with science with my own imagination and fascination for the human capacity to imagine, discover, explore and learn. All of these play a role in my creative expression and imaginings.

… Fractals allow me to create – to paint, if you will … with such a diversity of results … In addition, the underlying mathematical aspect make them welcome to my rational, scientific side.

Fractal 296 (Polychronies, 2014) by Gem Preiz, on FlickrFractal 296 (Polychronies, 2014) by Gem Preiz, on Flickr

On Science and Science Fiction

We are the ultimate product of life on this planet. We have been granted a brain which allows us to understand and influence our environment. At the same time, we question what is our purpose as a species …

Science, in its broadest sense, is the means by which we do so, through exploration, analysis, deduction, questioning and reason … We have it in us to resolve all of society’s issues – health, wealth, the environment – if only we are willing … I have a passion for science and a concern for the environment. We need both to secure our future – if we are to have a future.

Thus, Fractals and digital art are a means for Gem to express all of this to an audience, while at the same time giving flight to his creative narrative through both his visual art and the written word – as narrative forms a strong element in his pieces. Sometimes this may be obvious, such as a story running within one of his exhibitions, as with Heritage: Wrecks reviewed here) or it may be subtle: a story suggested by and introduction to his images, but which is left to the visitor’s imagination to flesh out.

Kultivate Magazine-October 17Through the interview, we were able to explore these ideas at some length, delving into just how some of his more recent exhibits came into being. We also explored his unique approach to reproducing his work in Second Life, as well as his ruminations on the platform as someone who has been a part of it now for almost a decade.

Gem is a genuinely warm, caring individual, and it was both a privilege and pleasure to chat to him for Kultivate. You can read the full interview in the October edition of the magazine, beautifully illustrated by images from Gem’s work selected directly from his library, which he kindly opened up to us to peruse in preparing the piece.

Click the magazine cover on the right to open it for reading in a new browser tab. You can also catch up on all of my reviews of his work in these pages through a dedicated blog tag.