A Calas Christmas for 2019 in Second Life

Calas Christmas 2019, November 2019 – click any image for full size

Currently open for group members to enjoy, and shortly to open to the general public, are the 2019 Calas Christmas regions. Once again, Ty Tenk and Truck Meredith and the Calas team bring a Christmas winter delight for all Second Life residents to enjoy, spend across two regions of snow-bound fun.

The regions once again feature all that we’ve come to love about a Calas Christmas: the Christmas Pavilion, entertainment, sleigh rides, skating, and balloon and reindeer tours. However, this year introduces some new twists to things.

Rather than being at the ground level, the landing point is located high over the regions., on an icy, snowbound plain where polar bear play with their young and a snowman dances in greeting. Follow the candy striped arrows to where the mouth of a tunnel beckons (be sure to pick up a note card of landmarks from the candy cane at the cave entrance – you can use them to return directly to points of interest in the regions). The tunnel leads the way down to what might seem to be a shallow cavern – but be careful as you step forward into it; the floor is not what it seems!

Calas Christmas 2019, November 2019

The cavern is in fact the entrance to a series of tunnel s that lead you through (and past) other caverns (including Santa’s grotto) and, in reflection to past Calas holiday builds, to a portal that will deliver you to the ground level of the regions. This sits with a snowy tunnel of rock, the traditional automated sleigh rides to one side. These offer a choice of rides for couples or for up to four people to share, and we thoroughly recommend them, as they provide an easy way to discover the sights of the regions, which can then be visited on foot or via horseback.

If you prefer not to take the sleigh rides, you can either opt to follow the path they take  northwards out of the tunnel, and thus around the northernmost of the two regions, or they can take the southern exit from the tunnel, and a more direct path to the Christmas Pavilion and the ice skating.

Those who have wearable horses might want to wear them when exploring the northern region – although there are horse rezzers to be found that will provide you with a marvellous Shire horse to ride, and with kit in keeping with the season; just click the sign, accept the attachments, and you’ll be ready to go – use your usual movement keys to direct the horse (turn off your own AO!), and use double taps on your forward key to cycle through the walk, trot, canter and gallop option (your “backwards” key will step down through them).

Calas Christmas 2019, November 2019

As well as the sleigh rides, there are also flying reindeer tours (located along the trail of the sleigh tours) and a balloon ride (located to one side of the Christmas pavilion, just above the ice skating lake). All of the tours drop people off at the Calas Polar Express, where a meal and drinks can be had within the carriages – but don’t expect a ride home – not until “sometime after Christmas”, at least!.

A brisk walk down the slopes from the station will bring you to the lake and the pavilion. The latter is perhaps the most noticeable change from previous years, being of a new design for the regions.  The main hall offers a stage and dance floor (look for the golden deer on two of the pillars for dances), while the two wings offer the traditional lounges and Christmas tree, but in a brighter finish than past years. I believe the Pavilion will be home to this year’s entertainment within the regions. Nor is this the only place to enjoy a dance – a smaller pavilion sits on the far side of the lake, also waiting for visitors.

As is always the way with the Calas holiday regions, there are a lot of little details to be discovered: a nativity scene here, penguins sliding and skating on the ice, reindeer awaiting riders  – look far enough, and you might even spot a yeti / abominable snowman and a nod towards the Calas Halloween region designs! Group members should also keep an eye out for the group gifts (one per avatar).

Calas Christmas 2019, November 2019

The Calas team always bring us visual treats to enjoy through December to the New Year, and have done so again for 2019. However, when visiting, there are some rules and notes to keep in mind:

  • To help lighten the load on resources, it is requested that active scripts are kept below 100Kb. So please, do remove unnecessary HUDs and accessories.
  • The regions can get very popular – and avatars can place the heaviest load on the viewer – so your own experience may be affected in terms of performance, by the number of other visitors in the regions (there is also a lot within the regions to render, so other than for photos, you may want to reduce your Draw Distance and turn off render-heavy options like shadows.
  • Given there can be a lot of people wanting to visit, be aware that if you go afk for more than a few minutes while visiting the regions and one is particularly busy, you may be asked to make your way to the other, or sent home if there is no response.
Calas Christmas 2019, November 2019

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The Culprit Console Piano in Second Life

Culprit Console Piano

Pianos have been – if you’ll pardon the pun – something of a theme for me over the last couple of years; particularly those made by Eku Zhong and Yure4u Sosa for their Culprit brand. In September 2018, I wrote about the Culprit upright piano, and then in March of 2019 year, I reviewed the Culprit baby grand (links below).

As I noted in writing about the latter, I have a Yamaha N1 piano in the physical world, a hybrid piano that allows me to have the richness of playing a grand piano in the compact form of an upright piano. And with their latest release, Yure4u and Eku have given me the opportunity to have a similar style of hybrid in Second Life, with the Culprit Sonata Console Piano.

Like the Culprit upright and baby grand before it, this is  Bento-configured piano, meaning it utilises the Bento skeleton and suitable animations to give a more realistic look to an avatar’s fingers when playing. However, unlike its predecessors, the console piano has some nips and tucks to the Bento system.

The Culprit Console Piano’s keyboard

Style-wise, the Culprit model resembles the Yamaha N2, offering a deeper body than my N1 – said to help provide a richer tone – with an upright-like keyboard. It’s provided with a range of finishes, with a default of wood for a freshly rezzed model. Texture options can be used to change both piano and stool together, or mixed between piano and stool to offer a custom look between the two.

As with the upright and the baby grand, the texture options are accessed via the piano’s menu. This also provides access to the piano’s playing options. These are divided up as follows:

  • Songs: 34 solo pieces to play, all public domain, representing a good cross-reference of music.
  • Christmas: 16 seasonal songs, all again public domain.
  • Muted: a total of 16 different playing styles without any associated music so you can set a style in keeping with the music you’re listening to out-world, or on your parcel stream.

The menu also includes options to adjust the seated position on the stool.

The Culprit Console Piano (centre) with the baby grand (l) and upright (r) for comparison

Play-wise the Culprit composite starts in a similar manner as the other two pianos in the Culprit Sonata range: sit on the stool and your avatar will be placed in an “idle” pose, performing a number of arms and finger loosening exercises. Selecting a piece of music from the menu will cue up the loop – and introduces the difference between this and the other Culprit pianos.

Like the Sonata baby grand and upright pianos, the Culprit Sonata Console piano uses Bento hand animations for a more realistic playing style with Bento avatars (footage taken from tests with the Culprit Sonata Upright)

Not only will the system adopt a playing style in keeping with the tempo of the selected piece and with individual finger movements for Bento avatars, the animations will actually adjust to the tempo within the piece – so that in sections where there is an increase in tempo, or if stronger emphasis in playing is required, the animation will attempt to replicate it; this presents something of a more fluid playing “style” for an avatar.

Those who have not swapped to using Bento-enabled mesh avatars can still use the Culprit Console Piano, just as they can the others in the Sonata range – the only difference is the finger movement will not be present in the animations.

In keeping with the Culprit upright and baby grand, there is no autoplay with this model. But as I note in my reviews of both of those models, the point about the Culprit Sonata range is the Bento capability – so having autoplay (allowing the piano to play tunes while not seated) misses that a bit.

One small point of note is that the piano is supplied both physical when rezzed and has a root prim base. The former means you can be catapulted ceiling-wards when standing from it, so setting it to phantom might be required. The latter means a little vertical adjustment when placing it in-world might be required to avoid the appearance of having it hovering above the floor. Neither of these points detract in any way from the piano’s attractiveness or playability.

If you have limited space in which an grand piano can be a little over-powering (inset), and an upright a little too “traditional”; the Culprit Console Piano might offer a stylish alternative to the one offer a more modest footprint than the other

Those who have a grand piano – and room for it – might not be tempted by the Culprit Console Piano. However, if you are pressed for space and miss having a grand in the house / aren’t too enamoured with a “traditional” upright, then this model could be right for you. Small and attractive, it fits into confined spaces admirably, and at 7 LI, isn’t a capacity hog. I’ve already added it to my Evening Star Linden Houseboat rezzer, where it sits nicely within the small lounge space I’ve created with that particular houseboat design, without overpowering the room and making things feel cramped.

The Culprit Console Piano is currently exclusively available at the Tannenbaum shopping event through until December 23rd, after which it will be available directly from the Culprit main store.. The price is L$995.

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Art in reflection of self and poetry in Second Life

Nitroglobus: Maloe Vansant, “The moon lives in the lining of your skin”

Available at Nitroglobus Roof Gallery, curated by Dido Haas, is an exhibition of art by Maloe Vansant that takes as its inspiration, words offered by Chilean Nobel Laureate Ricardo Eliécer Neftalí Reyes Basoalto – better known as poet Pablo Neruda.

In Ode to a Beautiful Nude, Neruda offers a song of love and appreciation for the flawless beauty of a model appearing before him. The poem offers a lyrical examination of the woman, initially acknowledging his desire to appreciate her in a chaste manner rather than giving into more carnal desires – although the praise he goes on to offer towards her beauty carries with it an undertone of that desire throughout, before culminating in the line:

The moon lives in the lining of your skin.

– Pablo Neruda, Ode to a Beautiful Nude.

Nitroglobus: Maloe Vansant, “The moon lives in the lining of your skin”

It is this line that Maloe takes as the title of her exhibition at Nitroglobus. Within it, she offers an exploration of self and beauty as reflected in the moods and words found throughout the poem, whilst at the same time offering insight into the relationship between artist and avatar.

After creating little Maloe, my barbie doll, my pixel soul, I discovered the possibility of making snapshots and I started to make a graphic diary of Maloe’s journey in Second Life, showing the emotions she experienced in this pixel world … I am not a woman of many words, I try to express myself, my feelings, my passion and probably my dark side through my pictures.

Maloe Vansant, describing her relationship with her avatar.

The use of Neruda’s words might suggest that Maloe is offering a visual homage to his poem  – something that has been done before in Second Life (see: Poems and art in Second Life, April 2016). However, this would not be a fair assessment. The art and poem stand apart from one another in the extent of their explorations, but at the same time they are entwined by common themes of giving for and depth to the the nature of natural beauty. Therefore, one is neither a homage to the other.

Nitroglobus: Maloe Vansant, “The moon lives in the lining of your skin”

One of the interesting contrasts been poem and art is in their examination of beauty. Whereas the poem perceives the beauty and reflection of the soul from without; Maloe’s art does so from looking out from within. One of the interesting links between the two is in their use of metaphor.

Take eyes, for example. In his Ode, Neruda acknowledges The two deep countries of your eyes, so often seen a a window into a person’s soul. Within The Face is a Picture of the Mind, focused as it is one the eye of her avatar, presents a similar examination of the eye and soul.

Elsewhere, each uses metaphor from somewhat different perspectives. With his poem, Neruda uses metaphor to encapsulate that push-pull between wanting to appreciate feminine beauty both from a celibate objectivity and that of a more carnal desire:

Flowering fire
Open chandelier
A swelling fruit
Over the pact of sea and earth.

– Pablo Neruda, Ode to a Beautiful Nude.

By contrast, Maloe uses metaphor more broadly. Take Leaving the Light, Gold Makes Monsters of Men, and The Apple that Changed the World. In three both in words and image, might be seen as metaphors for the way in which west religion has cast the female as being complicit in the Fall of Man (The Apple… and Leaving…) and the subjugation of women as a whole (Gold Makes Monsters…).

Nitroglobus: Maloe Vansant, “The moon lives in the lining of your skin”

Thought-provoking, rich in substance and meaning, The moon lives in the lining of your skin is another outstanding exhibition at Nitroglobus, and will run through until the end of the year. Also still on display at the gallery (at least at the time of my visit) is Kaiju Kohime’s CRISP, an examination of CRISPR gene editing, and which I wrote about in Art, science, and the future, October 2019.

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Souls of Dreams in Second Life

Souls of Dreams, November 2019 – click and image for full size

Souls of Dreams is a Homestead region we were pointed towards by Shawn Shakespeare. Largely designed by Loly Hallison, with the main house and other structures placed and furnished by region holder Xana Newall, the region is a peaceful setting, caught between offering signs of summer and winter snows.

Split into a series of four islands of varying sizes, Souls of Dreams has a little something for almost every Second Life explorer and photographer. The landing point resides on the southern end of one of the two large islands in the group, close by a low-place bridge linking it to one of the smaller islands. A sign – And So The Adventure Begins – greets new arrivals, who have the choice crossing the low bridge to the smaller island or wandering over a more humpbacked bridge to explore the rest of the larger island.

Souls of Dreams, November 2019

The smaller island, dominated by the huge bulk of an old brick-and-stone lighthouse, has something of the promise of the holiday season about it. A giant toy soldier of the kind that gets associated with the season stands guard at the door, while firs trees and lights sprout from the rocky table to the side of the lighthouse and a Citroen van is parked on the sand has its roof rack piled with presents. Inside, a blazing fire in the stove casts a warm glow and a decorated tree and a table set for dinner offer the promise of celebrations to come.

This wintry / seasonal theme continues on the main island where, over the humpbacked bridge that spans a bubbling, tumbling brook, the hills are topped with snow. The brook tumbles down from the hills and past frozen pines and oaks and trees denuded of their leaves while a rutted track follows the brook’s curve to reach the large house standing in the lea of the hills.

Souls of Dreams, November 2019

Divided into two by an intervening conservatory, the house has the comforting warmth of a lived-in look. Bric-a-brac lies scattered throughout, what looks like the making (or remnants?) of a breakfast clutter the kitchen, an unmade bed commands the bedroom – and a cat, presumably satisfied it has been fed, is curled asleep on the floor. It is, in a word, a homely place, rich in the suggestion of welcoming visitors.

A hop and a skip across the stream sits a zip line connecting house and isle to the long east-to-west curve of the second of the large islands. This has a far more summery look and feel to it: the trees are heavy with green leaves, the grass long and the rough beach on the island’s outward sweep offers parasoled places to sit along its length. A little more inland, a picnic basket and blanket under the boughs offers a more shaded place to rest, as does the inner curve of a cinder beach.

Souls of Dreams, November 2019

Follow the island’s beaches far enough, and they’ll bring you fist the signs of more celebrations – in this case what appears to be a birthday party setting with cakes galore and set within a glass-sided pavilion, and out to a rocky headland where a path of stepping stones snakes southwards to the final island.

A rough, flat-topped brick of an island, this is home to an old fortified house. Getting up to it is a little bit of a scramble – and not all of the rocks are physical – but it is well worth the effort. With inner doors taking the form of framed mirrors, the house offers a network of rooms and a treasure trove of furnishings that await discovery.  At the same time, the rest of the island offer s series of vignettes that are ideal for photography.

Souls of Dreams, November 2019

Nor are the stepping stones are the only way to get between this island and the others in the chain. Depending on where it is located at the time of a visit, a swan boat can be used to travel over the waters of the region and between the four islands. It also makes for a pleasant way to take in the region from different angles.

With multiples places to sit, plenty of detail large and small, Souls of Dreams is an elegant setting, and a fee of L$250 will provide group rights for rezzing props. However, as auto-return is off, please do make sure you pick up afterwards. Now, if you’ll excuse me, a little plate of doughnuts and hot chocolate is waiting by a pallet sofa overlooking the brook, and I’m sure they could use some company!

Souls of Dreams, November 2019

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2019 Simulator User Group week #48 summary

Fox Road, October 2019 – blog post

Simulator Deployments

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

  • On Tuesday, 26th November, servers on the Main SLS channel were updated with server maintenance release 2019-11-15T21:13:13.532828, previously deployed to a release candidate channel. It comprises:
    • Improves crash detection during shut-down.
    • Fixes some race conditions with LSL scripts that could cause them to handle the same event more than once during a roll.
    • Includes updates to improve simulator security.
  • On Wednesday, 27th November, there should be a single RC deployment 2019-11-19T22:26:38.532992, which is functionally the same build as 532828, but compiled using updated server build tools.
    • Given the issues with Tuesday deployment (see below) the status of the deployment was in a state of flux at the time of writing.

Tuesday Deployment Issues

The Tuesday server updates required an extended deployment window, together with more restarts of the updated simulators than is usually the case. Given the simulator version had been deployed to RC servers in week #47, the issues encountered with the deployment took LL by surprise:

This is one of those situations where we are left trying to figure out what went so wrong; we don’t know of changes that would have caused this much churn. That is the big difference between our Tuesday and Wednesday updates. Tuesday is more than 2x bigger, and divided up differently. Seeing something happen and knowing why it happened are two completely different things. Given that last week was OK, I suspect it is a scaling problem however.

The real frustration is that there isn’t a good way to test or simulate the scale where the issues happen. Updating one or two servers can be perfectly fine; but then do a few hundred and something goes up in smoke.

– Simon Linden, commenting on the November 26th deployment issues

Currently, the Lab is digging into what may have gone wrong (e.g. by checking server logs, etc.). They have already tracked down what might be a contributing factor, but the overall root cause analysis will take time. However, as the issues appears to be with the deployment process itself rather than the updated simulator code, at this point in time it is unlikely the simulator update will be rolled back.

SL Viewer

The following viewers were updated during the latter half of week #47:

  • November 22nd:
    • The Wassail Maintenance RC viewer updated to version 6.3.5.533043.
    • The Project Muscadine (Animesh follow-on) project viewer, version 6.4.0.532999.
  • November 20th

The remainder of the viewers in the current pipelines are as follow:

  • Current Release version 6.3.4.532299, formerly the Ordered Shutdown RC viewer, dated November 4th, – No Change.
  • Release channel cohorts:
  • Project viewers:
    • Legacy Profiles viewer, version 6.3.2.530836, September 17th. Covers the re-integration of Viewer Profiles.
    • 360 Snapshot project viewer, version 6.2.4.529111, July 16th.

Name Changes

  • There are concerns over how long names might be cached within services, how changes might be tracked by external databases (e.g. customer lists for things like redelivery terminals), etc.
    • To help ensure user-developed tools, etc., can keep up with Name Changes, Linden Lab plan to offer a REST API (REpresentational State Transfer) that can be used to perform a name<-> avatar key translations and that will always return the same key for any name an account has ever had, and the key will always return the current name.
    • Creators are again reminded that their products and tools should utilised the avatar agent key, no avatar names.
  • LSL enquiries on agent key will return the current name for an avatar, not any past name(s).
  • There was concern that Name Changes could lead to issues in tracking griefers. However, as was pointed out in the meeting:
    • There are fees associated with Names Changes – signing-up to Premium and then for each change. These are unlikely to find appeal with griefers.
    • Griefers already create multiple accounts, and this will remain likely remain their preferred means of causing upset.
  • BUG-216397 “llName2Key, llRequestUserKey both accept a lone “R” as a surname for “Resident” agents” has been raised with the Lab again, and has been marked for inclusion in the next internal maintenance fix for Name Changes.
  • Once again, a “fee” figure was mentioned at the Simulator User Group meeting (US $20) – but it is important to note this is only a guess on the part of a user, and not any form of statement from Linden Lab. So If you hear it anywhere in the next month or so, ignore it.

Artistry at THE EDGE in Second Life

THE EDGE Art Gallery: Artistry – Ladmilla and Eli

Open through until December 23rd 2019 at THE EDGE Art Gallery, curated by Ladmilla, is the gallery’s final exhibition for the year. Entitled Artistry, it is again an ensemble exposition, bringing together an interesting mix of talents and a stirring of 2D and 3D art, with images from both the virtual and physical realms.

In all, eight artists present displays at the gallery, their number rounded-out by a further display of art by Lamilla herself, accompanied with words by her Second Life partner, Eli Medier. As usual, the majority of the artists participating in this session display their art within the gallery’s individual Tuscan-style houses set around the gallery’s grounds / gardens, with Ilyra Chardin presenting her pieces within the garden itself.

THE EDGE Art Gallery: Artistry – Ilrya Chardin

It is the latter that mixes 2D and 3D art, with Ilyra’s 2D digital mix media, most of which originate with photos taken within Second Life, sharing the space with six very distinctive pieces of mesh sculpture.

Two artists making a return visit to THE EDGE having been a part of the September / October ensemble exhibition at the gallery are Davenwolf Dagger and Loegan Magic.

THE EDGE Art Gallery: Artistry – Davenwolf Dagger

As I’ve admitted to in past articles on his work, I’m something of a fan of Davenwolf’s evocative photography, in which he captures physical world locations in the most captivating way, and through his pictures, weaves a pictorial narrative. With Broken Dreams, he takes this a stage further, combining words with his images (please read the text panels before examining the art) to present a haunting story of a once-loved house and home (and a place which now, thanks to Australian bush fires, may no longer exist).

With Simple Things, Loegan offers more of his enticing looks at Second Life, offering a marvellous selection of focused images that convey stories about the digital spaces in which we chose to spend so much of our lives – but which also contain within them moods and thoughts that extend beyond the digital and into the physical, thus tying the two together in an elegant reflection of how our physical and digital lives intertwine.

THE EDGE Art Gallery: Artistry – Loegan Magic

Through Out of the Mist, Thomas Crown simply presents as series of images of Second Life that offer unique glimpses of this world through his eyes, and the landscapes and residents that bring it to life. And by “residents”, I’m not referring to avatars; a world is brought to life as much by its animals and wildlife and even by the vehicle humans have created to assist them in their travels through the places they inhabit. So it is these “residents” – wild fowl, horses, steam trains, boats, and cattle, to which I refer and which are evocatively portrayed here.

Avatars are very much the focus of Tresore’s From Dark to Light, in which she presents her avatar in a variety of story-laden setting and styles from period to fantasy and back, in which colour – notably red and black – play as much a role in many of the pieces as her avatar’s pose and style of dress. Colour and depth are also very much present to great effect in Raging Bells’ untitled selection of SL photographs, offering as they do a sense of the richness of life and opportunity within this virtual realm.

THE EDGE Art Gallery: Artistry – Raging Bells

I admit to not having to have previously come across Zia Branner’s work in Second Life, or that of BigZee. Zia is a physical world artist who constructs marvellous images through the use of acrylics (mainly on canvas) together with structure paste, gel, sand, glue, bandages and paper, and perhaps oil crayons and acrylic ink to accentuate parts of a an image. Held under a layer of mat or gloss varnish, this gives such pieces a sense of physical texture that is clearly evident when presented through a digital medium like SL. BigZee meanwhile, presents images from Second Life that offer their own sense of texture and life through his use of especially vibrant and attention-grabbing colours.

In Shadows, Ladmilla and Eli round-out the exhibition with a series of very tonal images by Ladmilla combined with words by Eli. Utterly captivating in their own right, the narrative in each image is given even greater depth and poignancy through Eli’s words as they perfectly amplify the mood and feeling exuded by each piece.

THE EDGE Art Gallery: Artistry – Zia Branner

As always with THE EDGE, a fascinating selection of art and artistry.

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