Calling artists: an exhibition to say farewell to the UWA in Second Life

The University of Western Australia has been a long-term patron of the arts in Second Life

From 2009 through through 2018, the University of Western Australia (UWA) was a name synonymous with patronage of the arts in Second Life.

The university first became involved in Second Life largely through the encouragement of faculty member Jayjay Zifanwe, and under his guidance and the curation of FreeWee Ling, UWA oversaw a series of art challenges that offered impressive cash rewards for 2D, 3D and machinima artists.

These Art and Grand Challenges yielded some of the most exceptional displays of art and creativity seen within – and beyond – Second Life, and became a hallmark for artistic excellence.  Over the years, I attempted to cover down the years through this blog; however, from the end of 2015, UWA started a gradual winding-down of their operations in Second Life.

This started with the ending of their direct sponsorship of their art challenges with the Pursue Impossible challenge (see Pursue Impossible: celebrating art and machinima in Second Life), after which, events continued to be run, albeit without a cash prize incentive. Then in 2016, it was announced that four of the five regions operated by the university would be closing – although this was extended through to mid-2017 n (see UWA to scale back in Second Life and All UWA regions to remain in Second Life through mid-2017), allowing one more prize-based challenge  – sponsored through the generosity of LaPiscean Liberty – to take place (see UWA’s Transformations in Second Life

Pursue Impossible (2015) marked the end of the UWA supporting Second Life artistic expression with large-scale cash prizes. Image courtesy of UWA

Sadly, all good things must eventually come to an end, and the time is coming to say farewell to the last remaining UWA region – and in order to do so, a final art exhibition is to take place in the UWA’s exhibition space over the region.

Open to all 2D and 3D artists, the exhibition has been entitled Gratitude. It is being organised with the approval of the UWA by Chuck Clip, who describes the event thus:

This is a grand finale, a sad farewell to show our gratitude to UWA and all that they did for us as artists, curators, and residents of SL. Their work brought life and beauty to all of us and made the art world in Second Life a thing to behold. Why The Theme “Gratitude”? For over a decade, the University of Western Australia has been synonymous in the minds of many residents of Second Life with the arts and the support thereof. Their work was unparalleled on the grid, and made waves in the art world that, even as they prepare to close their sim, resonate through the art world today.
There are so many people whose lives they touched in one way or another. So many artists found inspiration in their 3D Art Challenge themes, and support in the encouragement of the community they created. Let us all come together this one last time to say thank you to the men and women of this great institution, to celebrate their achievements, their impact on our own achievements, and to mourn their departure.

– Chuck Clip, via note card

Those wishing to participate in this special event should note the following:

  • The event is open to all Second Life 2D and 3D artists, but is limited to one entry per artist.
  • Artists will be given a maximum of 150 LI with which to realise their work.
  • Entries should be able to be interpreted by the casual viewer as being representative of the theme of Gratitude. Where the link to the theme is difficult to ascertain, this should be referenced in a note card accompanying the work.
  • All entries must be submitted no later than 23:59 SLT on Sunday, November 1st, 2020 via the official UWA Art Show Submissions boxes (see below).
  • All entries must be accompanied by a note card containing: the artist’s name and a brief biography; the name of the submitted art (this should match the actual name of the piece as an object); a description of the piece; any landmark to more of the artist’s work, if applicable.
  • The exhibition will open at 12:00 noon SLT on Wednesday, November 11th, 2020, and will be marked by a special opening event with live entertainment, and will close on December 30th, 2020.
  • The region is currently set to close on December 31st, 2020, and art will be cleared prior to this occurring.

How to Enter

  • Place the artwork and covering note card in the UWA Art Show Submissions boxes located in the following regions:
    • University of Western Australia.
    • Sinful Retreat landing point.
    • To submit entries, left-click on the entry and HOLD the mouse button down, then press CTRL and drag the entry to the Art Show Submissions box. When the cursor is over the box (red outlines should appear around the receiver box), release your left mouse button and the item is received.
    • Repeat the above for the note card as well.
  • If you have problems with the box give artwork to Chuck Clip along with  a note card containing your name, together with the art.

General Rules

  1. Any style of 2D and 3D artwork can be submitted, provided it is in keeping with the exhibition theme and meets the General maturity rating for the UWA region and in accordance with Linden Lab’s Terms of Service and Community Standards. Items can be static or animated.
  2. In addition:
    • All entries cannot exceed a maximum of 20×20 metres.
    • If scripts are used, they should be kept too a run time of 0.2ms (0.5ms  maximum). Anything above this must include an on/off on touch with time out of up to 10 minutes.
  3. By submitting an entry, you are giving permission to the University of Western Australia and Chuck Clip to place the objects anywhere on the UWA region, and to have information and images of the entries placed on UWA websites and on websites promoting the UWA region or events held on the UWA region or to be filmed for machinima purposes.
  4. All work must be original. Renderings of works by others, in part or in whole, whether or not they are under copyright, should be acknowledged and permissions secured when appropriate.

2020 Simulator User Group week #39 summary

Dim Sum Gardens, July 2020 – blog post

The following notes were taken from the September 22nd Simulator User Group meeting – although there is not a lot in practical terms to report.

Simulator Deployments

Please refer to the server deployment thread for news and updates.

  • On Tuesday, September 22nd, the grid’s main SLS channel was updated to simulator maintenance release 548903, containing updates related to the cloud uplift work which contain no user-visible changes.
  • There are no RC deployments planned for the week.

SL Viewer

The Bormotukha Maintenance RC viewer, version 6.4.8.548890 dated September 18th, was promoted to de facto release status on Tuesday, September 22nd.

The rest of the official viewer pipelines remain as follows:

  • Current release viewer version 6.4.7.546539, dated August 11, promoted August 17, formerly the Arrack Maintenance RC viewer – No Change.
  • Release channel cohorts:
    • Mesh uploader RC viewer, version 6.4.8.548061, September 8.
    • Love Me Render RC viewer, version 6.4.8.547427, August 21.
  • Project viewers:
    • Project Jelly project viewer (Jellydoll updates), version 6.4.8.547487, issued August 26.
    • Custom Key Mappings project viewer, version 6.4.5.544079, June 30.
    • Copy / Paste viewer, version 6.3.5.533365, December 9, 2019.
    • Project Muscadine (Animesh follow-on) project viewer, version 6.4.0.532999, November 22, 2019.
    • Legacy Profiles viewer, version 6.3.2.530836, September 17, 2019. Covers the re-integration of Viewer Profiles.
    • 360 Snapshot project viewer, version 6.2.4.529111, July 16, 2019.

Cloud Uplift

  • There is a known issue with Navmesh retrieval on cloud-hosted regions on Aditi.
  • The Lab believe they have a solution for the outward e-mail issue with cloud-based regions. However, due to the way in which Aditi regions are set-up, testing of the fix is being carried out elsewhere, but the hope is the fix will be usable once there are user-accessible regions on Agni that are running on AWS services.

In Brief

  • There is no update on the Group chat / IM failure issue (see BUG-229219).
  • The majority of the meeting focused on a general discussion on region crossings – notably with vehicles – and the assorted problems that can arise, including the inconsistencies in some things like object entry and group access are handled (the former can prevent vehicle and avatar entry, whereas the latter can allow a vehicle into a region / parcel, but then eject the driver / passenger, obviously resulting in problems).

A new Muse in Second Life

The Muse, September 2020 – click any image for full size

In February 2020, we visited The Muse, a Homestead region designed by the superbly named “United Nerds of Building” (see: Finding The Muse in Second Life). Earlier this month, I received a note from Liss Beattie, that The Muse’s owner, Tribish Tammas, has both relocated and redesigned The Muse, so we took the opportunity to hop over and take a look.

Still occupying a Homestead region, The Muse retains some elements from the design we saw back in February, whilst also offering an entirely new look. As with the previous design, The Muse remains split between a core ground-level build and a sky platform, with the stated aim of the region being to offer a “space for couples, lovers, and friends to relax and spend time together”.

The Muse, September 2020

The main landing point is located in the the ground-level setting, on the south side of the region. Backed by a flat-topped bluff with grassy slopes to its seaward side, the landing point sits within the ruins of an ancient building – perhaps an aged temple – with a westward view towards the surrounding mountains. These sit beyond a small island that appears to have been formed by the local water cutting a channel to separate what had once been a headland.

Reached via a stone bridge that arches between two weather-beaten and somewhat decrepit gates, this little island is home to one of the elements seen within the previous design: an open-air Elven Ballroom.

The Muse, September 2020

The bluff behind the landing point runs east and then north, forming a low-lying table of land, its landward faces formed by rocky cliffs over which a waterfall tumbles to feed a stream that winds its way across the region. In doing so, it neatly cuts the lowlands into two unequal parts. On one of these sits a single barn, converted to an adult play area, surrounded by a sea of flowers. On the other, close to the rocky plateau, is a more expansive ruin that sits close to a place that winds up to the top of plateau.

Two bridges span the stream,providing easy passage between the two parts of the lowlands, while a third bridge reaches across a further channel of water to reach a north-eastern island.

The Muse, September 2020

The north-eastern island has a backbone of cliffs against which the intriguing bulk of The Retreat from The Looking Glass sit.. In the last iteration of The Muse we visited, this formed a mystical library. Now it fulfils more of the role of being a home, its westward aspect commanding a view across the region’s lowlands, ruins, barn and Elven Ballroom all visible among the trees sprinkled across the landscape. Also visible from this vantage point is a large garden bar sitting at the north end of the main island, a comfortable walk from both this house and the barn.

The sky platform is reached via teleport from the landing point (you’ll need to accept the region’s experience when asked). As  per the previous iteration of the design, it offers a large dance floor with and animated finish and now bracketed by a pair of floating islands  – one the teleport point, the other offering space for Tai chi exercise. It is watched over by a blue whale that swims through the air above it, and the eye of a large moon that slowly orbits the dance floor along with the stars and nebula of skybox surrounding the platform.

The Muse, September 2020

Throughout both settings, ground and sky, are numerous opportunities for dancing and / or sitting and relaxing, whilst on the ground, the islands are nicely rounded-off by a natural sound-scape.

One of the charms of The Muse when we last visited was the manner in which it comprised a series of individual vignettes loosely woven together by the setting in which they sat, rather than presenting a truly contiguous whole. It was both eclectic and yet complete, the various areas offering their own individuality but nevertheless flowing together as a whole.

The Muse, September 2020

This new iteration presents farm more a feeling of being a contiguous whole at ground level, a single environments with multiple points of interest. On the one hand, this means the current Muse perhaps lacks the eclectic mix of the old, but on the other, it means it offers its own unique look and feel – that of a temperate island that has seen the passage of time and human habitation, and is now a retreat from the pains and pressures of the world, ready to greet and comfort all who visit it.

SLurl Details

  • The Muse (Consensual Kinks, rated Adult)

 

A Princess Bride, alien threats and Celtic tales in Second Life

Seanchai Library

It’s time to highlight another week of storytelling in Voice by the staff and volunteers at the Seanchai Library. As always, all times SLT, and events are held at the Library’s home in Nowhereville, unless otherwise indicated. Note that the schedule below may be subject to change during the week, please refer to the Seanchai Library website for the latest information through the week.

Monday, September 21st: Anything You Can Do

Gyro Muggins reads Randall Garrett’s (writing as “Darrell T. Langart”, one of his many pen-names) story of an alien encounter first published in serial form in 1962.

What do you do when you finally make contact with E.T. after it crash lands on Earth and you find that, unlike Hollywood, it’s not here  for reasons of conquest- but that, despite its clear intelligence, it just doesn’t care about the destruction and death it wreaks across a city, because its norms of behaviour are so thoroughly  – well, alien – compared to ours, and its sheer power means very little can actually harm it?

Well, you obviously take a man and rebuild him – but not with bionics; rather you do so purely biologically- so that he can match anything the alien can do. But then, when you’ve done so, is your creation still human?

Tuesday, September 22nd:

12:00 Noon: Russell Eponym, Live in the Glen

Music, poetry, and stories in a popular weekly session at Ceiluradh Glen.

19:00: Two Celtic Tales

Willow Moonfire reads two short stories

In Teig o’Kane and the Corpse we follow the tribulation of a young Irishman who doesn’t want to commit to adulthood – until he finds himself with a talking corpse latched onto his back that demands he finds it a grave by morning, or find the corpse forever on his back.

The Witch of Lok Island tells the tale of Houarn and Bella, a young couple who want but a simple life, with a cow and a pig to rear and a home in which to live. So Houarn sets out to find the means by which they might, only to learn of a beautiful lake-dwelling fairy, and determines to find her and seek her aid. But is her willingness to do so genuine or something else – and might it be that Bella has some magic of her own that might help rescue Houarn from his foolishness?

Wednesday, September 23rd / Thursday September 24th, 19:00: The Princess Bride

Anyone who lived through the 1980s may find it impossible – perhaps even inconceivable – to equate The Princess Bride with anything other than Rob Reiner’a 1987 film of the same name, adapted for the silver screen by none other than the novel’s author, William Goldman. And yet, there is so much more to the tale.

Goldman frames his story as a tale written by (the fictional) “S. Morgenstern” that his father read to him when he was but a boy. On reaching adulthood, he claims he looked forward to nothing more pleasing than sharing this masterly tale with his own son, only to discover that rather it being a swashbuckling tale, “Morgenstern’s” original was actually a plodding political satire on his “homeland” of “Florin”. The tale he remembered from his young years was actually the result of his father just reading the “good bits” of the story, and ignoring the rest.

Determined his son and other youngsters should benefit from his father’s approach to the tale, Goldman claims (by way of footnotes in the book) that he decided to produce an abridged version of “Morgenstern’s original focusing on just the “good bits” his father would read. And so it was that (his tale-around-a-tale goes), The Princess Bride: S. Morgenstern’s Classic Tale of True Love and Hight Adventure was born.

So, as recently requested by Seanchai library attendees, join Caledonia Skytower as she presents the best, best bits of this charming tale of Buttercup, Westley, Inigo and all over the course of two evenings.

Thursday, September 24th, 21:00: Seanchai Late Night

Finn Zeddmore presents contemporary Sci-Fi Fantasy from sources including Escape Pod. Light Speed, and Clarkesworld on-line ‘zines.

2020 viewer release summaries week #38

Logos representative only and should not be seen as an endorsement / preference / recommendation

Updates for the week ending Sunday, September 20th

This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:

  • It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy. This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
  • By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
  • Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.

Official LL Viewers

  • Current release viewer version 6.4.7.546539, dated August 11, promoted August 17, formerly the Arrack Maintenance RC viewer – No Change.
  • Release channel cohorts:
    • Bormotukha Maintenance RC viewer updated to version 6.4.8.548890 on September 18th.
  • Project viewers:
    • No updates.

LL Viewer Resources

Third-party Viewers

V6-style

V1-style

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links

Looker and Sophie at Basilique in Second Life

Basilique: Sophie Marie Sinclair (Perpetua1010)

Recently opened at Niccoli Sweetwater’s Basilique region is a joint exhibition of art organised by the Focus team, and featuring the work of Looker Lumet and Sophie Marie Sinclair (Perpetua1010), both of whom are artists new to my eyes. This is something of a “split level” exhibition of work,  the core being located at Basilique’s skyborne exhibition and event space, Palazzo di Basilique, with some of Looker’s work also appearing at the ground level Galleria rotunda.

Located on the Lago di Garda terrace at the rear of Palazzo di Basilique, Sophie Marie Sinclair presents Yellow Expressions, a portfolio of her physical world art with – as might be expected from the title – something of a yellow theme running through them.

Basilique: Sophie Marie Sinclair (Perpetua1010)

Sophie’s background is perhaps as fascinating as her art. A graduate of the Academy of fine Arts Vienna, she is also by turn a cartoonist, having had a particular focus on political satire, an author and a ghost writer for certain well-known comedians. As a painter, she is an experimentalist in terms of materials she uses, but has a leaning towards plaster, glue, terracotta, stones, bones, ash, charcoal, and the use of natural pigments.

Sophie describes her artistic focus as being on the nude body and also abstract art, and the former is certainly demonstrated in Yellow Expressions, which features 10 studies of the male and female form, most of which appear to be pen or charcoal drawing finished in a water or ink wash to provide the natural yellow tone within them, with one piece (Mind N) offering the suggestion of a more oil-like and textured / layered finish that also involves richer hues.

All ten pieces are superbly rendered, their finish highly suggestive of being produced on porous plaster rather than canvas, something that gives them a highly tactile sense, whilst their neo-classical styling presents them as pieces that would fit any home environment admirably.

Basilique: Looker Lumet

Straddling the upper terrace at the front of Palazzo di Basilique and the ground-level Galleria rotunda, Looker Lumet offers a selection of his Second Life landscape photography (although he also produces avatar studies and portraits as well), with 12 pieces on the terrace, eight of which are also offered within the Galleria. I’m not entirely sure of the reason for this, although I assume it is to allow visitors to Basilique itself to view an art display without them necessarily being aware of the exhibitions up at Palazzo di Basilique.

Either way, Looker’s landscape work is rich in atmosphere, with the pieces offered in this selection perhaps leaning more towards darker tones and hues, some of which are fitting, given the theme (such as with The Graveyard in the Forest), whilst with others it offers a genuine and fitting depth of broodiness that emphasises Nature’s changing moods or the overall tone of the piece in question (see Abandoned and Seasight).

Which is not to say this is a “heavy” exhibition in terms of colour and tone: there are several brighter pieces that stand as memories of happy times on the beach or the splendour of a day’s sailing, all of which stands as an engaging exhibition.

Basilique: Looker Lumet

I gather both Sophie’s and looker’s work will remain at Basilique through until mid-October.

SLurl Details

Basilique is rated Adult