Category: Exploring Second Life

As a part of my on-going (and occasional) visits to museums in Second Life, I recently had the opportunity to drop in on the quite excellent Museum of Computing History, managed and curated by Brian Aviator, with the assistance of Timothy McGregor and Kevin Jackman.

Tucked neatly under Brian’s Blackslough Field Regional Airport and overlooking the inland seas and waterways of Sansara, this is one of two museums Brain operates / curates in Second Life, the other being the LGBTQ History Museum and Cultural Centre (also due to appear in these pages later this month, and which is – at the time of writing – featured as an Editor’s Pick in the Destination Guide in recognition of Pride Month).

Extending over two floors, and with an ample, well-tended forecourt / terrace public space before it, the museum offers an impressively comprehensive dive in to the history of computing, from the abacus to the blade server and the rise of AI, featuring not just the technology and technological innovations, but many of the the individuals who have contributed to the development of computers, computational engineering and computer science down through the centuries and decades.

From the entrance foyer, dominated by a bust of Charles Babbage, the lower level of the museum comprises the Admiral Grace Hopper auditorium and four exhibition halls in which may be home to static exhibitions, and others have their displays rotated over time as new exhibits are developed (as is the case on the museum’s upper floor). At the time of my visit, the exhibits in these lower halls comprised:

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  Early Pre-PC Computing, which includes one of the earliest computational machines known to Man (the abacus), alongside models of Babbage’s Difference Engine; the electro-mechanical devices which played major roles in the European theatre of World War II – the German Enigma code setting machine and the Polish-British code breaking Bombe; the machines from the early decades of the modern computer era:  punch-card and tape-driven monsters, and even a look at one of the first computers to be used extensively “off-world”: the Apollo Guidance Computer (thanks to Hollywood and numerous dramatizations of the Apollo 11 lunar landing, perhaps now more widely known as the “1202 alarm computer”).

• The Personal Computers Exhibit, which is liable to raise fond smiles for some, including as it does models of Commodore, Sinclair, Apple, Tandy, IBM and other machines as well as their associated operating systems upon which many enthusiasts cut their computing teeth. I personally found myself smiling at the presence of the BBC Model B and (for reasons that are both convoluted and irrelevant to address here, but include personal travels, Sir Arthur C. Clarke and film director Peter Hyams) the Kaypro II).
• An Interactive Fiction Exhibit, with its reminder that there was a lot of brain-engaging fun to be had with computers long before the arrival of graphical games and shooting the bejesus out of others. This is also supported by a video presentation called Get Lamp: the Text Adventure Documentary, available through the Admiral Grace Hopper auditorium.
• A look inside what might now be regarded as an “old school” data centre with huge boxlike machines (rather than huge boxlike racks of machines), and the odd super computer.

These hall all feature models of the various systems, boards, boxes and computers which in turn represent the work of multiple creators from across Second Life – such as (but most certainly not exclusively) Crash Lunar and (appropriately, given the museum’s subject matter) Ozzy Wozniak, both of whom provide a range of free models of computers, handhelds and consoles for those interested. Additional models have also been provided by Brain himself, imported (I believe I’m correct in saying) from 3D models developed by the Universidad de Castilla-La Mancha, Spain – for whom Brian gives acknowledgement. All are presented with display boards which, when touched, will provide a notecard of contextual information (and it should be noted that even the posters on the walls in some of the halls can also be touched for information of their own).

The upper floor if the museum comprises five exhibition halls, all following the same approach as the lower floor, with each focusing on a specific exhibit related to computing. At the time of my visit, these comprised: the relationship between computers and telecommunications and the rise of networking; video games and console systems; the development of artificial intelligence; the noble / ignoble art / act of hacking (which of these terms largely dependant on the who, what, where, when and how of the said hacking) , and biographies of some of the leading personalities and individuals who have played a role in the evolution of computers, mathematics, computer sciences, communications, and related subjects.

Comprising images of the individuals concerned which can be touched for a notecard-based biography, the latter covers people who – at least in name – are likely be  known to many: Augusta Ada King, Countess of Lovelace, Alan Turing, Steve Jobs, William Gates III, Steve Wozniak, Sir Tim Berners-Lee and Linus Torvalds, for example – and one Philip Rosedale; those who might be familiar (if not really known, such as Blaise Pascal; Seymour Cray; Vinton “Vint” Cerf (who has actually been in Second Life) and Robert Kahn; to those who really should have much wider recognition than they do, but whose achievements have perhaps been overshadowed by others – such as the aforementioned Grace Hopper, together with Margaret Hamilton and Dorothy Vaughan, who at times get pushed aside in the male-dominated history of computing, and Douglas Engelbart, whose work at times gets subsumed by the near-mythic achievements of Steve Jobs.

The latter’s work (with that of his team at the Stanford Research Institute – now SRI International) is the subject of a second video presentation within the museum, highlighting what would become retrospectively called The Mother of All Demos. The was a live event held in 1968, in which Engelbart interactively demonstrates his team’s oN-Line System (NLS), which is very much the precursor of just about everything we take for granted with computers today: the graphical interface with its cursor (or “bug” as they called it) and mouse; the ability to work collaboratively and share files dynamically; the use of hypertext and hypermedia – even teleconferencing. The video offered at the museum summarises Engelbart’s presentation, but for those interested, the entire demonstration – which lasted over 90 mins – is also available on You Tube.

I admit I did find myself a little conflicted over the use of notecards throughout the museum; not because it is a difficult format to understand, but rather because there are instances where the information is liable to change (such as with the biographies of some of those featured within the upper floor exhibitions, or on the subject of AI), which might lead to some information becoming out-of-date. As such, I wondered if offering a mix of web links as notecards, depending on the subject matter, might not be easier from a maintenance standpoint.

But, that is very minor quibble; there is no denying the Museum of Computing History has been extremely well put together, offering as it does something of interest for anyone with an interest in the subject – whether computer nerd or as someone simply interested in historical context and / or the influence of computing and computational machines have had down the centuries / decades. Information is easily accessible, and the range of topics cover and their associated depth means there is a lot of be absorbed without being overwhelming, and more than enough to encourage repeat visits.

 SLurl Details

• Museum of Computing History (Blackslough, rated Moderate)

It’s pretty well established in these pages that I tend to be drawn to things with an Oriental theme running through them in much the same way as a moth is drawn to a source of illumination. Part of this is doubtless the result of having spent some of my childhood years in Hong Kong (and some of my early adult years traveeling to places on that side of the world). However, it’s also likely born of the rich history of the Far East, a history which I’ve always found to be more engaging than the histories of western nations.

Which is a roundabout way of saying that when I copped the Destination Guide entry for Chang’an, I knew it would be skating up my list of places to visit; if nothing else, the DG description was enough to raise my eyebrow as curiosity was piqued.

Explore the virtual Chang’an, the capital of the Tang Dynasty (AD618-907) in China. You can see ancient Chinese (East Asian) cultural factors, including palaces, Buddhism temples, and gardens. Here you can dance, sing, entertain, and shop.

This is an introduction which immediately gives a first hint of this Full private region’s over-arching theme: that of a fusion of Oriental / East Asian elements with a particular (but not exclusive) emphasis on China and Chinese history. Not that the setting is intended to be purely historical in context; in much the same way as it offer a fusion of influences, so too does it present a combining of periods, ancient and modern.

Designed and built by 大鱼 (Deo Rain), the region’s DG and About Land descriptions tell only a small part of Chang’an’s long history. The name belongs to what is now regarded as Xi’an, the capital of Shaanxi Province, and the third most populous city in north-western China. Over the last 40-ish years, and keeping pace with China’s overall modern economic development, Xi’an has re-emerged as an industrial, political and educational centre and, particularly, a cultural centre of note.

As a centre of import, Xi’an’s roots go back to Neolithic times when it was a centre for the Yangshao culture, and areas within the city and its surroundings were used by several Chinese dynasties as their capital. These included the first half of the Zhou Dynasty, with centres at Feng Jing and Haojing, the Qin Dynasty, thanks  to China’s first emperor Qin Shi Huang (he of the Terracotta Army fame and responsible for starting construction of the Great Wall), moved the Qin capital to Xianyang in what is now the northern part of Xi’an. From here, it became central to the majority of the major dynasties through to the Ming and Qing Dynasties (the latter being the last imperial dynasty of China prior to the country becoming a republic in 1911).

The city of Chang’an is generally regarded as coming into being in 200 BC, when Emperor Liu Bang of the Han Dynasty ordered the construction of Weiyang Palace and, six years later, that of the first of the Chang’an city walls. However, it is under the Sui and – as noted by Deo in his descriptions for the region – the Tang Dynasties (which consecutively spanned a period from 581 CE through 907 CE) that Chang’an came to full prominence. This was kicked-off during the Sui Dynasty, when a new city was built south and east of the Weiyang palace, when it was initially called Daxing before being renamed Chang’an (meaning Perpetual Peace or Eternal Peace) during the Tang Dynasty.

During this period, and prior to its destruction in 904 CE, Chang’an grew to enclose an area of some 84 km² within its walls, split into three major districts: the civilian city, the imperial city and the palace itself.  During this period it was the third largest city in the world, boasting centres of commerce, learning, religion and culture, with paved roads and avenues of impressive proportions (Zhuque Avenue, the city’s grand street, was an impressive 155 metres across!).

As well as the palace, the city featured the Giant Wild Goose Pagoda, which together with the Small Wild Goose Pagoda survived the destruction of Chang’an (although it did suffer extensive earthquake damage in 1556 CE). It was built as the repository for sutras and figurines of Gautama Buddha that were brought back to China from India by Xuanzang, who also brought over 600 Sanskrit scriptures to Chang’an, where he established a centre for their translation, work which contributed enormously to the growth of both Chinese and East Asian Buddhism.

Much of this is celebrated in Deo’s build. Like its namesake, the later can be broadly split into three areas: the commercial centre (with stores available for rent), a cuisine district, and the palace-like Taiji Hall, sitting elevated at one end of the region, a broad paved footway running to it in the manner of Zhuque Avenue from the citadel gates, neatly separating the commercial and cuisine districts from one another in the process. The hall sits apart from most of the rest of the citadel as befitting its status as a near-palatial building, thanks to a broad body of water almost completely slicing through the northern part of the region.

Two tall watchtowers stand guard on either side of the broad stepped bridge spanning the water to reach the main hall, and while these may not be particularly pagoda-like, but it is hard not to imagine them standing in for the Wild Goose pagodas of Chang’an. Taiji Hall itself is huge and of genuine beauty and craftsmanship (although apparently still under construction in places from what I saw whilst taking a sneaky cam around it!), which speaks to Deo’s skills as a designer: like the rest of the buildings within the region, it is entirely his own design.

The most prominent elevated element of region sits to the north-west as a high plateau. It is topped by a temple which appears to offer a nod towards the Republic of China, carrying as it does the name of Anping. Built around a main courtyard, the temple has two primary buildings, the larger of the two dominated by three large figures of Buddha, and the smaller by a gold-covered figure of Guanyin, the East Asian representation of Avalokiteśvara. Thus, this retreat would seem to be an acknowledgement of Xuanzang and his seat of translation / study founded at Chang’an. But – how does one reach it? From the terraces of the palace and the paved streets below it, there does not seem to be an obvious route.

The answer lay close to the southern gateway where, between the eatery and the club-come-bathhouse which help fuse past and present within the build, a covered walkway might be found. Not only does this provide access to the engaging south-west section of the build (which hides its own pavilion and butterfly garden), and thence north to where a paved footpath meanders back towards the palace. As it does so, the paved path passes the start of a second, loosely-laid path winding into a gorge as it cuts into the base of the plateau. The far end of this path marks the start of a winding climb upwards. It’s a route of exploration I highly recommend, as it offers a sense of pilgrimage it is meandering route, as means to see parts of the region which might otherwise be missed, and a superb way to look out over the citadel as the path is climbed to reach a promontory just below the temple proper.

When visiting Chang’an, I would recommend taking time out to study the map provided close to the landing point, as it will help point out the locations within the region – including those I’ve not mentioned or really described in this article. I would highly recommend a visit, as the region does offer an interesting fusion of ideas, and – quite frankly – Deo’s architecture is gorgeous.

 SLurl Details

• Chang’an (Changan, rated Moderate)

In April 2021, I took a trip on Zany Zen’s superb narrow-gauge railway as it charts its way through north-west Jeogeot (see: Letting off steam with Zany Zen Railway in Second Life). The results of the trip led to a short series on some of the narrow-gauge railways in Second Life (see: A Ride on the Valkyrie and Climbing a Mountain in Second Life and GLTSL 3: Dreamshire Village, Second Life).

The Zany Zen runs from the little coastal setting of Little Coverston to Somdari. In doing so, it runs through a total of seven settlements, all of which have come together to form the Welsh-themed Seogyeoshire, modelled after a traditional county of  the UK and centred on the county town of Seogyeo, which forms the official mid-point of the Zen’s route. The result is a truly engaging, picturesque setting that captures the scenic beauty of rural Welsh and (dare I say it), English counties bordering Wales.

The seven villages and towns of Seogyeoshire comprise Little Coverston and Brigbymoorside to the north on the Gaori coast, Middle Claydon, Seogyeo Town itself, Verney Junction, Bempton and the delightfully named Little Framerate (which is anything but 🙂 ). These flow one to the next through landscaped countryside on either side of the Zany Zen, managed by the local community as overseen by the local town and parish councillors (aka Seogyeoshire’s admins).

As the largest of the population centres, I focused much of my visit which gave birth to this article on Seogyeo Town and its immediate surroundings – including Claydon House and its parklands – although some of the images herein are taken from other parts of the county, so if you want to truly experience the county, do make sure you visit it!

The place to start explorations of the town is the local square – the target of the town’s landing point. Here, overlooked by a figure on horseback (who is, for reasons unknown wearing a pair of motorcycle goggles!), visitors can receive a map of the county which highlights the points of interest awaiting discovery.

This map demonstrates the care with which the community at Seogyeoshire maintains the overarching theme of presenting a touch of Wales / Britain: the map is clearly modelled after those produced by Ordnance Survey (OS), the national mapping agency for Great Britain, and the first such agency to be established (dating back to 1747).

The attention to detail continues with the use of recognisably “British” street name signs (which, given this is a corner of Wales present names in both English and Welsh), road traffic signs and road markings, the use of Belisha beacons at public road crossings,  very British public rubbish bins, and so on. The humour is typically subtle and easy-to-miss unless you happen to be from these shores. I wonder how many visiting the town get the joke of the local OP-CO food store, or appreciate the dry humour behind the “Grimsby Would We Really Miss It?” election poster (in almost-Conservative-blue!) or recognise the intentional irony in the naming of Long Street.

Seogyeo Town and Seogyeoshire as a whole have a sense of age and history common to the majority of rural areas and older towns of Britain: modern buildings rub shoulders with those dating back hundreds of years; the local parish church sits well above the rest of the town to remind the people of its presence and to come to worship, its graveyard speaking to the long history of settlement here. Sites of antiquity are carefully marked and preserved, and more “modern” institutions have attempted to fit quietly within the community rather than setting themselves aside. For example, there’s the post office cuddled against the local pub; the local police station tucking itself quietly inside the converted ground floor of a house, the upper floor of which offering the officer and their family a small apartment-style home.

This sense of history enfolds a length of canal which appears to have once reach all the way to the base of the hill on which the large bulk of a brewery sits. Whilst its western end has been built over and its eastern end converted into a pond and public space commemorated Queen Elizabeth II, the canal perhaps once brought grain and hops to the brewery in the early years of the industrial revolution, before steam trains robbed the longboats of their trade.
Incidentally, the brewery speaks to the manner in which some of the Seogyeo community’s neighbours have entered into the spirit of things. Whilst resembling a building born of the industrial revolution, it is in fact a façade which allows the Buildables SL building supplies store. Thus, it allows the store to blend into the Seogyeoshire’s general ambience rather than painfully clashing with it.

Across the road from the pond marking one end of the canal sits a much broader lake. This in turn marks the boundary of public parklands running up to the impressive Georgian-style estate of Claydon House. Backed by extensive coaching houses and stables, Claydon (although still under construction at the time of my visit), boasts its own large family chapel, formal gardens and lawns which all appear to be open to the public.

A further beauty of Seogyeoshire is the manner in which towns and villages have been blended with the landscape in a manner reflective of rural Britian. There are no hard lines, just a gentle blurring of fields available for crops or grazing and marked by dry stone walls with farmhouses, tended trees at the roadside, an increase of road signs – including those bearing the name of the town / village, and the arrival of a village itself which rises and then gently folds itself back into the surrounding fields and landscape once more. Here and there, ancient towers, gatehouses and the remnants of fortifications which also speak to Welsh-English history.

Outside of the Zany Zen railway, the roads running through the county offer the most obvious means of getting around and seeing all that is available; however, if walking doesn’t appeal, there are bicycle rezzers scattered around (one at the town square landing point at Seogyeo, for example), offering an entirely comfortable means of spending a pleasant time exploring.

One thing I would say here when it comes to exploring is this. There are a number of individual EEP environments scatter through the setting. If you want to avoid the time of day transitions they create, do remember to apply your own preferred EEP asset to your avatar so you can maintain consistent environment lighting throughout your meanderings.

Now featured in the Destination Guide, Seogyeoshire makes for a thoroughly engaging visit. And with that said, I’ll simply point you in the direction of Seogyeo, and say, “Croeso i Sirol Seogyeo!”

SLurl Details

• Seogyeo Town and Seogyeoshire (Seogyeo, Gaori, etc, all rated Moderate)

It’s been some six years since I had the pleasure to visit NorderNey, the always photogenic region held and designed by Jacky Macpherson, my last visit having been in 2017 (see: A return to NorderNey in Second Life). One reason for this is that it has actually been closed for a while – I’m not sure precisely how long – and Jacky has been spending some of her time on other projects, including designing regions for others, including Vally Lavender (see: Time at Valium Creek in Second Life, from 2020)  and VUK Store (see: A visit to VUK in Second Life, from 2019), as well as her own (see: A Nutmeg Getaway in Second Life, again from 2020).

So when Shawn Shakespeare informed me Jacky was back with a “Nord”-related build, I decided to leap over and take a look recently and at a time when I really should have been a-bed! NordShore, a Homestead region design, may not be a direct continuation of NorderNey, but it does have that titular link, and there is a styling about it that does bring to mind past iterations of NorderNey. It is also a build carrying a soft echo of Gateway – Nutmeg, linked to above, although it remains entirely unique to itself.

For inspiration with this design, Jacky turned to the oft gentle, oft rugged county of Cornwall, England; a place that can be both a holidaymaker and tourist magnet and also a place of unspoiled, remote-seeming beauty. It is these latter aspects of Cornwall Jacky has used to fire her imagination, sprinkling her ideas with little Tuscan touches; and while she specifically mentions Cornwall’s coastline as her point of inspiration, elements of the build – to me – also carry hints of the county’s moorlands.

Presented as a low island with a rugged, rocky shoreline for the most part, rising from the surrounding sea and caught under a summer’s sky entirely in keeping with those often see around Britain’s coast, it is not hard to think of NordShore as being a little place sitting just off the shoreline of south-west England; far enough away from mainland to offer a sense of escape, yet close enough to make living here less of a hardship than in might otherwise be the case.

Along its grassy back, the island is home to a lighthouse, a small cottage and a barn. It’s possible – if not likely – the cottage may have once been the home of a lighthouse keeper, being separated from it by a short track as the lighthouse stands on a small headland at the south-eastern tip of the island. However, it doesn’t appear as if the cottage has been maintained in its original role, instead having the feel of a place now given over to being a home for those caring for the island’s horses and sheep, perhaps as a result of the lighthouse being converted for automated operation at some point.

Whatever the reason, the cottage is a cosy place which appears to have been extended and refaced – or perhaps entirely rebuilt – to give it a distinctly Tuscan look and feel. Inside, a wood-burning stove offer warmth in winter, the armchairs before it sitting with a game of backgammon between them – although the cat occupying one of the chairs doesn’t appear to be too interested in it. A large, comfortable sofa sits across the room, guarding the doors leading to the kitchen where another kitty appears determined to get some milk – possibly more than it bargained for, if not careful!

A track runs from the east side of the cottage, past steps running down to a little cove, and then onwards to a working barn built in the same style as the cottage. Behind and slightly above the barn the back of the island is matted with tough wild grass, bursts of wild flowers and shrubs, here and there punched through by rocky outcrops.  It is here, with the fenced enclosure for sheep, the further dusty tracks and the smattering of trees, that I found myself thinking of parts of Bodmin Moor than anywhere along Cornwall’s coast.

Which is not to say the northern end of the island looks out-of-place or different to the southern half. Far from it; this is a setting that flows together as a singular whole; but it does speak to Jacky’s power to fire the imaginations of visitors to see things that are both in keeping with her vision but which carry it in, perhaps, other directions.

With sheep and horses grazing and gulls wheeling in the sky whilst cormorants sit on the rocky shore and eyeing the rolling tide for any fish carried too close to land and thus making for a quick, swooping snack, the island also features other visitors to Cornwall’s shores: seals. These appear to have laid claim to the northern end of the island’s shore, perhaps feeling it offers seclusion and safely from unwanted approaches thanks to the surrounding rocks.

A single path slips gently down between said rocks to reach one of their basking grounds, a route which means they have more than ample time to slip into the sea should their peace be disturbed. Not that they need be disturbed: those seeking a dip in the sea can do so via both the east and west sides of the island, each of which is marked by rough beaches that slide easily into the waters before them, and which can be easily reached by following the local trails as the cross the island’s back.

Finished with a gentle soundscape and – needless to say – lots of opportunities for photography, NordShore is a delight to visit.

SLurl Details

• NordShore (Echo Mountain, rated Moderate)

As my last wander in Second Life took me to remote Gaeta 1 (see: A LemonCliff café in Second Life), I decided to stay with the Mainland theme for my next bout of meandering, travelling across Second Life’s map from north to south to pay a visit to Jeogeot and a small parcel of land sitting just off Route 9 toward that continent’s southern coastline. It is a place perhaps easy to miss as you travel along the highway, just a pair of iron gates under a stone arch itself set into a high wall spanning the gap between high granite blocks on the south side of the road. However, it hides a little treasure.

Behind the gates, and occupying the greater part of a 6,400 sq metre parcel is Journey Garden, a charming setting created by Kes Evergarden Teech (Kestrel Evergarden), and offered under her Journey Magazine brand. And when I say charming, I mean precisely that.

Beyond the gates, a path gently winds across the roughly rectangular gardens, the granite blocks continuing on around the setting to neatly fence it in without being obviously oppressive or enclosing.

This main path leads the way past some of the setting’s major features as it makes it way to the southern extreme and the offices of Journey Magazine. A second path doubles back on the first just a few short metres from the gates, winding back to where steps cut through the grass to climb up to wide grassy ledge overlooking a sheltered pond. A bench has been added to a fountain and pool occupying the ledge, making it a perfect retreat for those wanting a cuddle or simply watch the play of ripples over the water.

A second shoulder of low rock sits across the pond, the main path curling gently past its rocky foot. Here lies a further little place to sit, this one talking the form of three hanging seats suspended from the beams of a pergola. However, getting up to them might at first seem to be less than obvious, given the sheer faces on the rock on which the pergola sits – but there is a way. A little slope rises on the side of the outcrop nearest the pond, offering a relatively easy climb up to the top, the grassy path passing a small wooden deck built out over the pond as they do so.

Between the pergola-topped rock and the magazine’s office sits a picnic area and live music space, reached via a short path and steps sitting alongside the garden’s café, a place where refreshments might be enjoyed together with a quiet sit-down. I’m not sure how often live events might be held on the little outdoor stage –  but they are mentioned as occurring in the garden’s About Land description.

This is a place of serenity and photogenic retreat, the one oddity within it sitting back towards the gates, and clearly visible to anyone entering the garden. Set back from the main path at the end of a short walk along loosely placed paving stones is a bus-cum-trailer home which, like the garden it sits within, appears to have been allowed to grow almost completely organically.

The trailer sits as a place which is strangely bohemian whilst also carrying a hint of dark magic. The latter point is added to by the presence of a deer spirit, standing like some Dark Herne behind it. Inside, however, the trailer house is oddly cosy, even with the further hints of magic. However, its presence is not entirely out of place within the garden, as it speaks to Kes’ sense of humour, something which can also be seen in her profile: professional cannibal & existential dread specialist … and on Wednesdays, we play D&D.

Journey Garden is not the only place to be visited along this stretch of Route 9 – right next door, for example, is the Brumby Park Conservatory, another peaceful retreat, created and run by Envy (Envy Renard). However, it is perhaps, a place to be covered in a future piece in this blog; for now, I’ll leave you visit Journey Garden for yourself, and with the SLurl.

SLurl Details

• Journey Garden (Ungnyo, rated Moderate)