Tag Archives: The Drax Files World Makers

The Drax Files 44: “It’s Istanbul and VR education”*

Professor Tuncer Can and student share time in the physical world and in Second Life

*With apologies to Jimmy Kennedy.

The Drax Files #44 arrived on Monday, April 10th. It is a somewhat timely piece in content, returning as it does to the subject of Second Life and its role as an educational tool (first examined far back in segment #19) which has arrived shortly after the 10th Virtual Worlds Best Practice in Education Conference has closed its doors in Second Life.

This segment is slightly longer than recent instalments of World Makers, running to one second under 6 minutes. The focus is very much on the work of Professors Tuncer Can and Irfan Simsek from Istanbul University, but the episode encompasses far more than examining looking at how the professors and the university use Second Life to enable and empower student learning.

Istanbul University’s virtual presence in Second Life

“I’m really trying to summarise what are the defining factors that make Second Life work for education,” Drax told me as we discussed the segment.

“I’ve striven to have some detail [through the examination of Istanbul University’s presence in SL] but moreover I’ve striven to give a feeling of the freedom Second Life brings to education. Not just for the teachers, but for students as well. The emphasis is on the fact that Second Life can create an atmosphere of freedom that unleashes energy in the students, encouraging them to participate in the learning process.”

A core part of this freedom is the fact that Second Life presents students full agency over how they represent themselves in-world and the security that they have control over how much they reveal about themselves – and how much (if anything) can be traced back to them. This aspect of identity / anonymity is something oft touched upon in many areas of Second Life, but it is perhaps not so well recognised when it comes to education, where one would perhaps expect things to be more regimented.

A skyborne language park at Istanbul University, Second Life

“They want to reflect their own real character that lies behind their social masks,” Tuncer Can notes in the video. “I had one student whose voice I had never heard in my life; and instantly, when we had this virtual education class, he started using all of his experiences! He said that the anonymity that Second Life allows, nobody looks at me, and I started sharing.”

Tuncer sees this as a vital part of encouraging learning and giving student a greater freedom, as Second Life encourages students to remove the affective filter, causing them to be more receptive to learning, their peers and their class leader.

“That’s why I dwell on these different avatars,” Drax continues. “I have the feeling this is not really a priority right now in many of the VR applications. The ability to openly define yourself, which has a kind of creative chaos which can be leveraged by a skilled educator to open out the learning process. That’s what I’m really trying to show.”

Istanbul University’s virtual presence in Second Life

Second Life can help remove the affective filter in other ways as well. For example: many – if not all – students today are at least semi computer literate. They have games, the Internet, social media, and so on. Thus, they have a natural curiosity when introduced to Second Life, a desire to find out what it is, what they can do within it. This naturally pushes their affective filtering to one side, generating a desire to learn.

“You see this in the shot of students playing with the prims. I have so much footage where you see prims floating all over the classroom” Drax says (starting at around the 1:25 mark). “We gave the students scripts and let them play with the prims, and we filmed everything in real-time in Second Life and in the classroom at the same time. It was not a structured lesson; we weren’t teaching them scripting or coding. They weren’t doing that per se, but they were learning as they played.”

Istanbul University is the perfect focal point for a broader examination of immersive environments in education for a number of factors. It has around 200,000 students, many of whom come from far afield, marking it a melting point of cultures and social influences, any of which might influence the depth of affective filtering any particular student might already naturally feel.

Professor Irfan Simsek offers a helping hand to a student

Through Tuncer Can and Irfan Simsek, the University has been involved in using Second Life as an educational tool for a decade. This give the professors an in-depth perspective on how immersive tools might be used, and – through their technical abilities – a keen understanding of what the future of VR might bring and what are, for the time being at least, the limitations of the new wave of VR systems.

Some of this is touched upon in the video. Again as an example, take Erasmus City, as visited in the segment. It’s a unique environment, allowing students who are about to study at the university to visit it in virtual form, and gain a broader understanding of what their time at the university – and after – will be like. It’s a fascinating take on student orientation which not only helps students better understand the university and manage their expectations, but also offers a unique opportunity for social interaction between students before they even arrive in Istanbul.

Technology-wise, the focus right now is on the new era of VR as personified by the broad range of VR systems from the high-end HTC Vive through to elements such as Cardboard and Daydream. But, as Tuncer touches upon in the video, this entire new ecosystem is actually a big unknown, and raises more questions than it answers. This is not just an issue of cost of high fidelity headsets – specifically mentioned towards the end of the piece – it is the whole ethos of approach.

Erasmus City – offering students a virtual orientation to life at the physical world Istanbul University

“VR is at a point of transition,” Drax elaborates in our conversation. “We don’t know where it is headed. It’s fascinating, but there is nothing out there that really works. That’s something a lot of educators are questioning; there really isn’t a platform like Second Life. High Fidelity is way too complicated, and Sansar is not open yet.

“So this is where we’re stuck right now. Of course there’s Google Expeditions, and things like that, but right now only Second Life is out there and is known to work. And the price point, raised by Tuncer, is a legitimate point.  People will of course say, ‘Well, you can always get Google Cardboard and let students us their own devices’. But students using their own devices is an issue for some schools. So, where VR is concerned, there’s a whole set of issues which no-one is really addressing.”

Second Life, however has addressed many of the questions. Its success as an educational tool lies within its track record of use across a range of teaching disciplines. It is not something that is going to go away as use of consumer-based VR grows in use. But it is something which will remain relevant for some time to come and – for the wise at least – inform them as to how VR should be considered in the educational realm.

Once again, Drax has delivered another outstanding segment for World Makers, one which in itself see a return to the seeds of the show, in that like the first in the series, it is led by Drax himself – although this time purely in the form of a narrative voice over. It’s the perfect way to round-out the circle for the series.

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Music and experimentation in Second Life

nnoiz Papp in the flesh

nnoiz Papp in the flesh

Drax Files: World Makers 43, released on Wednesday, February 1st, takes us back to the world of music in Second Life; specifically that of nnoiz Papp. As someone who has a deep appreciation of classical music, and who very much enjoys music with an electronic flavour and can wrap itself around Middle Eastern and Far Eastern themes and ideas, I have to say that the piece came as something of an eye-opener to me, as I’ve somehow managed to miss nnoiz’s music thus far – but having seen the segment, it is something I’m liable to be keeping an eye out for in the future.

nnoiz’s life very much revolves around music. His physical work has him providing sound and music for the animated television series, Sendung mit der Maus  (The Show with the Mouse), which has been running since 1971,  and is Germany’s longest-running animated children’s show. With a strong educational leaning, it has won 75 awards over the years. and has drastically altered perceptions around the value of television as a tool for learning with youngsters in Germany. nnoiz first became involved in it in 1984, and also works on the spin-off series Die Sendung mit dem Elefanten (The Show with the Elephant), aimed at pre-school youngsters, which launched in 2007 – the year he also got involved in Second Life.

Nnoiz Papp in the pixels

Nnoiz Papp in the pixels

In-world, he is able to bring together an engaging mix of classical-based, electronically inspired music which he describes as organic. It’s a description I’d agree with, intertwining contemporary, electronic / industrial beats with the more assured, mature influences of classical pieces and middle-eastern influence to produce something entirely harmonic, pleasing to the ear and very much alive.

nnoiz is very much an experimentalist within music – and Second Life is perhaps an ideal environment for such experimentation. Not only does it offer the chance to reach a global audience through in-world concerts and gigs, it is also a unique environment in which music and sound can be played with physically.

The original plug & play - nnoiz working at his modular synthesisers

The original plug & play – nnoiz working at his modular synthesisers

In his liner notes, Drax draws a line between nnoiz’s work at that of Wendy Carlos, and it is not in any way a stretch. For me, on hearing the excerpts of nnoiz’s music, together with learning about his work with modular synthesisers – something which carried me back to reading about and listening to the late Isao Tomita. Again, both men share similar ground in the avant-garde of music, whilst remaining true to some of the great composers of the past (I particularly enjoyed catching J.S. Bach woven into one of nnoiz’s pieces, Bach also being a favourite with Tomita).

This is a World Makers piece which largely speaks for itself – although non-German speakers should ensure they have subtitles enabled when watching! – and as such, extensive commentary from me risks adding hyperbole to what really is an excellent piece.

nnoiz's other alter-ego (who shares billing with nooiz): The Singing Cat

nnoiz’s other alter-ego (who shares billing with nooiz): The Singing Cat

That said, and in case you do find dealing with sub-titles a little difficult, I do urge you do watch the segment through to the end. From the 3:45 mark nnoiz offers some pithy insights into clichéd views on Second Life, included the tired old (and wholly incorrect) view that you “cannot” understand Second Life without entering into its smuttier side. As nnoiz points out, it is possible to visit a city and entirely its seedier side, unless that is your intention for visiting – which is something else entirely. So the idea that SL is “all about the sex”, or any exploration of SL “must” include sex, is a very erroneous position to take.

As this segment of World Makers again demonstrates, SL is so rich and vibrant a melting pot of experiences, ideas, explorations and opportunities, that someone entering it doesn’t necessarily have to jump into its “dirty corners” in order to fully and roundly appreciate it.

The Drax Files 42: creativity and remembrance in Second Life

Jaimy Hancroft and two of her father's creation: a warnamandal, and on the wall behind her, a mirror painted by Mario

Jaimy Hancroft and two of her father’s creation: a swarmandal, and on the wall behind her, a mirror painted by Mario

Dangarnon, The Spires of Andolys, Hope’s Horizon – for anyone who loves Relay for Life of Second Life, these are the names of places which brought to life the three ems, each of them being mythical, mystical and magical. They are also places designed by sisters Jaimy Hancroft and Eowyn Swords, who together form Death Row Designs (DRD), featured in The Drax Files World Makers #42, released on Friday, December 16th.

For those who don’t attend Fantasy Faire, Jaimy, Eowyn and DRD are perhaps better know through their participation in gacha (or gatcha if you prefer) events, such as The Arcade. Through these, their items have also gained popularity in public and role-play regions. Their broken Ferris wheel, for example, can frequently be found as one travels across the grid looking for places to explore.

Gacha events are loved by some and a total mystery to others. Entire events are devoted to them – The Arcade, mentioned above, being perhaps the most popular / prominent.  However, for those unfamiliar with the The Drax Files World Makers #42 provides a solid introduction during its first half. But this isn’t the heart of the DRD story; that belongs firmly to the second half of the segment, in which Jaimy shares the origins of her creativity with us, which is deeply rooted in the memory of her father, Mario, and his creative influence over her.

“He could fix anything,” Jaimy says of him. “He did woodwork, he built [musical] instruments, he painted landscapes. And he also recreated famous paintings, but in miniature just with only one hair of a brush and a magnifying glass. He was the first one of us, I think, to be in Second Life.”

The Disney-like Spires of Andolys, Fantasy Faire 2015

The Disney-like Spires of Andolys, Fantasy Faire 2015

Jaimy’s own artistic talent revealed itself from an early age through art, but under her mother’s encouragement, directed her talent into cuisine, attending culinary school. As she notes, as a means of artistic expression, it is somewhat akin to other creative endeavours, taking as it does,raw ingredients to create something unique.

But it is Mario’s influence that has had the greatest impact on Jaimy’s and Eowyn’s work in Second Life, and is honoured in many ways through the goods they produce. It is also the reason they have been so deeply involved in Fantasy Faire and RFL of SL – perhaps most memorably in 2014, when Jaimy built Hope’s Horizon, inspired by Tolkien’s great city of Minas Tirith, for that year’s Fantasy Faire.

“He was a major Lord of the Rings fan,” Jaimy noted at the time, “and this was my chance to do something great to make him proud.” Anyone who visited Hope’s Horizon will acknowledge that it was inspirational in its scope, and a fabulous tribute to her father.

The citadel at the top of Hope's Horizon, built by Jaimy for the 2014 Fantasy Faire, and in memory of her late father

The citadel at the top of Hope’s Horizon, built by Jaimy for the 2014 Fantasy Faire, and in memory of her late father

It would perhaps have been nice to catch more of a glimpse of the path  Jaimy took to move from cuisine to Second Life and digital creativity, but this is really a very minor niggle. What we have here is a poignant story, told honestly and from the heart, without any overlay of pathos, told honestly and openly.

Presented in this way, the segment stands as a further tribute to Mario, as well as giving us a glimpse into Jaimy’s own warm nature and the creativity she shares with her sister. As such, it really doesn’t need a lengthy written exposition; it speaks clearly and eloquently for itself and is a fitting piece for the time of year, and with which to see out 2016.

The Drax Files 41: animating Second Life

The vista Animation team: adding action to Second Life since 208 - and now in 360-degree Technicolor!

The Vista Animation team: adding action to Second Life since 208 – and we can see their work in 360-degrees thanks to The Drax Files World Makers

The Drax Files World Makers #41 arrived on Wednesday, October 12th, 2016. At just a shade under four minutes in length, it is an intriguing beast, exploring in-world animations and motion capture through a 360-degree video format.

The latter is suitably underplayed at the start of the video, as Drax introduces it – but the clue comes much sooner when watching on a flat monitor – the 360-degree cursor located up in the top left of the screen, which you can use to steer your way around the video view, or you can left click and drag. Obviously, if you’re using a mobile device, you can tilt and turn the device, allowing the gyro to move the image around, and those with a head mounted display can instantly enjoy in in 360-degree surround.

Motion Capture in the Vista Animation Studios

Motion Capture in the Vista Animation Studios

“I’ve been playing with some of the cheaper systems available,” Drax told me, as we discussed the video, and why he opted to go with the 360-degree format for this segment of World Makers. “Like the Ricoh Theta and Samsung Gear 360, and Mambo Morane has been working in real life with the Go Pro array, so I started thinking in June about how we could do this in SL.”

This turned out to be harder than anticipated. The first attempt involved using an array individual viewers synchronised by a device built by Arduenn Schwarztmann which would enable simultaneous filming through all six viewers, and included additional audio cues to further assist in the post-production stitching process. Unfortunately, this approach revealed that differences in how GPUs process the recording, even with the same windlight and camera defaults in the viewer, could result in recorded clips sufficiently different one to another that stitching them together failed to produce a smooth result.

And translated to Second Life

And translated to Second Life

“Then Mambo Morane came up with the idea of filming in six instance of the viewer running on the same machine, using Open Broadcaster Software to bring them all up together,” Drax continued. “We could then pull them apart in post-production and stitch the individual clips together using 360-editing software, with all of them having the same look and feel. Unfortunately, this may not be something for many machinima makers right now. The software for editing and stitching the video cost US $800.”

The result is a very smooth video, freely intermixing physical world footage shot at Vista Animation’s offices near Barcelona, with footage stages and shot in Second Life which presents an exceptionally immersive and unique view of Second Life, even when seen on the flat screen of a video monitor.

Certainly, the 360-degree aspect is guaranteed to be one which will have people watching the video at least twice, simply because scrolling / looking around in side SL is addictive, and there are some nice little touches to be found – such as little Marianne McCann gamely holding up a boom microphone in some of the in-world footage. This inevitably means it is easy to become wrapped-up in scrolling and looking, without paying attention to what is being said, prompting a second viewing to focus on the main aspect of the audio narrative: animations.

Animations for an important, if often taken-for-granted aspect of Second Life

Animations for an important, if often taken-for-granted aspect of Second Life

Animations – walks, stands, sits, dances, runs, hops, crawls – whatever form they take – are something we’re all familiar with to some degree. An animation override system can often be one of the first purchases made in Second Life (allowing for the worn AOs now supplied with starter avatars and those supplied by the makers of avatars, human or otherwise), and we’re all familiar with the idea of mocap – motion capture – going into their production.

Vista Animations is widely regarded as one of the premier providers of animation packs for overriders, dances, etc., and World Makers #41 offers something of a glimpse into their work, albeit it without going too in-depth with matters of production and workflow (although Drax has previously covered elements of MoCap in Drax Files World Makers #6, so this sits as a good companion piece, and Vista Animations also offer a look at their work for those interested in other aspects of animation creation.

What is offered here is a feel for both the complexity of motion capture and how rapidly the field is changing, as well as a look behind the curtain at a small, successful business which has grown out of Second Life. It terms of the former, the Vista team point out that when they started with their first MoCap suite in 2008, it cost them US $45,000. The system they use today, which I believe was purchased in around 2012/13, set them back US $2,000.

Two of the 12-camera rif vista Animation use in their motion capture process

Two of the 12-camera rif vista Animation use in their motion capture process. Image courtesy of Vista Animations

The MoCap process isn’t just a case of pulling on a suit of sensors and then moving around with the cameras running. Everything has to be calibrated – sensors (50+ for the body and additional elements for the hands), skeleton, props, etc. – to ensure a smooth capture process, which can be time-consuming. Then, once captured, there is the entire editing and post-process work required to produce the finished animation files which can be uploaded to Second Life.

While this latter aspect isn’t really touched upon in the video, what is fascinating to see is how physical world actions translate in-world through the clever use of cross-fading in the segment. This is particularly effective as we see Drax doing a mock interview while being motion captured, then transition to him carrying out an interview in-world.

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