Eris Isle’s expansive beauty in Second Life

Eris Isle, July 2020 – click any image for full size

Eris Isle is a full region design by Pablo Nova and Karma Koppel that is currently gaining a lot of attention courtesy of a MadPea Hunt – although the fact is, the region deserves recognition in its own right, although a visit can come at a little cost.

A Full private island making use of the full region land capacity bonus, Eris Isle actually feels a lot bigger than a single region, thanks to a considered used of elevation. This breaks up the land to make some of the paths more circuitous at ground level whilst naturally concealing various locations, allowing them to come as a surprise to explorers (assuming people refraining from camming too much!). The raised elements of the landscape also provide additional space both on – and under – them.

Eris Isle, July 2020

It is on the central uplands that visitors arrive, an expansive table of rock that is home to a broad deck built partially over water. It is backed at one end by the cliffs of the island’s peak area, whilst the other falls away to waters that break up the land with a series of navigable channels. Grass tracks to the east and west offer starting points for explorations.

Take one of these, and you be taken down from the landing point and you can either pass over a rope bridge and continue on to a waterfront park area, or cross a second bridge and over a ridge line to where it descends to a farm  converted to house weddings within its large barn. Take the second grass track and it will lead down to where a covered bridge also provides access to the farm wedding venue.

Eris Isle, July 2020

It doesn’t matter which is taken, both offer a lot to see: a greenhouse and gardens, waterside paths running beneath ridges and cliffs and that lead to hidden places to sit; waterfalls that tumble from other high ridges and cliffs to arrive at rocky pools watched over by more seating areas and topped by lookout points, and so on.

Beyond these, more paths await discovery, some passing beyond the aforementioned gardens to reach northern headlands, bays and waterfront cabins (and a cottage) or wind their way up into rocky areas otherwise hidden from view, and / or reach the highest peaks and ridges of the island. The later include the lookout point mentioned, places to mediate and where Tai Chi can be practised.

Eris Isle, July 2020

It is finding all of the rocky routes that makes exploring the region particularly attractive. The care with with the region’s highlands have been built up means that these paths have a natural look and feel, so much so that in places they may not actually appear to be paths at first; even where they sit as steps, there is a natural cast to them entirely in keeping with the lay of the land as the lead the way to parts of the setting that might otherwise at first appear to be inaccessible, such as the west side camp site or the south-west horseshoe cove.

All of this still only scratches the surface of Eris Isle. There’s still the caverns to be found, either on foot or via the pedal boats off to the east side of the region. If boats aren’t to your liking, then a hot air balloon ride around the island might be. This can be found on the north side of the island (unless the balloon is in use) and is honestly hard to miss when moored.

Eris Isle, July 2020

Art also plays a major – and subtle role within the region, with sculptures to be found through the landscape (particularly around the garden area), and more can be reached via the gallery / ballroom teleport board at the landing point. Located in the sky over the region, at the time of our visits, the gallery was home to exhibitions by landscape photographers Charly Keeley-Keating, Pavel Stransky, Rawnie Lane and Shasta Laval.

Admittedly, all of the detail within the region does come at a cost, as mentioned at the top of this article. There is a lot of mesh and texturing that can hit viewer performance – particularly if there’s a large number of avatars present (numbers sat between 15-22 during our visits); with shadows enabled, I found my system running in single digit FPS. However, mitigating the potential hit by disabling shadows when walking / investigating, reducing the number of non-impostered avatars the viewer renders, etc., is worth the effort, as Eris Isle does have a lot worth seeing.

Eris Isle, July 2020

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A musical Pony Box in Second Life

Pony Box, July 2020 – click any image for full size

Pony Box is a half Homestead region designed on Dandy Warhlol (Terry Fortherington) on behalf of the Pony Box group as a location for them to offer DJ and live performer music to group members.

We are a community of Music Lovers. Where music speaks to the soul. Underground electronic sounds is what we are about.

– The Pony Box About Land description

The setting is that of a stretch of coastline backed by cliffs from which dual waterfalls tumble, the water from them cutting a path through the lowland grasses and shingles to reach the sea, while sandy beaches lie to the south and north sit as book-ends to the land.

Pony Box, July 2020

The land between the northern beach and the stream is home to Pony Box’s main structure: a warehouse converted into a pub. It sits in the middle of broad wooden decking, one arm of which stretches out over the beach on legs that dip toes into the blue waters at the deck’s far end. This decking is home to two of the setting’s DJ music venues; one at the end of the pier-like stretch, the other nestled alongside the warehouse-pub.

Steps descend from the stream side of the deck, providing a way to reach the shingle bank, home to a set of white bleachers. These face a live music stage sitting on the humped back of crooked finger of shingle that reaches into the stream, partially blocking it.

Pony Box, July 2020

Two bridges span the lower extent of the stream, providing the best route to reach the southern extent of the land. This is a low, rugged landscape marked by the tall fingers of fir trees and the rounded, squatter spread of crab apple, oak and walnut trees that shade the island’s second major building. Empty at the time of our visits, this suggested it might be intended to become a club house or perhaps an indoor venue for music.

We aren’t open all the time for music. We currently have a DJ who spins tunes every Friday at 1:00 pm SLT. We also do parties advertised through our land group, which I organise. The best way to find out about events is through the group.

– Mr Frosty (JackFrosstt), Pony Box co-owner

Pony Box, July 2020

The highlands to the est of the land aren’t direct accessible, although there are also signs of old habitation on them to give a further sense of depth to the vista as the land rises to form a natural barrier between Pony Box and the rest of the region.

There are one or two rough spots in the landscaping – some of the lowland rocks have been stretched so that their physics shapes no longer match and so you can end up wading through them rather than walking on them, but on the whole, the setting offers good scope for photography and he beaches offer places to sit and relax, as does the pub in the old warehouse.

Pony Box, July 2020

So, if you’re looking for a place to visit or a new place to find music, why not keep an eye on the pony Box in-world group, and hop over to the island and take a look?

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Contemplating artificiality and the eternal feminine

Nitroglobus Roof Gallery: Caly Applewhyte – Ex Machina

Officially opening on Monday, July 6th at noon SLT at Dido Haas’ Nitroglobus Roof Gallery is an evocative, provocative and challenging exhibition entitled Ex Machina, created by Caly Applewhyte.

While her work embraces Second Life landscape images, Caly is perhaps primarily an artist focused on avatar studies, producing pieces that offer stories, and that can be both produced out of an underlying theme and / or nuanced in their content and message. It is in this latter area that the pieces presented within Ex Machina fall.

Nitroglobus Roof Gallery: Caly Applewhyte – Ex Machina

As individual images, each of the twelve large format pieces stands on its own in terms of narrative. While each has an obvious transhumanist / robotic element to it (the artificial enhancement of the body in the case of the former, the outright replacement of the body in the case of the latter), this is not necessarily the focus for the individual narrative; rather, this comes from the overall framing: the very human tilt of the head, the position of the hand (human or artificial), the cast of a look, etc., all of which serves to offer a story in and of itself.

However, when taken as a whole, it is evident that the transhumanist / robotic element evident in each piece does have a significant role to play in the exhibition’s core meaning. They reside alongside and reflect deeper themes of identity (and/or loss thereof), subjugation, and the psychological / philosophical / religious archetype of the eternal feminine, particularly as it relates to the idea (or myth, as Caly rightly references it) of the idealised female form, something that in turn encapsulates a touch Freud – and perhaps a darker warning.

Nitroglobus Roof Gallery: Caly Applewhyte – Ex Machina

The first of these ideals  – artificiality, transhumanism, robotics – are evident from the outset, as noted. Within them, we might choose to see questions as to humanity’s future; are we really simply the sum of our frequently all-too-frail parts? Or might our growing ability to manipulate technology, replicate our capabilities robotically and our evolving ability to create artificial intelligence one day lead to us completely transferring the human condition from that of flesh and bone to something we might see as more perfect, in whole or in part?

Such questions inevitably lead to the core focus of Ex Machina: questions of identity, subjugation and the idealised woman and what they may mean in a coming age.

For how better could the archetype of female beauty, grace, purity, and compliancy be expressed than through the creation of the flawless, artificial woman? And much easier might it be to relate to the potential widespread use of AI units than be giving them the idealised female face and form? After all, it is the female who is literally the mother of life, and the female ideal most often used to present the good and the positive.

Nitroglobus Roof Gallery: Caly Applewhyte – Ex Machina

But – and here’s the rub that Caly expressly raises – the entire idea of the eternal feminine whether rooted in the philosophical, psychological religious, is a male construct, one that has – intentionally or otherwise – constrained women. As humans, we are by nature flawed, just as all men are flawed in one way or another – though looks, abilities, disabilities, etc. However, for women, these flaws so often leave us wanting in the eyes of the (male) beholder, as Caly notes:

This paradigmatic myth, which generates high expectations that will always be disappointing, and moreover tries to trap women in an impossible ideal image, denying their individuality. Real women are thus always perceived as burdens, unfinished business.

Thus, in embodying the feminine in the perfection of the artificial, is there not a risk of further constraining / denying female individuality and value? To put it another way: in giving machines a female appearance, we may well establish a sense of connection to them in their role as servitors and assistants; but might not this also risk a further degradation of the place women have in society – perhaps even increasing things like the Madonna-whore complex (again, it is no coincidence the pieces in Ex Machina have a certain erotic edge to them)?

Nitroglobus Roof Gallery: Caly Applewhyte – Ex Machina

Complex, nuanced and challenging, Ex Machina is an exhibition intended to get the grey matter working, and it is well worth allowing it to do so, and in taking the time to to peel aside its layered meaning.

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A notebook for Aspen Fell in Second Life

Aspen Fell – The Notebook, July 2020 – click any image for full size

It’s been several years since we last visited Aspen Fell in Second Life. A homestead region managed by Jessica Marabana, it’s a place that periodically undergoes transformation by designer Aspen Fell to offer visitors something new to appreciate whilst exploring, in taking photographs of and in writing about. However, I have to admit my curiosity was particularly piqued in reading the latest description provided with the region’s entry in the Destination Guide:

The Notebook is inspired by the movie ‘The Notebook.’ Stroll through the streets of Seabrook, South Carolina, have a seat in the movie theatre, and feel the love Noah and Allie, through all the ups and downs, had for each other.

– from the Aspen Fell Destination Guide description, July 2020

Aspen Fell – The Notebook, July 2020

I have to confess that The Notebook is not a film with which I was familiar prior to reading those words, so I made a call to a friend (aka Netflix and a couple of hours in front of the telly) to learn more – although as I found out on making my return trip to take the photos seen here, the landing point does offer a note card with a fair synopsis of the film to incoming visitors, which I may have accidentally discarded on arriving for our exploratory wanderings.

In short, the film – itself based on the 1996 début novel by Nicholas Sparks – is a decades-spanning love story about a young man of humble origins who lives and works in Seabrook Island, South Carolina. During a night at the local carnival, he becomes smitten with a young socialite who is vacating in the town with her family. His persistence eventually wins her over – although her family doesn’t precisely approve. In part due to their objections and the interference of the woman’s mother, and in part due to America’s entry into to World War Two, the two separate and remain apart for several years until a chance sighting whilst Noah is visiting post-war Charleston brings the two indirectly back into one another orbits, and eventually leading them to renew their relationship.

Aspen Fell – The Notebook, July 2020

As simple as it sounds, the film – like the novel – is nuanced it the way it presents its story. We see the unfolding relationship of two main characters – Noah Calhoun and Allison “Allie” Hamilton – in flashback, as an elderly patient in a nursing home, referred to as “Duke”, reads their story from a journal to an elderly female patient. Through the intertwining of the modern-day storytelling and the flashbacks we discover that not only did Noah and Allie’s love eventually endure, but the the elderly man and woman are Noah and Allie, and his reading of their journals is itself a poignant act of love for her, stricken as she is with dementia.

I know you feel lost right now; but don’t worry, nothing is ever lost, nor can be lost. The body sluggish, aged, cold; the embers left from earlier fires shall duly flame again.

“Duke” / Noah Calhoun, quoting in part lines from Walt Whitman’s Continuities

Aspen Fell – The Notebook, July 2020

Within Aspen Fell, notable elements in the film in which the story of younger Allie and Noah’s relationship are played out are presented as vignettes. There is the main street of Seabrook Island itself; the carnival where they first meet; the lumber mill where Noah works; the abandoned house he shows her, which she describes once it his been restored to its former glory and which he eventually renovates in accordance with her vision in the belief it will bring her back to him.

And there is more: in the town you can dance in the rain or watch the changing traffic lights in reflection of Allie and Noah; in the carnival you can try the rides, at the house you can explore Noah’s renovations and make yourself at home, or close by, you can visit the boathouse and take a canoe out on to the water and get caught in the rain, just as they do.  Thus, as a homage, the region’s vignettes are all nicely framed and gently linked by a winding path.

Aspen Fell – The Notebook, July 2020

Just how much love for the film has been put into Aspen Fell can additionally be seen in the smaller details. For example, the movie theatre is promoting Albert S. Rogell’s 1940 version of Li’l Abner, starring Buster Keaton just as it does in the film. Elsewhere, the dilapidated house contains the old piano Allie sits at and plays (and in respect of this and the piano solos featured as a part of the film’s soundtrack, the region’s audio streams features piano solos). Look hard enough and you may even spot a copy of Allie’s journal the elder Noah reads to her to frame the story.

The introductory note card states the region is open for rezzing to allow for props, etc., but during our visits, I found this not to be the case, even with membership of the local land group. However, this isn’t really an issue; there is more than enough to see within the region, and a fair number of poses available as well.

A labour of love, a photogenic setting and – for those not familiar with the film (or the novel) – and education, Aspen Fell – The Notebook makes for yet another engaging visit.

Aspen Fell – The Notebook, July 2020

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Picturing the lighthouses of Second Life

HEA: A Tribute to Lighthouses

If there is one thing region designers / owners tend to love in Second Life, it is lighthouses. Over the years, I’ve visited and written about hundreds of region designs around the grid, and one of the most common elements to be found across them is the humble (or grand, or steampunkish or fallen or … and so on!) lighthouse. And they reside not just on public regions either; they can oft pop-up on private region homes (so much so that a couple of estates around Blake Sea actually requested tenants stop using lighthouses as island décor!).

And to be fair, they can be an eye-catching sight – I admit to photographing more than a few in my travels and frequently use one of SL’s most famous lighthouses: that of Blake Sea – Crows Nest (itself modelled after Fastnet, off the southern coats of Ireland) as a backdrop for photos of boats and aircraft.

Give their extensive use, lighthouses present an interesting topic for a photographic exhibition – as witnessed by the Queen Bee Gallery July exhibition at Hannington Endowment for the Arts (HEA). A Tribute to Second Life Lighthouses features no fewer than 38 images of lighthouses from around Second Life, captured by Ferugina Luna.

HEA: A Tribute to Lighthouses

Offered in a range of styles: individual pieces, themed groups, lightly processed, untouched and significantly processed, triptych style, and do, on these are images that cover all of the various types of lighthouse to be found within Second Life – inland, coastal, tall, short, with accompanying keeper’s house, standing alone, guarding sea routes or looking out from beaches or cliffs…

To be sure, thirty-eight is a lot of images to take in. On the one hand, they reveal that when all is said and done, there is a little number of individual variants to be found within SL (excluding those that are custom-built). It means there is a certain amount of repetition to be found within the images – the aforementioned fallen lighthouse, for example. On the other, by having so many images to hand it is possible to see the many individual ways in which region owners and designers put them to use to make a statement about their land; while the same design may appear in multiple images, the manner in which each is used can be quite individual.

HEA: A Tribute to Lighthouses

There’s something else in this as well – seeing the same design from multiple angles can do much to “place” it in terms of the possible inspiration behind it. Thus, A Tribute to Second Life Lighthouses offers visitors a twofold treat: images of the subject matter from around SL, and an opportunity to consider where on Earth some of the inspirations for the building designs come from. For me, I found myself looking at photos from around the UK; others might well be put in mind of famous lighthouses from their part of the world. My one regret with this exhibit is the in-world locations where the pictures were taken isn’t evident.

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K360 – a 360-degree image viewer

The K360 Image Viewer, courtesy of Yuzuru Jewell / Kanae Project

Yuzuru Jewell is a long-time Second Life user who has, over the years, come up with a number of tools that have been of assistance to SL users in various ways. I first became aware of his work – provided under the Kanae Project banner in 2012, and have documented a number of his applications in these pages.

For his latest product, Yuzuru offers a handy tool that may be appreciated by those who enjoy creating 360º photographs. K360 is a lightweight viewer that supports viewing (or previewing) 360º photographs primarily taken with the Second Life 360º Snapshot viewer, although it works equally well with any composed 360º image, including those produced by 360º cameras and – in the case of Second Life – via third-party HUD systems (see the links at the end of this article for more on these).

Of course, most photo platforms now provide 360º image viewing support, so why use a third-party tool like this? Well, there are a couple of potential reasons: many viewers are either mobile based, and thus hardly ideal for use with a desktop application like SL), or they rely on images being uploaded to a website first. K360 allows you to quickly and easily view 360º images directly from any Windows folder on your computer and offers some additional functionality as well.

A 360 image produced in 2016 using the Illiastra Camera HUD, viewed using K360

Of course, the Snapshot viewer includes photo preview capability already built-in (just drag the window out to get a equirectangular style image) – but this only allows you to preview the last 360º image captured. The advantage of a tool like K360 is that you can set the camera up and take a series of 360º images of the same location but under different environment settings, compare and contrast them to see which you particularly like, and then upload that version to your preferred photo sharing platform  (or simply browse them on from your local drive).

Using K360 is simplicity itself, as described below. However, when using it, please note:

  • By default, images rendered in the K360 viewer will be watermarked (but all other functions in the application work).
  • To remove this watermark, the application will require a registration user name and licence number.
  • Licences cost L$3980 and can be purchased from the Kanae Project in-world store.

Download and Installation

  • Download the viewer from the Kanae Project website as a .ZIP file. It’s is available in both Windows 32-bit and Windows 64-bit versions.
  • Navigate to the downloaded .ZIP file and extract the contents to a folder / location of your choice on your computer.
  • Navigate to that folder, open it and double-click on the K360.exe file to launch the viewer.

Using K360

Resizing the Application Window

By default,the K360 application window may open to a fairly small size on your screen. To adjust this, either:

  • Click the window maximise button, top right, or
  • Manually resize the window by dragging out the edges.

The Interface and Controls

The K360 interface comprises up to six buttons:

Register – click to open the project registration field to enter your user name and your purchased licence number, as obtained via your purchased registration HUD. Once conformed as valid, this icon will no longer be displayed. Ensure you keep the registration HUD safe.
Select and open any folder containing 360º snapshots.
Page back / forth all suitable images in the selected folder.
Produce a snapshot of the current 360º image. Note that as the 360º image is spherical, this may result in a “curved” flat image.
Re-centre the current image after scrolling around it.

When you have opened a 360º image for viewing:

  • Click and hold the left mouse button to drag-rotate the image (or roll your trackball in the required direction.
  • Use the mouse wheel to zoom in / out of an image.
  • Use the Reset button to re-centre the image to how it appeared on first opening it after rotating / scrolling / zooming, if required.

You can also hide / unhide the the interface buttons by clicking on the “ribbon” containing the Open, Snapshot and Re-centre buttons.

Feedback

K360 is probably a little ahead of its time. As it is there are further fixes required to the 360º snapshot viewer before it is ready for prime time imaging capability of the 360º Snapshot viewer (notably, objects outside of the camera’s field of viewer when the capture process commences don’t always show as correctly rendered in a completed shot  – these are known issues, and Linden Lab is working to correct them).

A 360 image using 360 Snapshot project viewer (version 6.2.4.529111) shown in the K360 app. Note the denuded tree is an example of the rendering issues that can occur with the Snapshot viewer at the time of writing (Interest List issues). Issue like this will hopefully be resolved in time, allowing the viewer to eventually progress to release status.

In this respect, the value you get out of K360 at this point in time could be variable – although if you want to give it a try and don’t mind the watermarks appearing across your images, it won’t cost you a penny to do so.

If you already have a selection of 360º images from the 360º snapshot viewer or from the various camera HUDs that are available – or indeed stored on your PC from the physical world – and would like a quick and easy way to view them on your computer, then K360 might well be worth a look.

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