Rod Humble (and I) talk SL on Australian radio about Second Life

An interesting morning, with Linden Lab CEO Rod Humble and myself being invited to appear on the Kyle and Jackie O show.

For Australian readers, you’ve probably heard about Kyle Sandilands in particular, so I went into the interview with eyes wide open on how balanced the interview would be.

As expected it was a predictable angle, paraphrased as “Hey, look at those freaky people who give up their life to go into Second Life”. That said, Kyle Sandilands was the comparative voice of reason out of the two hosts, at least keeping an open mind.

It’s worth a listen to hear how Linden Lab’s CEO deals with a tabloid approach to Second Life. Not surprisingly the piece opens with Sissy, a self-proclaimed SL addict. Have a listen for yourself and here’s a link to 2Day FM’s podcast of 17th January. It did make the cut – as predicted, sex pose balls make for good listening in the tabloid world.

Grand Finale: UWA 3D Open Art Challenge

Once again the University of Western Australia’s Second Life presence has pulled off a brilliant Art Challenge, and for the second year in a row I’ve had the privilege of being a judge. This year there were a lot more entries, making the judging both more challenging and more fun. It also showcases the improvements to Second Life as far as the detail of art works submitted.

You can check out the list of finalists below, but first here’s a few visual snippets that stood out for me during the judging (click on image for the full size version):

Have a look for yourself – it’s a few hours very well spent.

Once again I’d like to thank the UWA’s Jayjay Zifanwe for the chance to play a small role in what remains one of the pre-eminent virtual worlds art installations in the world.

Finalists

FINALISTS FOR UWA 3D OPEN ART CHALLENGE OVERALL PRIZE

(in reverse Klingon alphabetical order):

ONE OF THESE ARTWORKS WILL WIN L$100,000

1. FLY WITH THE WIND by Josina Burgess
2. FOR YOUR VIEWING PLEASURE by Miso Susanowa
3. THE GLOWING SERPENT by Ginger Alsop
4. LAZER BALLS by Betty Tureaud
5. DREAM OF THE COLD SLEEPER by Typote Beck
6. IL PLEUT SUR MON COEUR COMME IL PLEUT SUR LA VILLE (“It’s raining in my heart, as it’s raining in the town”) by Cherry Manga
7. TRAVEL IN THE SHADOW OF TECHNOLOGY by Anley Piers
8. PARANORMAL FROTTAGE by Misprint Thursday
9. THE ILLUSIONIST by Gleman Jun
10. LIGHT TOWER by Betty Tureaud
11. TURNING THE TIDE by Nish Mip
12. CHOOSE YOUR BLOSSOM by Suzanne Graves
13. SYMPHONY IN THE BARREL OF A GUN by Arrow Inglewood
14. PLANET CENSORED by Anley Piers
15. STRANGE PLANT…UGLYNESS & BEAUTY by Claudia222 Jewel
16. THE RHYTHM OF MOOD – Lea Supermarine & Jarapanda Snook
17. DIGITAL GLOVE by Misprint Thursday
18. THE WILD WILD WORLD OF ILLUSION by RazorZ & Olga Soulstar
19. THE MINOTAUR OF CARTON by Typote Beck
20. ALICE’S ADVENTURES IN WONDERLAND by Cherry Manga
21. SHATTERED by Ginger Alsop
22. THE FRAGILITY OF THE SOUL IS NOT A DEFECT by Gleman Jun
23. SPANISH BULL by Silene Christen
24. TROIS PETITS TOURS ET PUIS S’EN VA (Three little turns and it goes away) by Josiane Sorciere
25. JUNGLE CHALLENGE by Dusty Canning
26. THE DOCK SPIRIT by Scottius Polke
27. ULTRA VIOLET by quadrapop Lane
28. THEATRE OF WAR by Miso Susanowa
29. VENUSTRAP by Claudia222 Jewell
30. ONE AND FOUR TIMEBOARDS by L1Aura Loire
31. UNE HORDE DE CORDES by Aristide Despres
32. 5×8 COMPUND CUBE by Wizard Gynoid
33. TIME AS A HELIX OF SEMI-PRECIOUS STONES by Miso Susanowa
34. THE HUMANICAL FROG by Lollito Larkham
35. HERE COMES THE SUN by Sledge Roffo
36. TV MORNING EXERCISES by Dusty Canning
37. PIUME DI PAVONE by Nino Vichan
38. DANGLING NARROW CHAIN DEMONSTRATOR by Emilin Nakamori
39. HARMONIES IN C GREAT (+) by Artistide Despres
40. NOT EVERYTHING IS PLAIN BLACK & WHITE by Fuschia Nightfire
41. LIVING FRACTAL by June Clavenham
42. THE MATTER OF IDEAS by Gleman Jun
43. THE SUPERHEROES BREAKFAST by Typote Beck
44. DOWN ON THE DATA FARM by Miso Susanowa
45. PETITE ETUDE SUR OLIVIER MESSIAEN by Artistide Despres
46. OMNIPOTENT by Pixels Sideways
47. THE CHASM by Oberon Onmura
48. EXCERPTS FROM REALITIES by Glyph Graves
49. THE ABANDONED DAUGHTER by Eliza Wierwight
50. YOU CAN’T TOUCH HEAVEN by paleIllusion
51. AUTUMN by nexuno Thespian
52. THE CROSSING by Nish Mip
53. FANTASIA EN LA SOMBRA by Romy Nayar
54. PRIMSCAPE DREAM by Sledge Roffo
55. 99% by Harter Fall
56. BLACK SHIRT by Misprint Thursday
57. IN DREAMS by Blue Tsuki
58. SWALLOWED UP BY THE CROWD by Fuschia Nightfire
59. L’IMPATIENCE by Josiane Sorciere

FINALISTS FOR THE NON-SCRIPTED PRIZE, UWA 3D OPEN ART CHALLENGE

1. THE COPPER BEECH by soror Nishi
2. LOSS by Gingered Alsop
3. MISS N by Suzanne Graves
4. DAUGHTER OF THE WIND by Fae Varriale
5. GECKO ON THE GEKKO by Yooma Mayo
6. SHATTERED by Ginger Alsop
7. THE FRAGILITY OF THE SOUL IS NOT A DEFECT by Gleman Jun
8. TRIBUTE TO GOYA by Silene Christen
9. MARIONETTE by Haveit Neox
10. HISTORY IN CREAM by Haveit Neox
11. FATA DANZANTE by Daco Monday
12. SPATIAL by Sledge Roffo
13. SPRING BOX by Cherry Manga
14. TRUST by spirit Radikal
15. TUNNEL WITH LIGHT AT THE END OF IT by RazorZ
16. HURDLE by Corcosman Voom
17. BEHIND COLUMNS by Harter Fall
18. BIRDSONG by Cherry Manga
19. YOU CAN’T TOUCH HEAVEN by paleIllusion
20. STILL LIFE by soror Nishi
21. 99% by Harter Fall
22. THE REVOLT OF THE MANNEQUINS by Silene Christen
23. USED PIECES by Secret Rage
24. SMALL PIECE OF HELL, The Suicide Forest Infested by Harpias by Rebeca Bashly

Euclideon’s Unlimited Detail: a hands-on

Bruce is the better looking guy on the left

In recent days I wrote about the latest video released by Australian developers Euclideon, who are behind the ‘Unlimited Detail’ engine. In that article I claimed the video was a pretty effective rebuttal of some of the criticism / cynicism amongst the gamer community in particular.

Thanks to a convergence of schedules and geographies, I actually had the opportunity to have a hands-on with the engine myself on Friday night. CEO Bruce Dell, having just gotten off a plane from the UK, spent some time talking about his recent trip to Gamescom in Germany, the work he has on his plate and the level of interest the engine is receiving. Then it was onto some ‘play’ time. After 10 minutes or so of navigating the demo (the same one shown in the video), a few things struck me:

1. The absolute smoothness of the navigation experience

2. The fidelity of the graphical experience

3. It was all done on a bog standard PC laptop

4. If the same level of quality and smoothness continues after full animation capability is integrated, that this is going to be one groundbreaking piece of technology.

5. If good consumer content creation tools are integrated with the engine, current virtual environments such as OpenSim and Second Life should be very, very concerned. Or at least be looking at licensing the technology.

I for one am excited to see what comes out the other end of Euclideon’s self-imposed media blackout over the coming months. As I said to Bruce on the way out from our meeting: he should make the best of the time out of the spotlight, because if he pulls off what he’s aiming for, it will be the last time he’ll have that luxury.

Photo courtesy of Phil Testa.

The Power and the Passion: Star Wars gamers

As a gamer of 30 years standing, I still manage to get very excited by an upcoming game release. If that game is related to an iconic childhood brand like Star Wars, then that excitement grows even more. That’s why, for the past couple of years I’ve been running a website devoted to covering the upcoming Star Wars MMO, Star Wars: The Old Republic(SWTOR) . For those unaware, game developer Bioware has licensed the LucasArts behemoth in what is one of the largest game development tasks ever undertaken: the voice scripts alone run to over 40 novels in length

The stakes are very high overall: Star Wars fans are a picky lot and demand a product faithful to the lore of the Star Wars universe. The hardcore Star Wars fan is another beast altogether. They create fan fiction, read all the books and comics, and have played most if not all of the games that have gone before. I should know, as I interact with them on a daily basis – I’m more of a casual fan who loves the movies and has played Lego Star Wars.

The challenge of course with any MMO is creating a great product that builds a big enough base of players to make it viable. World of Warcraft is the leader in the space, with most others in a distant catch-up game as far as subscriber numbers. SWTOR is well-placed to make a big splash in that regard. The story is there, the history is there and there’s no shortage of MMO players looking for a new thing. The power of the franchise is also likely to be strong enough to attract a new audience to MMO gaming.

SWTOR has been in active development for well over three years, and one of the biggest obsessions of those following the game is when it will be released. Bioware are stating a 2011 release is still on the cards and the game demonstrations to date show a game that’s looking pretty polished. The hard part observing from the outside is determining whether those snippets of game demonstration indicate a game close to completion. This is where the passion issue comes into it. The fans of the game are desperate to get their hands on SWTOR and the lack of a firm release date drives some of those fans to distraction. SWTOR’s official forums are riddled with speculation on release date and that’s likely to intensify with each week that passes. Others tend to caution against a rushed release, happy to wait a little longer to increase the chances of a great game.

For Australian fans there’s another source of friction: rumours of a delayed release for our region. ABC TV Australia’s Good Game set off that little firestorm with some tweets from the E3 games expo in the United States. It was backed up by a Fairfax gaming journalist http://www.theage.com.au/digital-life/games/blogs/screenplay/e3-diary-day-4-20110613-1fzn6.html – in both cases it appears the information came from a PR person at Bioware’s parent company Electronic Arts and in both instances the information was far from definitive.

I’m here to tell you that those mentions have set off one hell of a reaction amongst what we call the Oceanic community of SWTOR fans. Bioware have refused to comment on rumours (and I bet they get a lot of them) and because the story broke over a weekend there’s not been a lot of response at all. You can imagine how that has gone down with some fans. I’ve seen forum posts arguing for picket lines at the Electronic Arts offices in Brisbane to coincide with an upcoming games expo. Petitions have been created, phone campaigns are being discussed (again to Electronic Arts offices in Australia) and there’s generally a lot of agitation. All of the angst is over some unverified information from a PR person. For what it’s worth, I’ve done some research and spoken off the record to some other journalists who attended E3: the information appears not to be set in stone but there’s certainly some active consideration occurring of a staggered launch. The SWTOR FAQ addresses the issue by stating that:

Star Wars: The Old Republic will be released simultaneously in various countries of the world and the service will be localized in several languages. More details on this will be released at a later date.

Some are taking that as confirmation of a worldwide simultaneous release – others like me aren’t so sure.

The issue places Bioware in an interesting conundrum. If a delayed release in Australia is intended, then their management of the issue has been shown wanting – or at least their parent company’s PR people have let them down. If a simultaneous worldwide release is still the plan, then they have some work to do in getting the PR messages right with their parent company. Either way – it’s just another example of the passion of the fans of a game and the pressure that places on a developer to deliver the goods. Nothing gets people riled up more than perceived discrimination and if a staggered release does occur, it’s easy to argue that that’s exactly what it is: favouring the larger markets.

That said, I’ll stake my collection of Star Wars figurines on the fact that even if a local delay does eventuate, most people will still sign-up and use workarounds to be up and running as soon as possible. That’s what passionate fans do. I’ll still be on the picket line with all the hardcore fans though.

(This is a slightly altered piece that was written for ABC Technology)

Paisley Beebe calls it quits

Virtual worlds TV host Paisley Beebe has announced the cessation of her long-running show Tonight Live. Citing the need to devote more time to her newly established physical world business and family, Beebe won’t be making any further shows. I asked her why:

Oh I hate farewells, I’m no good at them…I always stuff it up. Happy to just transition quietly 🙂 sort of…

It’s a shame to see new mediums like this disappear, and it also emphasises how they’re still a long way off being a financially viable option if you’re needing actual income. Have a read of Paisley’s farewell here. For some reminiscing, you can view my 2008 interview here or a 2011 one I wrote for ABC Technology here.

The Lab: virtual worlds learning at its very best

Over the past few months or I’ve followed the efforts of Dale Linegar and Stefan Schutt in establishing what is now known as The Lab.

Melbourne-based and dedicated to providing support and skills to 10-16 year olds with Asperger’s Syndrome, The Lab is already showing some great results.

It’s one of those initiatives that deserves much more kudos and funding than it is currently receiving. You’ll understand why after reading the interview I conducted with the Lab’s co-founders.

David: First, a little about The Lab team. Can you give a snapshot of your backgrounds?

Stefan: For the last seven years I’ve been an educator and researcher at Victoria University, working with technology and young people and teaching multimedia. Before this I worked in the Internet industry during and after the dot com boom as a content editor, producer, web developer and interaction designer. I also set up Australia’s first Computer Clubhouse, a tech skills club for underprivileged kids in Fitzroy based on the model established by the MIT Media Lab in Boston. Before all this, I worked as a writer and played in bands.

Dale: I started working with Stefan at Victoria University (VU) in 2007, teaching in Creative Industries. He had a lot of faith in the virtual worlds work I was doing then, and we have collaborated on at least half a dozen projects together since. We work well together, our skills complement each other. I run a business called Oztron, which does work for VU, Monash School of Pharmacy, and a range of other clients – most involving research and education in virtual worlds.

David: So what specifically has let you to working in this area?

Stefan: We had taught multimedia students with Asperger’s at VU and they seemed to particularly enjoy working with technology, especially the virtual worlds activities Dale was running. This led to a trial with two teenagers in Gippsland funded by Optus Communities. The results were promising and from this we applied to VicHealth for a one-on-one research project to pilot different kinds of technologies with young people with disabilities and other disadvantages. This project found that one-on-one technical tutoring seemed to work particularly well with kids with Asperger’s, and this led to the setting up of The Lab.

Dale: I think after that there were a few factors involved with us deciding to give this a go. We had established through those projects that this approach could work, and that there was a need for it. Once you reach this stage you can either publish and hope that somebody will eventually read what you write and take action, or you can give it a go yourself. The amount of money involved wasn’t huge so we decided to do it ourselves. At this time I was also meeting one young boy with Asperger’s and his mother for regular mentoring at McDonalds, we initally started at the library but were told we were making too much noise. This wasn’t ideal, and it required a lot of travel time to deal with one person.

All of this coincided with my business needing a physical location to work on a few larger contracts. This has provided us with the space, the technology and the human resources required to run The Lab.

David: For those not in the know, how prevalent is Asperger’s amongst the teen population?

Stefan: For Autism Spectrum Disorders (ASD) in general (which includes Asperger’s Syndrome), estimates for Victoria ranged in 2006 from 27 per 10 000 to 54 per 10 000. The prevalence appears to be increasing rapidly and there is debate about whether this is due to increased rates of diagnosis or increasing numbers of people with ASD.

David: Onto The Lab: it’s only just really started in earnest, what’s the journey been like to get to this stage?

Dale: Fascinating and rewarding. It’s a simple idea but when you see the immediate impact it has on both the children and their parents it’s incredibly satisfying. The process actually started with myself and Stefan walking around Footscray knocking on doors asking about vacant office and retail spaces. After a few hours we had found a suitable space, and once it becomes real like that, it takes on a life of its own. It took around 5 months from that day until we opened the doors for kids.

Some simple tasks have turned out to be a nightmare, like getting connected to the internet, and other things which initially seemed complex, like getting somebody who could work with the parents on board, involving our technology mentors, and attracting the right young people, have worked out better than we dared imagine. The physical space The Lab is in is also Oztron’s office, and it has been designed to encourage collaboration. The kids are very comfortable there – it feels more like some kind of gaming den than an office or school.

Stefan’s role at Victoria University and our previous project work means that we have a wide support network, and we have drawn on that throughout the process for advice and support in the many areas we lack knowledge in.

David: So who is funding The Lab at present and is the funding relatively secure?

Stefan: The Lab is currently unfunded, or more accurately, indirectly funded through the virtual world software development projects Dale runs for a range of organisations, as well as small amounts of left over funding from previous VU projects. Funding may be forthcoming later in the year via a Cooperative Research Centre in youth, technology and wellbeing run by the Inspire Foundation that we’re part of – but this is yet to be fully discussed with the CRC. Until then, we’re looking for other funding sources.

David: What is the scope of activities The Lab is involved in?

Dale: We currently run one session a week for 3 hours for 8 kids, and more sessions during holidays for a wider audience. What we try to do is provide as many different technology platforms as possible for the young people, which they can use to explore their own interests. Our aim is not to lead the students, but to support them and encourage collaboration. We provide students with a laptop stand, keyboard, mouse, second monitor, and network connection. We have a local server which is currently running Minecraft and allows filesharing – the kids can also log into this and play together from home. Once the kids come in it’s a case of – ‘What do you want to do?’

One of the hit pieces of software so far has been Minecraft, and this has ended up serving as a social and creative outlet for the kids. For young people who need to learn about social interaction, this has been great, they need to co-operate and respect each others’ territory. Last week we introduced an Arduino, an open-source electronic hardware and software kit comprising of a circuit board that can be programmed to do specific things, starting with simple things like making flashing lights and musical instruments and going up to projects like complex sensor-based triggering and robots with avoidance detection. The Arduino proved to be very popular, and we have now ordered a few more kits. It’s a great way to introduce kids to programming because the payoff is immediate and satisfying.

We also have a separate room where Stefan and Trish (our parent co-ordinator) hold an informal gathering for the parents each week. This gives both the kids and parents a bit of personal space. They can chat about issues they are having over a cup of tea, and discuss possible avenues of support. Trish has just organised for a psychologist to attend every fortnight, and we also have other experts with an interest in the field dropping by to offer assistance.

David: You use OpenSim, Spore and Minecraft to name three virtual environments. Let’s talk OpenSim first: has it primarily been a cost issue that’s led to its use versus say Second Life, or has there been other advantages to OpenSim?

Dale: As a business we use Opensim for nearly all of our work at the moment including Pharmatopia for Monash and a construction world for Victoria University. Second Life doesn’t provide a space where where we have total control, and people of all ages can interact, so as educators we were forced to make the switch a couple of years ago now. Like many people out there I personally have a love/hate relationship with Second Life – I love the possibilities it has created, but I have issues with the way it has been managed and promoted.

David: So what exactly are you doing in OpenSim?

Dale: We haven’t really introduced it to the wider group at The Lab because we are waiting for that opportunity to present itself, it’s up to the kids. We will run our own Opensim world which will be available to the group only – the plan is to create 8 islands and the rest is up to them. Many of the young people with Asperger’s we have worked with over the past couple of years continue to use Second Life. One young lady is using Second Life to bring her characters to life. She has written an amazing story about a group of female superheroes, and drawn pictures, and is now using the virtual world to bring her characters into the third dimension.

Another young man we work with has his dream house in Second Life and is constantly renovating, he lives in rural Victoria so for him it’s a great escape. We have also used Comic Life quite a bit in the past and will probably introduce this to interested Lab participants at some stage.

David: A common criticism of OpenSim (and Second Life) is the initial learning curve: has that been a greater or lesser issue with the teens you’ve been working with?

Stefan: Yes and no. What surprised us in our last project is how much Second Life and OpenSim rely on text-based navigation. We’d always thought of them as visual interfaces until then, but as we found out when working with kids with very low literacy levels, so much of the navigation is achieved by typing in text, which can cause issues for some kids. For others, they’ve taken to it like ducks to water, especially the younger ones. We also wonder whether the ‘learning curve’ referred to is related only to the ‘end user’ or also the people running the activity (ie teachers and managers) – this is where a lot of the problems seem to arise in terms of access, web speeds, and associated lag, plus generational issues like people not used to navigating in 3d or navigating via arrow keys like, erm, me. I always get Dale to do the practical demos because I’m so unskilled at it!

David: Now onto Spore: how are you using it?

Dale: We only use the free creature creator, firstly because it’s free, and secondly because it’s all about being creative. It’s a great icebreaker, many of the young kids we work with have already played it, and it acts as a catalyst for communication. It also gets kids into a more creative frame of mind, to feel the pleasure of making something as opposed to getting stuck competing in other games.

David: And Minecraft?

Dale: It can appear to an outsider as one of those ‘click-click-click’ games but when the kids are playing on a server together it allow for some wonderful creativity and encourages communication and collaboration. One of our mentors has built his own computer in it and knows it backwards, and the kids respect this.

David: Has Minecraft been a bit of a revelation for the work you are doing? It sort of came out of nowhere and has caught on quickly.

Dale: It has been surprising how many of the kids enjoy it, I think every one of them has played it at some stage now, and there are regularly 5 or 6 of the kids on the server during our sessions. There is a lot to learn, so I see it as the group exploring a new territory together – in this case a virtual one. They feed off each other and go on journeys, learning things they might not learn alone.

David: Talking more broadly again now, what are the individual benefits and outcomes you’ve seen so far amongst the participants?

Stefan: One big factor so far seems to be the environment of The Lab – i.e. a space where young people with Asperger’s are not picked on (unlike school, where bullying is constant), where they’re accepted and where being a ‘geek’ is even cool, and where they are surrounded by other people like them – both other kids and the programmers who are a kind of role model. Also, where their parents aren’t hovering the whole time! They’re relaxed because they’re not pushed to do anything, or to interact if they don’t want to. They can sit happily at the screen without being bugged – but the expert advice is on hand whenever they request it.

Having said that though, the level of kid-to-kid interaction to date has been quite amazing – here we’re talking about kids who don’t have any friends at all in the outside world, but who are happily chatting away and playing with others, both in-world and in the physical space.

Another factor is the technology itself, and the presence of experts to whom they can look up and respect (they usually run rings around other adults when it comes to IT). Tied to this is the sense of possible future careers, and a way into the future. This is very powerful – already we’ve heard reports of one parent halving her child’s anxiety medication dose due to his reduced anxiety levels about his future.

David: Let’s talk research: is there an underlying research methodology being used for The Lab?

Stefan: We would classify our approach as ‘participatory action research’ – our focus is on hands-on outcomes driven by all stakeholders in collaboration, and implemented (and continuously improved) by all involved. It’s based on making a real difference to real people’s lives rather than sitting back as the researchers in the white coats. It’s proudly interventionist and practical, and has a strong element of social activism.

David: Are there specific research projects underway and if so can you give a brief overview of any?

Dale: The Lab is it! We may choose to work with others in the future to measure outcomes empirically – especially researchers who are experts in ASD (which we’re not)

David: What are the measures of success for you with The Lab?

Stefan: In the short term, happier kids, happier families, and a sense of progress amongst participants. We rely heavily on feedback from the kids and the parents. It will always be tough to measure our impact in a quantitative way as each of these young kids is so unique and we are only dealing with small numbers. It’s not like we can create a control group. But we are looking to work with experts in the Autism field who may be able to measure the effects on individuals and their families over time – this is where the Cooperative Research Centre, and its 70 or so partner organisations, will hopefully come in.

David: Are there any qualitative or quantitative outcomes you’re able to see already?

Stefan: Yes. We’ve already had remarkable email and verbal feedback from participants’ parents about their children’s improvement, only three weeks into the beginning of the program. We also have 20 plus kids on our waiting list. Other parents have been ringing us daily after finding out about The Lab. It seems to have really hit a nerve. As stated previously, we’d like to get other measures too, working with field experts.

David: Given the central use of virtual environments in the program, are there any plans to expand the program geographically?

Stefan: Currently The Lab has three interlocking elements that work together: participant socialisation, technical tuition and parental networking/support. Any of those three elements would be useful in themselves (for instance, we’re arranging for a software engineer to undertake private volunteer programming tuition with one of the kids on our waiting list), but the combination of the three is especially powerful. So we could run virtual programs, and they could be useful, but some of those three elements might be missed.

Dale: My feeling is that having personal contact is still important in modern society, in this case for both the kids and their parents. We hope to build online resources which can help people at home, but nothing beats a one-to-one conversation with somebody who knows what they are talking about. I hope that we can inspire other real-world institutions to become involved.

David: Getting out the crystal ball now: what are you hoping The Lab has achieved a year from now?

Stefan: What we are striving for is an effective model that can be replicated in other places and can positively influence the way society thinks about these kids, particularly in the education system which seems to be manifestly unsuited to a group of young people who are very talented.

Dale: Currently so many of the young people and their parents simply have nowhere to turn – they are stuck between normal schools and special schools, neither of which meet their needs. These people have a lot to offer to society – we deal with kids who can program their own games, but aren’t able to attend school and are at risk of being disadvantaged their entire lives. I hope that we can help support people and organisations who are interested in adopting this type of model, and I hope we can expand and deal with more kids more regularly. We live in an age where we have the opportunity to use technology to create positive social change, and we are enjoying every moment of it.

UWA’s third machinima challenge: what a field

The University of Western Australia’s active presence in Second Life continues with a vengeance. I was lucky enough to be asked to be on the judging panel for the MachinimUWA III: Journeys competition. The panel this time includes director Peter Greenaway and you can view the full list of judges at the bottom of this post.

Fifty pieces of machinima were submitted, with the only requirement being that they featured the UWA’s Winthrop Clock Tower at the beginning or end of the piece. One notable absence was a machinima from an Australian entrant: are we that bereft of machinima makers?

Each judge was required to choose ten favourites from the fifty entries. For what it’s worth, here are the ten I chose:

LASLOPANTOMIK YAO (Barcelona, Spain) – Beginning of Knowledge and of Sorrow

SODA LEMONDROP (Monterey, California, USA) – The Journey

TUTSY NAVARATHNA (Frenchman in Pondicherry, India) – Journey into the Metaverse

HYPATIA PICKENS (Rochester, New York, USA) – KAPHD

ERIC BOCCARA (Velp, Netherlands) – Juroney

BRACLO EBER (South Africa) – Journey to the Top

FUSCHIA NIGHTFIRE (Dorset, UK) – Take the Road Less Travelled

HUGO KRELL (Madrid, Spain) & Soriana Breda (Soria, Spain) – Proyecto XXY

Proyecto XXY from Soriana Breda on Vimeo.

OONA EIREN (London, UK) – Onward & Upward

Onward And Upward from oona Eiren on Vimeo.

VERUCA VANDYKE (Arkansas, USA) – Escape

You can view all 50 over at the UWA in SL blog

If I had to pick an overall favourite it’s hard to go past Eric Boccara’s Juroney. Congratulation to the eventual winners, which will be announced on the 22nd May at 6am SL time. Also, much kudos (again) to the UWA team who continue to show their dynamism and passion for virtual worlds creativity.

List of judges:

JUDGES
1. Peter Greenaway (RL) – Acclaimed Director
2. Professor Ted Snell (RL) – Director, Cultural Precinct, The University of Western Australia
3. Jayjay Zifanwe (SL) – Owner of The University of Western Australia (SL), Creator & co-host of the UWA 3D Art& Design Challenge
4. Yesikita Coppola (SL) – Official Machinimatographer for UWA 2011
5. Laurina Hawks (SL) – Joint Reigning UWA MachinimUWA Champion
6. Raphaella Nightfire (SL) – Snr Writer Best of SL Magazine, Owner Sanctorum Gallery (SL)
7. FreeWee Ling (SL) – Curator, UWA 3D Open Art Challenge
8. LaPiscean Liberty (SL) – CEO AviewTV and UWA Media Advisor
9. Nazz Lane (SL) – Journalist and Author
10. Rowan Derryth (SL) – Art & Design Historian; Writer for Prim Perfect Publications
11. Apollo Manga (SL) – examiner.com Writer & Novelist
12. Dr. Phylis Johnson (RL) – Media Professor, Southern Illinois Uinversity, Author – Machinima: Aesthetics and Practice (a.k.a, Sonicity Fitzroy, SL Virtual Journalist)
13. Lowell Cremorne (SL), Owner & Editor-In-Chief, The Metaverse Journal
14. Mal Burns (SL), Metaverse News Aggregator and Broadcaster
15. Paisley Beebe (SL), CEO of Perfect World Productions TV
16. Flimsey Freenote – CEO of Metamix TV (Mixed Reality Television)
17. Rhett Linden – Linden Labs
18. Bradley Dorchester – Joint Reigning UWA MachinimUWA Champion
19. Dousa Dragonash (SL) – COO Metaverse Television
20. Cristina García-Lasuén (RL) Aino Baar (SL) International Curator, Art Writer, Founder & Owner of Open This End group
21. White Lebed (SL) – Former Lead of Burning Life Art Department, Director of Special Projects @ UWA

Virtual sex: the futurist perspective

Ross Dawson is an Australian futurist, prolific public speaker and creator of frameworks that assist in understanding trends. I’ve spoken on virtual worlds at a couple of get-togethers he’s organised and he certainly understands the field broadly. He’s recently launched Future of Sex, devoted to the future trends in sex. Virtual worlds feature as a key component but the site covers a lot more than that. Whether it’s interspecies virtual sex, robot unions or teledildonics, the site is focused on covering it.

Ross himself is up front on one of the main reasons he’s created the site:

As a publisher, we look for where there is a solid business model. Just over 5 years ago now I wrote a blog post about massively multi-player sex games, commenting on the broadening scope of virtual worlds. Since then, continuing until today, I have received thousands of visitors a month to that post from Google searches on related topics. Since we put into the post an affiliate link to the largest virtual sex world Red Light Center we have been making some very healthy pocket money off just that one post.

There’s no doubt virtual sex is only going to grow in both financial and public awareness terms – and as always its likely to drive innovation in virtual worlds as well as push the boundaries in areas such as avatar rights and the right to expression.

The ABC in Second Life four years on: the official view

It’s hard to believe it’s been more than four years since the Australian Broadcasting Corporation launched its island in Second Life.

To coincide with that I interviewed the ABC’s Abigail Thomas (SL: Abi Goldflake) to get the ABC’s take on the last four years. The next step will be to catch up with the dynamos that are the ABC Admin team and community on ABC Island. In the meantime, have a read of the interview with Abi over at ABC Tech.

The Virtually Live Events Project

This is a guest post from Surreal Numbers on how the Openlife grid has played host to numerous musical events. It’s one of many examples of how OpenSim and related grids are continuing to grow in popularity and maturity.

Thanks to Shai Khalifa for the heads-up on the project initially, and for a historical take on Openlife you can also view our original 2008 profile of the Openlife grid here.

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I’d like to thank Lowell Cremorne and The Metaverse Journal for taking an interest in the Virtually Live Events Project and publishing this article.

Purpose and Initiation

User-created virtual reality is the most flexible and powerful tool for sharing information and imagination. Upon entering a space made with 3D modelling primitives and scripts, a visitor can take a journey far richer than that offered by other sharing technologies including blogs, photographs, and audio-video streams. At the same time, community development using virtual reality can have a significantly different life-cycle as compared to the use of other social media.

Social development and technical capabilities are closely entwined in virtual worlds. For example, without a functioning script engine, reliable login servers, and robust sim physics, it is not reasonable to plan and host events. By late-2009, The Openlife Grid had reached levels of stability, scalability, and security appropriate for hosting events reliably. The Virtually Live Events Project (VLE) was started on 05 September 2009 with a solicitation for an “International Live Music Events Developer” committed to consistency, innovation, excellence, and sustainability. Goals were set for number of monthly events, expected audience size, an international distribution of performers representing all continents, and integration with the grid’s business community. The quantity and quality of the responses were overwhelming. They were invariably professional and, most strikingly, reflected a strong spirit of generosity.

The solicitation was focused on finding a single person capable of initiating and maintaining the project so I had not anticipated that the majority of feedback suggested that I form a project team and manage it. As I came to learn, a team was easily justified by the extensive list of tasks that needed to be addressed. But I was reluctant to manage. I’m a mathematical scientist, not a musician, and I felt unqualified to understand music event hosting much less how to build a sustainable arts program.

Eventually, I recognized two things. First, I have a strong interest in hearing music from everywhere. My father had been a Grammy-nominated recording engineer for RCA Records and worked with outstanding musicians and singers from around the world. In addition, I’m a product of the South Bronx, which has a rich fusion of multinational music that simply will not allow one’s body and mind to sit still. Second, professionally, I have a lot of experience planning and hosting conferences as well as managing international research project teams. It seems to be an odd combination of characteristics on which to base the decision to manage but now, a year and a half into VLE, they seem even more applicable.

Challenges and Team

The challenges for the project are to:
1. host music events consistently;
2. innovate to keep performances and venues fresh;
3. work towards a standard of excellence; and
4. sustain and grow the project into the future.

To meet these challenges the team, which has evolved over eighteen months, was initially Debbie Trilling, Adec Alexandria, Shai Khalifa, Digital Dreambuilder (Digi), Pantaiputih Korobase (Pants), and me. At present, it includes Shai, Digi, Cheops Forlife, and me as well as a consulting group with Caro Axelbrad, Grimley Graves, and Pants.

Debbie Trilling and Adec Alexandria (both UK) helped establish a strong footing for the project as well as provided me with the best possible mentoring for managing it. Debbie’s artistic work is well-known in Second Life. She sets a very high standard for quality and was always quick to point out what would not work, what would work, and why. Adec has experience hosting events, is a keen photographer with a great design sense, and an excellent builder who can quickly bring prim form to the vision in his mind’s eye. Debbie and Adec eventually resigned because of other personal and professional obligations but their influences still underpin Virtually Live Events.

Shai Khalifa (Australia) has a degree in arts management, was a professional musician, and has extensive experience managing virtual music events. She has been invaluable for vetting, contacting, and booking performers. Her role is especially challenging since she is literally the artist’s first contact with VLE and she has the professionalism to address whatever questions, comments, or observations arise. In addition, her experiences have provided sound insight into how the performance program should be structured and how it will evolve.

Digital Dreambuilder (Native of Ireland living in Finland) is innovative, a skilled builder and scripter, and an amateur musician with experience planning and hosting virtual events. He’s also professionally involved with virtual education and training, which has implications for the future of VLE. He has a well-grounded sense of setting goals, the capabilities for meeting them, insights for avoiding pitfalls, and the creativity for crafting fallback plans in the case of disaster. He’s built and animated almost all of the exceptionally detailed musical instruments used by performers on Virtually Live.

Pantaiputih Korobase (Germany) was an early member of the project team selected for his insightful nature, exceptionally big heart, people skills, and diamond in the rough building skills (nowadays, he’s well-cut and polished). His role has been recast as a consultant in order to accommodate his personal wishes.

Cheops Forlife (France) was added to the team after Debbie and Adec left. She is unfailingly cheerful, positive, and creative. Once new performers are booked, she brings them inworld and prepares their avatars for the performances. This is no small task since there are psychological, sociological, and technical factors involved. However, she is exceptionally well-suited to the effort given her training in psychology and professional background managing non-profit programs.

Caro Axelbrad (Spain) and Grimley Graves (US) serve as consultants to VLE. Caro custom builds skins, shapes, hair, and clothing for the performers when needed. Both she and Grims have been longtime supporters of the project and, along with Pants, share their creative ideas for helping VLE grow and evolve over time.

I help the team meet the project challenges. I especially enjoy designing and building our default and themed venues.

Although not a member of the project team or consulting group, Logger Sewell deserves recognition for donating the stream used by Virtually Live. His action was an early example of the generosity the project enjoys.

Performances and Venues

VLE performances and venues have been well-documented on the project blog as well as Twitter where performers are announced and event photos are posted. Over the last eighteen months, VLE has held themed events (seasonal parties, wear your green dots, pool, beach, and valentine’s aftermath, among others) and rebuilt the project region, Virtually Live, many times to accommodate the themes as well as new concepts for the entire venue.

Performers have responded enthusiastically. It is really important to the VLE team that the performers have the best possible experience whenever they visit Openlife and this is reflected in their feedback both to the team and the event guests. Time and again, performers have commented on how much they enjoyed the entire process of coming inworld and performing. While musicians and singers had previously crossed from one grid to another to perform, the VLE project broke new ground by establishing an innovative mentoring model to make their transition to Openlife simple and fun. One broad reaching effect of the VLE model is that it has provided a methodology that performers use to explore the potential of other virtual worlds, which increases their reach and audience base.

The performers, moreover, invariably notice both the unusual artistic venues on Virtually Live and the chatty appreciative crowds that attend. The Virtually Live region is devoted exclusively to the arts and the builds are among the most distinctive and beautiful performance venues in any virtual world. In turn, performers all want to come back and have spread the word to other performers throughout the metaverse, who have either already performed on Virtually Live or will be booked in the future.

The most important thing the team wanted for the audience was simply a relaxing fun time that everyone could count on happening regularly. Again, the response has been overwhelmingly posiitive and the best part of this has been the social development. Friending occurs frequently during each event and connections are made or strengthened. New residents of the grid are treated to a warm and helpful greeting in an enjoyable atmosphere, which reinforces the reputation of the community.

In addition to the many blog photos from events, Caro and Pants have each made videos of some VLE performances; a few links are:

Openlife 3rd Birthday and Halloween Party by Caro

Idella Quandry “Fields of Gold” by Caro

Yellow Pool Party by Pants

The Future

Recent updates to Openlife’s infrastructure have brought further improvements in scalability and features, which, in turn, can be used to enhance and expand the social environment of the grid. For example, for several events, VLE has made use of scene-flip, a unique to Openlife feature that, with the touch of a button, flips the entire region to an alternate scene. Having a full-sized blank region with 45,000 prims to use for a themed event has led to some beautiful scenes that required a lot of people to build. The Openlife 3rd Birthday and Halloween Party video illustrates the use of flip-scene. While the default venue remained secure in Slot 1 of Virtually Live, an entirely different scene was built for the party in Slot 2, including themed terraform and builds.

Virtually Live Events, notably, has been a valuable source of performance and stability data for Sakai Openlife, 3DX Openlife founder and owner. These data have been helpful for identifying technical problems and solutions that lead to grid improvements enjoyed by all residents.

While the emphasis to date has been on music, VLE intends to increase its scope to include theatre, art exhibitions, and arts education venues. Virtually Live Events wants to thank all performers and guests for their support over the last eighteen months and looks forward to where technical capabilities and social development take the project in the future.

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