Inspiring Orientation: getting users started, stage 2

In June 2012, I reviewed MetaHarpers’ The Inspiring Orientation, an installation intended to be part gallery, part orientation course, with various interactive elements intended to teach new users the basics of getting around in Second Life – walking, flying, chatting, using the camera, sitting, etc.

The originia Inspiring Orientation - from the outside
The original Inspiring Orientation – from the outside

Opened to the public on February 5th, The Inspiring Orientation, Stage 2 now takes the concept a step further by providing additional interactive lessons covering such diverse subjects as in-world shopping, instant messaging, inventory management, profile creation, in-world combat and games, and exploration. At the same time, it revamps the original installation, and incorporates features such as media-on-a-prim. So what is it like?

On arrival, the installation appears familiar – the welcome area is the same as its first iteration, and the familiar tablet-like guides are still there. However, on stepping inside, it is clear things have been changed. Basic movement – walking and jumping – is quickly dealt with before moving onto the basics of camera control, which used to come somewhat later in the piece, and which is dealt with in a more compact manner. The rest of the initial elements of the piece remain largely unchanged until one arrives at the teleport portals, which in the original more-or-less marked the end of the process. While people can still teleport away at this point, a sign points the way to the new additions waiting to be explored.

Inspiring Orientation Stage 2
The Inspiring Orientation Stage 2

Here people can learn about shopping, instant messaging, profiles, inventory (including attachments, clothing layers, etc), dealing with “hidden objects” and combat, all in discrete units linked by footpaths, chair lifts and ladders.

There are several routes around this part of the installation, which can lead to a degree of repetition in instructions (accessing inventory, for example). However, this is no bad thing in that it allows for easy re-caps on lessons and pointers.

The Inspiring Orientation Stage 2
The Inspiring Orientation Stage 2

The inclusion of combat options might at first glance seem a little odd, but it actually does make sense given that, while “Second Life is not a game”, many people actually do join SL in anticipation of engaging in roleplay (which can include combat elements) and engaging in combat-related activities (the dreaded zombie hunting beloved of the official SL promo videos, etc). Ergo, getting people started on how weapons, HUDs, mouselook, etc., all work within the realms of combat isn’t necessarily a bad thing.

Whither the context menu?
Whither the context menu?

The use of media-on-a-prim in the portal area, is both new and subtle. Drawing on the Destination Guide to provide a click-through list of destinations and descriptions related to the selected portal, it does much to present users with far more choice on where they go next, and on seeing where they are likely to meet other users.

That said, there are a few niggles with the update. Given this is an exhibition intended to demonstrate a new user orientation, the almost exclusive use of screen shots of a popular TPV is surprising. Yes, it may weel be the most popular viewer in use in SL, but given this is a new user experience, and presumably something the creators would hope users would encounter early-on in their explorations of Second Life, I can’t help but feel that there should perhaps be more emphasis on the official viewer – particularly as this is the viewer the majority of new users will initially be using when they log-into SL.

It could also be argued that other essentials are missed or given scant explanation as well – such as the Marketplace, the use of the world map, search and the concept of teleports (although teleports is touched upon throughout the exhibit, if not fully explained). However, the piece is a work-in-progress (the team behind it plan to move it to a location of its own at the conclusion of its time at the LEA), so these are matters which may still be addressed.

One thing that does still disappoint me with the update, though, is that it still fails to reference the viewer’s own means of providing help to users. The How To guide still goes unmentioned, as does the Help options in the menu. The How To guide is certainly worth a reference, given it forms an easy aide-mémoire to some of the lessons given during the orientation tour.

Some might argue that The Inspiring Orientation fails to offer any significant advantages over a more straightforward approach to user orientation such as that provided by the Phoenix Firestorm Support Region. In some respects, I’m inclined to agree; the latter has the beauty of keeping to a KISS approach which make progress perhaps seemingly less time-intensive. However, The Inspiring Orientation perhaps offers greater visual and aural stimulation, and thus may better hold a new user’s attention than a more traditional “walk-and-read” approach.

Whether it is viewed as a prototype / alternative approach to engaging new users and unlocking some of the mysteries of the viewer or whether it is seen purely in terms of an art installation which encompasses learning experiences, The Inspiring Orientation remains an interesting insight into how an engaging and interactive user experience might be built. As such, it has always made for  an interesting visit, and the Stage 2 updates provide plenty of additional food for thought, particularly for those interested in the new user experience ethos.

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Les évolutions dangereuses

This month sees the third round of the Linden Endowment for the Arts Artist-in-Residence programme drawing to a close. With applications for round 4 now open, I thought it time I caught-up on some LEA-related posts on various exhibits which have been in draft form over the past for weeks and got them blogged.

Given that science forms the basis for a large part of my non-SL posts here, I thought I’d begin with Kicca Igaly and Nessuno Myoo’s Danger in Evolution, currently on display at LEA27.

Danger in Evolution
Danger in Evolution

The artists describe the work, which comprises two separate but interlinked installations by each of them respectively, as:

The contradiction that is at the heart of any technological and scientific evolution when there is not  growth, maturity and an awareness of value potential risks that this implies evolution in the life of everyone. Especially when interests of prevarication or economic, social, religious interests come into play.

It’s a dark piece – literally, given the recommended windlight settings and overall hue and tone of the builds themselves – which is both provocative and rich in imagery, challenging us to consider the ethical, moral and religious challenges, both positive and negative, inherent both in the pursuit of science and technological development.

Danger in Evolution
Danger in Evolution

Nessuno Myoo presents us with a scene which is both chaotic and yet potentially joyful – a huge carousel-like ball on which people ride. From a distance all seems to be fun and laughter – but as one draws closer, it is apparent that this is not the case. Those riding the carousel are perhaps not really in control, but are perhaps trapped by the very thing they sought to create.

Closer examination still reveals that the carousel is far from innocent; at its heart lay a representation of of the atomic structure of uranium 235, of which the nucleus is that of “Little Boy”, the first atomic weapon ever used in anger, which exploded over the city of Hiroshima on August 6th, 1945. This brings the carousel’s design into sharp relief – it is in fact the mushroom cloud of a nuclear explosion, and thus the surrounding chaos can be understood, as can the myriad of eyes witnessing the scene.

Danger in Evolution
Danger in Evolution

In her piece, Kicca Igaly continues the nuclear theme central to Nessuno’s work, as she presents a piece depicting nuclear research, wherein those performing the work are seemingly oblivious to the fact that while they have the benefit of every protection which can be afforded them in their work, the real nightmare is already out in the world in the form of nuclear waste which is poisoning the world, and ruining lives, as shown by the two children who innocently play with toxic waste, themselves seemingly oblivious of their own missing parts…

The children are perhaps a link into the second aspect of Kicca’s work, as she also presents a tableau depicting genetic research as a scientist, surrounded by models of DNA, peers steadfastly into a microscope. Will he find a new means of aiding the sick or overcoming sickness – or will his research result in further chaos and destruction? As Kicca notes, “The timing of the research are often too short to fully evaluate the consequences of what is produced afterwards. I wanted to emphasize in these scenes, that these aspects need to be taken into extreme account by researchers and by who finances them and often influence their activities, with cursory expectations. ”

Danger in Evolution
Danger in Evolution

Of course, scientific and technological advancement are often rarely without risk. That does not mean we should turn out backs on either – and neither Kicca nor Nessuno are implying we should. But we have reached a point in our own understanding of both science and technology where we do need to be more aware of both the broader potential and impact of scientific discovery and development. As such, we perhaps move to free ourselves from both the imperatives of financial gain arising from research and  – equally – the religious ignorance which often prevails against the potential for life-saving / life-enhancing research and development, and look upon things in a broader light – particularly where our endeavours can have such a wide-ranging impact on both our evolution and on the world around us.

Danger in Evolution is a powerful, evocative piece, however one looks at it, both directly and indirectly. The imagery is both intense and also subtle, challenging us to consider matters of evolution, development, research and science from all parts. Walking through Nessuno’s part of the installation in particular, I could not help but hear Oppenheimer’s quote when looking back on the detonation of the very first A-bomb during the Trinity tests in New Mexico, when he referred to a passage from the Bhagavad Gita,  “Now, I am become Death, the destroyer of worlds.”

This is also a piece that again demonstrates the sheer power of environments such as Second Life for staging immersive works of art which can so challenge our perceptions and thinking – and as such, it is not one to be missed.

Danger in Evolution
Danger in Evolution

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LEA: AIR-4 applications sought

LEA_square_logo_60On Wednesday February 6th, the Linden Endowment for the Arts announced the opening of applications for the fourth round of the Artist-in-Residence (AIR) programme. The announcement, as allows, reads in part:

The LEA AIR programme seeks to promote and nurture the arts in Second Life, through providing limited term full-sim land grants to be used for creative projects and art installations over the course of a few months. Recipients can be individuals or groups interested in creating or curating art, or proposing cultural projects which would require/utilise a full-sim build and can be completed within the allotted time frame (5 months). The LEA is able to offer land grants through the generosity of Linden Lab.

(image courtesy of LEA)
(image courtesy of LEA)

Up to twenty regions, donated by Linden Lab and managed by the LEA, are generally offered under the land grant programme, and successful applicants will be granted the use of one full region for a period of six months. The region may then be used on an individual or group basis for such diverse activities as:

  • Full sim exhibitions and / or immersive installations
  • Curated projects, especially those which have a connection to physical exhibitions and events (augmented reality)

Applications are not limited to visual art but are welcomed from all areas of artistic expression, including performance, music, and film.

Land grant regions: LEA10 through LEA29
Land grant regions: LEA10 through LEA29

Preference is for submitted works to be original in nature, although curated projects may present extant works. Successful applicants will have up to four months in which to execute their build, and must have it open for public viewing for at least the last two months of the grant period. Artists may alternatively use the land for multiple exhibits, but it is imperative that projects will be ready within four months from acceptance, and this time-frame should be considered (and reflected) in applications.

Key Dates

  • Applications open: February 5, 2013
  • Application deadline: February 19, 2013
  • Sim handover and public announcement: March 8, 2013
  • End of round: July 31, 2013

Applications forms can be found at the end of the LEA website announcement for Round 4, together with all other necessary information.

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Art Deco, SL style

ART DECO Exhibition
Art Deco

Melusina Parkin has a passion for Art Deco. Since entering Second Life in late 2008, she has kept herself extremely busy, becoming CEO of MEB Fashion at the start of 2009, and also launching Melu Decos supplying Art Deco furnishings to SL users, with stores featured in many historical and retro regions such as 1920 Berlin, Seraph City, Paris 1900, Roaring 20 Chicago, and so on.

ART DECO PosterShe is also a talented photographer and has had exhibitions at Galerie des Machines (Paris 1900), Schloss Museum (1920 Berlin), Café des Artistes (Paris 1900), R&D Diotima Gallery, Musee de la Duché de Coeur (Languedo Coeur), among others.

Opening at 14:00 SLT on Saturday 2nd February, Melusina now brings her passion for Art Deco design and art and her talents as an SL designer and an artist together in an elegant exhibition which will run through until (approximately) the end of March 2013.

Located at the Art India Gallery on Shekhawati, the exhibition is being kindly hosted by Veekay Navarathna and curated by Quan Lavender.

Quan graciously offered me the chance to preview the exhibit prior to the formal opening, which will be marked by a 20’s style Flapper Party, with invitations to all – and if you can attend appropriately costumed (while not required), so much the better!

Art Deco
Art Deco

The exhibition is located in a purpose-built space Melusina has designed herself and which forms an integral part of the show, incorporating a clearly Deco style which appears at first sight simple, but which is in fact exceptionally elegant and beautifully balanced.

AD-14Both the art and the furnishings and accessories are offered for sale, providing a unique combination of art exhibit and a demonstration of Melusina’s well-crafted, low-impact mesh designs for furnishings and lighting accessories which stunningly reproduce the Art Deco style in-world. I particularly liked the 1-prim, free-standing fan-lights which, for some reason, cast me back into the world of ITV’s Poirot, leaving me half expecting the (suitably padded and brilliant) David Suchet to waddle up…

The pictures themselves are typical of the Art Deco era both in style and presentation, and there are a couple which certainly caught my eye. The furnishings included in the exhibit are also typical of the era and demonstrate clean, strong lines which perfectly complement both the paintings and the design of the gallery itself. All of the items are mesh and had a land impact of 1 each, making them a cost-effective means of decorating a house in-world.

For anyone interested in Art Deco art, design and architecture, this is a must-see exhibition.

Art Deco opens at 14:00 SLT on February 2nd, 2013 and will run for approximately 2 months.

Art Deco
Art Deco

More About Melusina Parkin

As an art object creator, Melusina Parkin has been the best voted in the Virtual Museum of Architecture (VMA) Contest of Art Deco Clocks. She has presented two talks at the VMA; the first, in December 2010 was on Art Deco, and was reprinted in the SL Retropolitan Magazine. The second talk, in March 2012, was on the subject of London’s famous Battersea Power Station.

As a builder, Melusina has been responsible for a number of notable builds in SL, including the MEB main store at Klio, the Look Elite Model agency lobby and academy, and the Cotton Club set for the Look Elite agency graduation show of 2012. As a writer, she covers cinema, fashion and SL destinations and collaborates on a number of in-world publications. She speaks English, Spanish and Italian (her native language), understands French, a little bit of German and Portuguese. Her passion for Art Deco in SL is reflected in her Flickr photostream, where she has over 500 images of in-world places and buildings.

Art Deco
Art Deco

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With thanks to Quan Lavender.

The Arrival of a question of departure …

The Arrival
The Arrival

Rose Borchovski’s latest installation at the Linden Endowment for the Arts opened on January 11th. I missed the actual event, but popped along to visit last week, and thought it time I got around to putting words to thoughts and reactions to the piece.

The Arrival is a full sim installation which is both a standalone piece and a continuation of the saga of her Susa’s – child-like beings of a mischievous and sometimes malevolent bent. Here they have captured a fish, and celebrations of the fact turn to questions as the fish dies literally beneath them as they use it as a stage for their jubilation; are they to blame for the poor fish’s demise?

The Arrival
The Arrival

Or that’s one of four explanations Rose gives for the piece. The others include memories from childhood, the inspiration of other artists, and even the influence of religion. In introducing the piece on the LEA blog, Rowan Derryth provides thought-provoking insight into the work which includes more on the possible origins of the piece – and I’ll leave you to go read her thoughts.

Quite how you interpret the work is up to you – you can follow Rowan’s thoughts, which are themselves based on commentary from Rose herself, or you can let your own thoughts percolate as your explore. The latter, by the way, is best done by using the teleport at the arrival point to get you started.

The Arrival
The Arrival

For my part, I found the piece something of an allegory / metaphor for how we humans behave, always busy exploiting this, that or the other, congratulating ourselves on what we can achieve and how we can enjoy everything, with little thought for what might happen when things are gone and we’re left to ponder our own role in their disappearance / extinction …

The Arrival is a fully immersive installation. The level of detail is stunning and ranges from the macro to the micro, plus there is a complete sound scape to take-in (scripted sounds rather than a media feed, so you’ll need sounds active to fully appreciate the work), and all manner of things to touch and prod – and which may surprise you in return. You’ll need to take your time as you explore, not only to make sure you experience all the interactive elements, but also because the detail really is amazing – a genuine tour-de-force as to what can be achieved in SL both in terms of art and in immersive, engaging environments. Make sure, as well, that you accept the region’s windlight settings on arrival, if asked. They are as much a part of the piece as anything else.

The Arrival
The Arrival

The Susas themselves are (as ever) marvellously made and beautifully expressive, particularly when there are grouped together when their child-like innocence is dispelled by looking into the eyes of several of them and witnessing a mischief which might border on malice lurking there. There also seems to be something of a hierarchy among them, as well, which is also hinted at in their expressions.

There is a charm and a disquiet about the piece. The charm comes in part from the very evident care with which all the piece within the installation have been created created – witness the line of peguins going for a dive towards the top of this piece. It also comes from the early sections of the piece where there is much merry-making and happiness, and well as wonderful little touches which are a delight to find (a little book with swimming fish!).

The Arrival
The Arrival

Move deeper into the installation as the story progresses, and the disquiet grows. Full credit here to Caer Balogh, a long-time collaborator with Rose, and her incredible scripted sound scape, which does much to set the mood as it is realised the fish is dead and questions arise. It was towards the middle of the piece that my own conscience was pricked and my thoughts turned to the potential for the piece being a allegory / metaphor, as mentioned above. A scene with two Susas tearing at one another’s faces and biting one another did little to quieten the unease; and while it certainly gave pause for thought, it most certainly did not put me off continuing my explorations. Like many outstanding pieces of art, The Arrival seeks to challenge, not offend.

The Arrival
The Arrival

All in all, this is a fabulous piece of art for all of these reasons and more, and very definitely worth a visit to explore, consider and participate in.

So, now you’re hooked, why not go and see what tales you can land for yourself?

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The Arrival
The Arrival

LEA Full Sim Art series – next round of applications sought

The LEA Full Sim Art series has a new call for proposals for the period March 2013 – February 2014.

All artists in SL are eligible to apply to have a full region provided for them for a period of one calendar month in which they can host a show of their choosing.

As with previous Full sim art series, successful applicants will receive:

  • A full, 15,000-prim region (inclusive of the media) – not all the prims have to be used!
  • The freedom to choose when to open the show to the public
  • Coverage within the LEA and UWA blog & potentially in any other blogs confirming their continuing support of the series

Access to regions will be granted to successful applicants on the first day of each month, and must end and be cleared from the region on the last day of the month.

How to Apply

  • Send a Notecard in-world to both Jayjay Zifanwe and Bryn Oh, which includes:
    • Your name and the name of anyone who might be working with you on the project
    • A 100-word description of your plan for your show
    • Give your 1st, 2nd, and 3rd preferences for the month in which you would like to use a region (from March 2012 through to February 2013 inclusive)
  • Applications must be received no later than midnight SLT on the 10th February, 2013.

With thanks to Bryn Oh