Telstra retreats from Second Life

bigpond-secondlife-november2009-smlAs reported today in the mainstream press, Telstra have announced their retreat from involvement with Second Life.

As the Australian business with the largest investment in Second Life by far, Telstra’s withdrawal potentially has a large impact on the local case for involvement of business in virtual worlds. More importantly, there are many hundreds of BigPond regulars who are affected by the decision. Paying residents on the BigPond sims received the following notecard on the issue:

Dear Residents, Vendors and Guests,

Telstra BigPond would like to thank you for participating in Second Life through BigPond. Our creative experience with Second Life has been very rewarding for both BigPond and our members. We’re constantly looking for ways to take advantage of the latest social media trends, however, our focus is moving towards entertainment options that are gaining in popularity on computers, mobile phones, TVs and game consoles.

From December 16 you will still be able to continue your Second Life experience directly through Linden Lab at www.secondlife.com but no longer through the BigPond portal.

This will also mean that all Second Life use will go towards your download limits given that the BigPond islands currently unmetered for BigPond customers are closing. Please note that this may put you over your plan download limit sooner than you were expecting.

Please contact our in-world Social Operations Manager Peta Philbin if you have further questions and she will provide information and/or BigPond Support personnel to assist you.

Again, we hope that you continue to enjoy your Second Life experience and keep checking back at www.bigpond.com for other exciting BigPond services.

Regards

The BigPond Team

Is the announcement a surprise? Not really – Telstra’s been increasingly lukewarm over recent months in regards to continued development of new activities / events on the sims. That said, the community that’s been built by BigPond customers on the sims has never wavered and there’s plenty of them angry at the decision. The common theme from discussions with residents today revolved around the theme of only having entered Second Life initially because of the unmetered status for Second Life usage (on BigPond sims), and the subsequent meeting up with people that they otherwise would never have met.

Obviously Telstra don’t need a presence for that to occur, but they certainly created a financial and aesthetic environment that maximised the potential for new users’ involvement. It’s been one of the more notable examples worldwide of a successful collaboration between a business and its customers, with examples everywhere of that relationship:

bigpond-secondlife-nov2009-2

The biggest challenge for Telstra is how it portrays its withdrawal in the longer term. It’s likely been a financial decision, and if so it begs the question of how transparent Telstra will be on the outcomes they feel they’ve got from being in Second Life, and whether they’ll make further forays in the future. We touched base with Peta Philbin, who is the ‘Pond Estates Social Operations Manager’, but she wasn’t able to comment at all, referring me to BigPond’s PR contact, Craig Middleton. We’ve sent Craig a series of questions and will post his responses in full as soon as we receive them. There’s also a farewell party planned for 21st November – we’ll publish more details on that as they are announced.

In the meantime, it’s over to you: are you surprised by the announcement or has it been a long-time coming? Will this be a set-back for Second Life in Australia and for business more broadly?

Interview – Simon Newstead, CEO of Frenzoo

Simon Newstead of FrenzooBack in May, we covered Frenzoo, a fashion-centric world with a lot of promise. Since that time, Frenzoo has continue to grow and has received further funding to continue its development.

CEO Simon Newstead is an expatriate Australian based in Hong Kong, and I took the opportunity to get some insight into Frenzoo‘s progress and future plans. He also discusses the role of Robin Harper and Anshe Chung, integration with services like Facebook and quite a bit more.

The take-home message for me is Frenzoo‘s focus on content creation, placing it amongst a handful of other players dedicated to that space. Fashion’s about creativity, so it’ll be interesting to see what growth trajectory Frenzoo takes. Read on for the interview:

Lowell: Can you give a brief biography of your career pre-Frenzoo?

Simon: Sure, before jumping into the online world with Frenzoo, I worked in Internet networking with Juniper Networks, the upstart competitor to Cisco.

There I was leading the Emerging Technologies team for Asia. That was a great job, dealing with customers in Korea and Japan through to emerging countries like India and Vietnam. Learning how and how not-to introduce new solutions to market, winning over early adopters, feeding requirements back to development teams – a lot of fun.

Before that I was in Melbourne with Juniper where I worked with Telstra to help design their 2nd generation broadband infrastructure (their DSL network). That was a great job for a young engineer, although I recall a lot of late nights living in their labs 🙂

Lowell: How would you describe Frenzoo’s progress over the past 12 months?

Simon: Great! After a slow start we’re starting to find our groove – a fledgling online world and 3d chat & creation community is up and running. Still early days but revenue starting to come in and growth picking up.

When we started our beta a year ago we had nothing – no users and a website with virtually no functionality: I remember an early tester making a comment “I love my avatar so much… but ummm what can I do with it?” It was a rude awakening, but all the early feedback helped us learn and adapt quickly – I really do subscribe to the “Fail Fast” startup school of thinking.

Since then we have learned a lot on what makes people them invest time and money and what they want out of Frenzoo. We’ve added and iterated our product countless times based on all the customer feedback: a big part of our culture – we gather a lot of user feedback, run regular usability tests, analyze usage data etc.

A turning point was introducing User generated content via our own web creation tool as well as 3ds modeling and collada import function. This has been great – the creative folks just love to design new things. When the world around you changes so much there is always inspiration for something new. People who love to mod sims love our environment – in fact some of our top content creators today are huge The Sims modders and creators.

Six months ago, the only things in the shop were made by Frenzoo, with limited choice. Now all the content on the marketplace is coming from the community and there are many thousands of diverse creator items to shop from and growing each day.

Lowell: What’s the company’s funding situation at present?

Simon: Earlier in the year we secured a solid round of funding from ASI – the Skype co-founders and other important angel investors. That takes us a long way to realizing our vision – by the time we consider the next phase of funding we should have completed the core development and started to ramp up audience and monetization.

Lowell: Virtual goods commerce is currently the core of your revenue model – can you explain a little how both you and designers can make money?

Simon: Sure. We run a dual currency system – we have silver and gold coins. Silver coins are the earned currency (being active on the site), gold coins are bought currency. When an item is purchased by a user using Gold coins, the creator of that item gains the Gold Coins (Frenzoo takes a small commission). Gold Coins can be sold for real money on 3rd party sites like First Meta Exchange and Anshe X. Those sites also allow transfer to and from other virtual currencies such as Linden dollars and IMVU credits.

Lowell: How many staff does Frenzoo have and are they still all based in Hong Kong?

Simon: We have a team of 10 folks – 7 engineers and 3 designers. Apart from that it’s myself, and Ceci, our marketing lead. We’re based in Hong Kong and we also have a couple of fantastic remote interns in the US who do a fantastic job helping with the community management.

We’re also lucky to have three very helpful strategic advisors – Robin Harper (ex Linden Labs) and Anshe Chung – Ailin Graef and Guntram Graef have really helped with giving us guidance and the insights from their considerable experience.

Lowell: What’s the geographic breakdown of your userbase at present?

Simon: Most members are coming from the US, however we have a healthy international mix from Europe and Asia. Australia is in the mix, a few percent of our base. We have localization to over 10 languages, including Japanese, Spanish, Chinese, Portuguese, German, Russian, Dutch etc It’s one of the many advantages of being purely browser based – it’s easy to add this. Right from the start we wanted to make this a global offering, not just English only.

Lowell: What percentage of the designers are making significant money?

Simon: We’re just getting going, no millionaires I’m aware of yet 🙂

The majority of our creators are doing it for enjoyment – it’s a lot of fun dreaming up new designs, meeting people, entering contests, being creative.

For those folks when they earn a few bucks in the process that’s just a bonus. However we’re now starting to see the first few professional operations coming onto the site with the aim to make money. Anshe Chung Studios is one example, it’s also easy for them to publish their created items to both Frenzoo and other platforms like IMVU. We’re also looking forward to introducing 3D scenes so, for example, creators of Second Life environments and props can explore our platform.

Lowell: What mistakes that competitors have made are you hoping to avoid?

Simon: I have a lot of respect for the other avatar communities out there, I’m a big fan of Second Life in particular for their creative and open content environment. One thing we are striving to do is make our user interface really simple to use, and also make creation fun and accessible to everyone – in fact most of our active active members have created their own items.

As we are web online world compared with most others who are client based, we have our own unique set of challenges and opportunities. For example cross browser differences and testing is a hassle (don’t get me started on IE6!), but on other hand web based means we support Mac and PC as well as being able to quickly mash up and integrate – e.g. post pics to Facebook etc.

Lowell: Speaking of Facebook, do you have any plans for integration with other web applications like that?

Simon: We’d like to do more web integration next year for sure. Once we have built out most of our core platform we plan to swing back and look at off site integration and add what makes sense, be it Facebook app or other platforms and techniques. Whether that app might be avatar chat or creation or a mix is still something we have to think about.

Mobile is something also we considered when we settled on our 3D rendering engine – in fact Unity3d which we use is one of the leading engines for iPhone 3D games today. It’s an interesting future possibility for us and technically feasible.

Lowell: Who do you see as Frenzoo’s main competitors?

Simon: In terms of web 3D community with UGC marketplace and creation tools we are first to market, to my knowledge. Actually even in client solutions, I haven’t seen similar to our accessible fashion design tool.

Actually most of our energy is built on listening to our users and improving our service. Whilst we monitor and learn lessons from other virtual worlds (e.g. Second Life and IMVU who have built up successful economies), we’re mainly focussed on our users and improving for them.

Online World Frenzoo - 3D Avatar of Simon_is_yetiLowell: Do you have an estimated date for Frenzoo coming out of beta?

Simon: Not for some time yet…

Beta really is a mark that we are in constant iteration and improvement, it’s a label that encourages us to always be listening and improving. Of course, we’re running a virtual economy today and security and robustness are important but we like the idea of being in beta mode and responsive – it’s a cultural attribute.

Lowell: What’s the roadmap for Frenzoo over the coming year?

Simon: Now UGC is kicked off, our next big move is “social”. The first step is 3D chat, which we just launched 2 months ago. It’s pretty sparse now but we will be building it out. As part of the social drive we’ll be introducing 3D scenes, which will be the biggest upgrade to the site since launch. This will let people be creative and social a lot more than today where the avatar is in 3D but the scene is just in static 2D. A 3D online world in Frenzoo has been one of the top requests from our community.

Our goal within the next few months is to have a fun user created environments – dance parties people can hang out and virtual chat in, maybe beaches for moonlight walks, glamorous catwalk shows, and hopefully lots of ridiculously pimped out apartments 🙂

We’ll also continue to build out the creative tools and then start to do more mashups and integrations on the web to help people share their experiences easier.

Lowell: Can you shed light on the core Frenzoo user?

Simon: Sure. Our age ranges from 13 all the way to 30 and beyond. Several of our most active members are in their 30s, 40s and older. Our average age today is hovering around 18-20 years old, and we skew very heavily towards female. One of our goals over coming months is to also make Frenzoo interesting and engaging for us guys.

Lowell: As an expat Aussie, what’s your take on the virtual worlds industry here?

Simon: Well, I’m a big fan of some of the virtual world personalities who live in Australia – folks such as metaverse bloggers Tateru, Anstia and yourself, Steve Cropper who runs the Life On-Line show etc Also it’s nice to see some virtual world developers in Australia such as VSide/Exit Reality…and in general some great tech projects such as Google Wave out of Sydney. I’m always rooting for more Aussies to make it on the global stage 🙂

UWA 3D Art and Design Challenge – October round winners

uwa-art-oct09-1st A fortnight or so ago we covered the great work being done by the University of Western Australia in Second Life. One of the centrepieces of their activity is the 3D Art and Design Challenge, with the October winners now announced.

You can see all the finalists here, but here’s the summary:

IMAGINE CHALLENGE – 3D Art

1st Prize:Willow by Bryn Oh ($L5,00
2nd Prize: Holophrasis by Snubnome Genopeak ($L1,250)
Best Non-Scripted Entry: Concentric Shells by Ichiko Miles ($L1,250)

Honourable Mention (Emotion): In Uterus/Pregnant First Record by Silene Christen ($L500)
Honourable Mention (Harmony): Living in Syn by Maya Paris ($L500)
Honourable Mention (Immersion & Application): Come Go With Me by Alizarin Goldflake ($L500)
Honourable Mention (Hidden Wonder): Beauty/Beast by Feathers Boa ($L500)

FLAGSHIP CHALLENGE

1st Prize : Sci-Fi Gallery by Nyx Breen ($L5,000)
2nd Prize: Art Gallery by Dusty Canning ($L1,250)

For those interested in the real detail of what UWA is doing, Jayjay Zifanwe’s speech announcing the winners is worth perusing. I’m really thrilled to be on the final judging panel for the competition and the UWA team have done a brilliant job in building some real interest in its activities through encouraging one of Second Life’s real strengths: creative expression.

Jayjay’s speech:

Greetings everyone, and welcome to the University of Western Australia, or UWA as she is known and also welcome to the October Round announcement of winners for the UWA 3D Art & Design Challenge. As is tradition at UWA, I would like to acknowledge that the University is situated on Nyoongar land and that the Nyoongar people remain the spiritual and cultural custodians of their land and continue to uphold their values, languages, beliefs and knowledge.

I am so happy to see all of you here today. You honour us with your presence, and we have also been honoured by the incredible, varied and wondrous artworks submitted by the artists of Second Life for this round, with a total of 40 artworks and 11 building designs.

Artists & Builders taking part so far have come from Canada, the USA, the UK, Scotland, England, Spain, France, Brazil, Denmark, Holland and Australia.

Before going on, I would like for everyone to give a big round of applause to a tireless champion of the arts, the person most responsible for everything we see all around us now, and co-host of the UWA 3D Art & Design challenge, quadrapop Lane !!!

I also want to acknowledge the Cultural Precinct at the University of Western Australia and ShedworX.com and www.etshirts.com who have all contributed such that the total prize pool for the UWA 3D Art & Design Competition is sitting at well over $L357,000.

Something new for November only at the moment, is that an Artist Book Prize is being awarded. Juanita Deharo who owns Second Edition group is offering a L$2000 prize for an ‘artist book’ . “An artists’ book is an artwork in a book format, or an artwork which has its origin in the form or concept of the book.” You can interpret this in any way you want. This prize may be ongoing. All entries to the IMAGINE CHALLENGE that have conceptual roots in a book will be considered for the Artist Book Prize.

The special Artists Participation Pool that had been established, raised $L6,000 for the artists participating in the October round. I want to acknowledge the generosity of Sasun Steinbeck, Tranguloid Trefoil & Phillip Vought whose contributions form the bedrock of this pool.

I would however like to quickly acknowledge evryone who did contribute. Please forgive me for this long list, but it is important to me to acknowledge them!

Thank you MidnightRain Glas, Jesse Keyes, Lady Caitlyn Inglewood, Dusty Canning, Juliete3D Quinzet, Kayo Houston, Ichiko Miles, Lubnatsi Papp, Rae Larkham, Mab MacMoragh, Tweetie Birdbrain, Mrs Brandi, Genivieve Caproni, Briarmelle Quintessa and Bacon Hellershanks

As described previously all artists who submit a genuine entry (not a block of plywood) and who do not receive one of the main prizes, will receive a share of what has been contributed to the donation jar for that month. Nothing is being kept for the land tier, 100% will go back to artists.

I know the amount is not a whole lot, but following this months total contributions, all participating artists who are not one of the main prize winners will receive $L220 for the October round. I know for a few it will be the first time they received Lindens based on an art creation by them, and for the vetrans, I am sure this can be out to you in furthering the cause art or helping others in need!

This was reset today, and the pool restarted with $L4,000

Also, something else new that was initiated a week ago is A People’s Choice Award, along with the judges categories. We hope to give this award every month. Voting panel will go up each month for the days between the closing of the month’s entries and the announcement of the winners. The panel will be just along the pathway between the main entry landmark and this platform holding the IMAGINE entries. You register your vote by touching the image of the work you like best – one vote per person. This award is a fun award with a $L500 prize.

I would like also to acknowledge the members of the judging panel. On the panel were:
1. Professor Ted Snell (RL) – Director, Cultural Precinct, The University of Western Australia
2. Frank Roberts (RL) – The University Architect, The University of Western Australi
3. John Barret-Lennard (RL) – Curatorial Director, Lawrence Wilson Art Gallery
4. Raphaella Nightfire (SL) – CEO of the Evane Model Agency, CEO of the SW&MB Fashion Productions, Seniorr Writer for Best of SL Magazine, Owner Sanctorum Gallery
5. Tranguloid Trefoil (SL) – Owner of WASP at the University of Western Australia
and yours truly

The panel for the Grand Prize will be an expanded one and will include:
1. Frolic Mills – Best of Second Life & CO CEO
2. Sasun Steinbeck – artist, scripter, and maintainer of the Art Galleries of SL list at http://sasun.info/ArtGalleriesofSL.aspx
3. Wil Dreadlow, ICON Lifestyle Magazine CEO & Publisher
4. Lowell Cremorne, Owner of The Metaverse Journal

On the panel for the Artist Book Prize, are:
1. Juko Tempel – Australian living in Paris. Librarian, photographer, linguist, educator and collector of new media art.
2. Victor Vezina – Journalist, artist, writes weekly column on digital toys and virtual worlds for Guardian newspaper, London. Gallery owner, experimental artist, art collector in SL.
3. Juanita Deharo – Gallery owner, Art educator, professional artist specialising in artist books, small sculptures, printmaking.
and yours truly

I apologize for the long speech. Now to announce the winers. The winers will be announced in 1 minute intervals. We do invite everyone to comment and congratulate the winners and for the winners to respond before the next announcement. Winners also please do ensure you get a photo of you and your artwork taken by quadrapop before you go. This will go into the UWA in Second Life Blog and a number of other journals and blogs. http://uwainsl.blogspot.com/

A lot of images of the artworks and buildings are also up on KOINUP (with thanks again to the expert camerawork of quadrapop) http://www.koinup.com/UWAinSL/works/

4 Honourable mention prizes have been awarded by the Judging panel for October for the IMAGINE challenge.

The Honourable Mention prize of $L500 for EMOTION is awarded to:
‘In Uterus/Pregnant First Record’ by SILENE CHRISTEN

The Honourable mention prize of $L500 for HARMONY is awarded to:
‘Living in Syn’ by MAYA PARIS

The Honourable Mention prize of $L500 for IMMERSION & APPLICATION, is awarded to:
‘Come Go With Me’ by ALIZARIN GOLDFLAKE

The Honourable Mention Prize of $L500 for HIDDEN WONDER, is awarded to:
Beauty/Beast by FEATHERS BOA

Next we move to the newly established People’s Choice Award which carries a prize of $L500. It was very very very hard for people selecting to only choose one single work. It was extremely close, and almost impossible to seperate, but in the end, by a nose…. the award goes to:
Drill by GINGER GRUT

Next we move to the 2nd overall prive for the IMAGINE Challenge. There were an incredible array of remarkable entries, and it was very difficult for the judges to seperate. After long consultation, the 2nd prize ($L1,250) was awarded to:
Holophrasis by SNUBNOSE GENOPEAK

Failing by a whisker to defend his win from the September round!

Next is the prize for Best Non-Scripted Entry ($L1,250). There were a number of very interesting pieces, but the one that caught the judges eye the most and to whom this prize is awarded is:
Concentric Shells by ICHIKO MILES

Now, we go to the 2nd Prize for the FLAGSHIP CHALLENGE (L$1,250). There were 11 submissions for this challenge for October, and a number of fascinating ideas. Again a close battle among the top 4 entries…… after much deliberation, 2nd Prize was awarded to:
Art Gallery by DUSTY CANNING

Can everyone please set land to midnight, and CAM to look at the front area and balloons from a distance.

Now for one of the overall winner prizes. Again,as mentioned, very little seperated them the art… as all of you can see…. so many deserving of honour, but in the end, the judges decided that winner for the October Round of the UWA 3D IMAGINE Challenge (L$5,000) is :
Willow by BRYN OH

Willow has a secret, that I hope all of you managed to find 🙂

The final prize for the day, is the winner of the FLAGSHIP CHALLENGE (L$5,000) for October. Now we had the fireworks for the winner of IMAGINE, but we are going to go party at the location of the winner after the announcement, as quadrapop Lane will reveal a special TP panel to take us there where there will be music and dance with our wonderful DJ, Briana Spires (and I ask all of you to please look after her for me). And so, the winner of the FLAGSHIP CHALENGE for October is:
Artstractions Gallery by NYX BREEN

With that the official parts of today have come to a conclusion. We already ahve 15 artworks submitted for November, please do start submitting your works for the November round, and letting your friends know about the competition.

quad can you please reveal the TP panel, winners please find quad, and have your photo taken with your artworks & buildings. Everyone please join us for the party 🙂

Interview – Denise Wood, University of South Australia

unisa-oct2009-2-smlDenise Wood (SL: Denlee Wobbit) is Senior Lecturer in the Bachelor of Media Arts program at the University of South Australia and the Teaching and Portfolio Leader of the School of Communication, International Studies and Languages. As one of Australia’s many educators who are utilising virtual environments in their roles, I was aware of Denise’s work in regards to disabilities and accessibility, so I asked her to have a chat about her efforts to date in Second Life.

As you’ll see below, that discussion covered a number of areas in detail. It’s yet another example of the promising work being done by Australian educators. I was particularly struck by the growing level of collaboration between institutions, which is imperative for ongoing success.

If you’d like to see the University of South Australia’s Second Life presence for yourself, here’s where to go.

Lowell: To start off, can you give a little history of how you got involved with Second Life at first?

Denlee: Sure – We initially became involved out of interest in the possibilities that virtual worlds offer for experiential learning. As an educator in the field of media arts, I was interested in exploring possibilities for engaging students in problem solving activities within a flexible environment that facilitates collaborative learning activities. So we applied for a University of South Australia (UniSA) Teaching and Learning Grant initially to fund the purchase of the island and to maintain it for a year while we conducted trials with some identified courses. That grant was successful and that is how we initially funded purchase and upkeep of the UniSA island.

Once I was teaching in Second Life (SL) I became concerned at the issues for students with disabilities. As someone with many years experience working with people who have disabilities and as an educator teaching in a University that prides itself on access and equity that was a concern. So we applied to the Australian Learning and Teaching Council (ALTC) for a grant to develop an open source environment to enhance accessibility in virtual worlds

Lowell: So how much experience with SL did you have prior to making the grant application i.e. was there a key event or experience that ‘turned the light on’ so to speak?

Denlee: I had very little experience in SL prior to applying for the grant. Most of my knowledge was based initially on review of the literature. I spent some time exploring SL prior to applying – and enrolled in building classes and so on, and of course visited education sims, but most came from reading case studies and my own knowledge of simulated learning environments.

Lowell: So how were those first days and weeks in SL for you – did you find it an incredible eye-opener for its opportunities or did it seem a natural extension for you on previous work you’d done?

Denlee: It was a wonderful experience – naturally a little overwhelming initially. Having applied for the grant and received the funding close to the end of the academic year was rather fortunate as it meant that I was able to spend many, many hours over the summer break immersed in SL – I was in SL every day – 7 days a week for about 6 weeks and really did become part of the community through that process. Knowing that we would be trialling courses the next semester was also great motivation to spend the time and make the commitment. I knew I would need to feel very confident myself before attempting to teach students in this environment. And attending building classes gave me the skills but also ideas about what works and what doesn’t in teaching in this context.

Lowell: Let’s talk about the first courses you taught involving SL – what were the educational objectives you were looking to achieve?

Denlee: I trialled two initially. One was a course focusing on games design so SL seemed a perfect environment for achieving the learning objectives relating to that course, which focused on problem solving, team work, collaboration and communication. Students (5 or 6 per team including external students) created immersive games using holodecks on sky platforms.

The other course was one in which students create online portfolios to market their design skills. They created Websites and built complementary portfolios (kiosks) in SL that linked to their websites. The aim was for the students to understand the changing nature of designing for electronic media and the relationship between Web design and the future potential of virtual worlds as an extension of that. What surprised me was that students at first seemed to enjoy the activities and they did some fabulous work, but they were not as positive about the learning experience as we had anticipated.

Lowell: What were the issues they seemed to be unhappy with?

Denlee: Some of the issues seemed to be about the platform (buggy issues and so on) but that didn’t explain it all. And when we really analysed the evaluation data it appeared to be related to their inability to see the connection between the learning activities and their future career aspirations. Many said they would prefer to have created the game in another platform like Flash or Director or another gaming platform. And some of the web design students said they couldn’t see the value as they didn’t believe the future predictions that 3D virtual worlds would become more popular for businesses and marketing.

Lowell: Did they perhaps see SL as less graphically appealing, so more like ‘work’ than play?

Denise-woodDenlee: Actually it was the reverse. Some saw it as inappropriate because it was too much like play – almost as if they had preconceived ideas about what is a valid or authentic learning environment.

Lowell: Ok that’s interesting! So are those courses still being taught in that context – has SL become part of the core work done given the mixed feedback?

Denlee: Well after that experience I was unsure of how to next proceed. But I decided to try again with a different course this semester, only this time I gave students the option of choosing to work with a “real client” in actual life or a client in SL. So in this course, students learn how to create accessible Web sites that are W3C compliant. They are required to work with a client organisation and either redesign an existing website or create a new site that meets very high standards in accessible design. Out of the 20 students in this course, 7 chose to work in SL and that course has proved very successful. The seven students meet with their clients in SL every week and attend a tutorial I facilitate in SL every Saturday. They are also working with disability groups in SL. And some of the tutes are conducted with Gentle Heron from Virtual Ability Island.

The difference – and this is the eye opener for me about virtual worlds – is that they are not focusing on the platform but using it as a conduit to engage on “real” work with “real” clients. What is particularly interesting is that in the previous trials we put enormous effort into running tutorials on how to use SL and we had mentors to help the students, yet they still complained it was hard to navigate and so on. However, in this class the students have had no training in SL at all – I left them to their own devices. They have taught themselves and helped each other. This has shown me that students will engage in learning activities when they are focusing on “real” world issues and not on the technology. The previous courses focused a lot on building in SL, and it appears that perhaps the students would have been more engaged in those courses if they had undertaken projects for clients and not focused so much on learning to build and script. In other words, problem solving can be more effective when students are focused on the project not the skills required to achieve the overall aim of the project.

Lowell: So let’s move over to your area of interest, accessibility. What specifically led you to that research area?

Denlee: I worked in the disability sector for many years prior to being appointed as an academic at UniSA. I was a researcher for an organisation that provides services for children with disabilities and then moved on and established a Govt funded organisation providing training in multimedia for young adults with disabilities. We provided contract work on multimedia projects to graduates of that program. While working in the field I was also actively involved with other organisations providing training in accessible web design. So when I came to UniSA it was only logical that I would want to redesign courses so that our students (future designers) would be equally skilled and committed to accessible Web design and I was able to progress my research at the same time.

Lowell: So did SL seem a natural progression for the work you;d been doing in that area?

Denlee: Yes, very much so. Many of the same principles apply – but we do need more creative solutions to tackle some of the challenges imposed by such highly graphical and multimedia rich environments. Once we received the ALTC funding, we embarked on ethnographic research with people in SL who identify as disabled. I leased an apartment on the Wheelies SIM and conducted many interviews from there. I was interested in identifying the benefits experienced by people with disabilities in virtual worlds as well as the accessibility challenges.

Lowell: Virtual environments are often touted as a boon for individuals with disabilities that may restrict some real world experiences. What’s the more objective view on the challenges and opportunities?

Denlee: The virtual communities provide a wonderful place for people with disabilities to socialise, gain information and for advocacy. The virtual environment also provides a place for people to experiment with identity and so they can choose to represent themselves as someone with a disability or not. It’s their choice – and those who choose not to appear “disabled” find they are more likely to be accepted for who they are, not judged by appearances. For those who are not able to get out of the house much, environments like SL provide a wonderful means for meeting others and also for providing the opportunity foe people in that situation to contribute to the virtual communities in SL. And what really fascinates me are the ways in which these communities have worked together to create their own solutions to some of the challenges.

Lowell: And on the other side of the coin, what are the accessibility challenges that stand out?

Denlee: Obviously SL is a very visual environment – so those with significant visual impairments find it difficult or impossible to navigate. Those who use screen readers for example, can’t access SL without assistive technologies in world as objects and inventory, and locations are not exposed to a screen reader. Then of course most multimedia is not captioned in SL. As voice has become more popular, the environment has become less accessible for those with hearing impairments when they are communicating with residents using voice and not text chat.

Lowell: So with these shortcomings, is there significant momentum toward solutions? And if so, is it primarily community driven or are Linden Lab actively driving some enhancements?

Denlee: Linden Lab has started to show greater interest of late because of the initiatives taken by residents themselves. A good example was the awareness raised by the Helen Keller Day event hosted by Virtual Helping Hands.

Lowell: What are some of the community driven activities that have inspired you?

Denlee: Well, groups like Virtual Ability Inc (VAI) who set up Virtual Ability Island, and of course Virtual Helping Hands and their virtual guide dog you see here. Wheelies and Cape Able (now owned by VAI) and the Health Support Coalition – all these groups show the power that comes when people who share common goals work together on solutions. What we are doing is building on that knowledge using the funding from ALTC to design an open source client that is accessible and can be used with SL and OpenSim. So we are working with these groups to ensure what we create is suitable and informed by their significant knowledge.

Lowell: Ok so how’s that progressing? Can you give a synopsis of key groups involved in its development?

Denlee: We are working with all the groups really – Virtual Ability, Virtual Helping Hands and members of Wheelies. Our contracted programmer is a member of VHH and we meet regularly with others from VHH as we proceed with design and development. We are also working with ReactionGrid, which is based on OpenSim, and they have provided us with four sims for our development work. They are very supportive of the importance of accessibility in virtual worlds.

Lowell: What does OpenSim offer that appeals in lieu of SL?

Denlee: The fact that it is open source. We can work with the open source community on solutions. Everything we do contributes to that open source community as well. We can work on the open source client when it comes to SL, but not at the server level, whereas we can tackle both with OpenSim. But, we are very mindful of the very large following of SL so we want to work at both levels since SL is still a wonderful conduit for linking people together given that large population base. The ideal solution is what I believe Linden Lab always envisaged, a grid with various virtual worlds linked together.

Lowell: Onto UniSA’s presence here – can you give an overview of what’s offered here and what any future plans are?

unisa-oct2009-1-smlDenlee: We will no doubt continue to maintain our UniSA island here – we are planning to trial using our island to facilitate career building – running careers fairs and so on. We are also undertaking research in the area of performing arts and hybrid performance. Intermediality – where actors on a “real life” stage perform with actors in SL.

Lowell: Is the UniSA presence a cross-faculty collaboration or predominantly your faculty?

Denlee: UniSA island is managed by me, but there are several other faculties (we call them Divisions), which plan to trial courses on our island including education and health sciences, and our computer science school also has a presence on SL. We are also doing collaborative work with many other universities. Our ALTC project is a collaboration involving UniSA as lead institution with Monash University, Edith Cowan University, the University of Sydney, RMIT and Flinders University, as well as the University of Sheffield in the UK. And we are also in communication with other Australian universities which have ALTC grants relating to this area.

Lowell: What’s your perspective on the Australian research momentum in relation to virtual worlds – are we leaders or followers?

Denlee: I think Australia is certainly undertaking significant research in this space – so definitely not just following the lead of international universities. We have a very strong presence in virtual worlds in both teaching and learning, and innovative research. Australia is certainly an important international player and making a significant contribution to the field. I think we will see that activity escalate in a short space of time as so many universities are now collaborating and sharing their expertise across many diverse disciplinary areas. A good example of the level of this activity is evident each year at the annual ASCILITE conference, which has attracted a rapidly increasing number of high quality research papers focusing on teaching and learning in virtual worlds.

Lowell: Do you feel there are solid collaborative structures in place to support the growing interest in a way that will be effective?

Denlee: We are seeing that happen I think at a number of levels. Firstly, the ALTC has funded quite a few projects relating to teaching and learning in virtual worlds so this is recognition of the importance of these environments. The ALTC requires universities to collaborate and so these projects bring together teams from universities across Australia. They also provide a mechanism for bringing projects together – so all that bodes very well for supporting collaboration. Also, we have seen a growth in interest in the informal networks recently established and AARNET is playing a major role in supporting collaboration among universities – it is well positioned to do so as the major internet service provider to universities across Australia. Education.au is becoming very active in this space as well and has shown great interest in working collaboratively with us.

Lowell: One area that seems to have a long way to go is public-private partnerships, including research. Do you think Australian business is being too hesitant or are there some structural issues more broadly that make collaborations like that difficult?

Denlee: Many of us are looking at the opportunities in that space and one obvious funding source that can assist research in this area is the Australian Research Council (ARC) through their linkage funding scheme. While the ARC does not fund teaching and learning projects, there is considerable interest from academics in undertaking high quality research relating to virtual worlds in partnership with industry groups, and I think you will see increasing uptake of research in this area in the foreseeable future.

Lowell: A final question. What are your plans over the coming 12-18 months?

Denlee: We will be continuing our research into accessibility solutions – that project is funded until the end of 2010. We will also be trialling careers fairs and industry engagement in the coming few months. I will be continuing to teach in SL focusing more on using SL as a platform for facilitating interaction between my students and clients via SL. We are furthering our research into mixed media performance in virtual worlds and we are currently working on a pilot project with the University of Adelaide focusing on entrepreneurship training in virtual worlds. I am working with Professor Noel Lindsay from the Entrepreneurship, Commercialisation and Innovation Centre at the University of Adelaide on that project.

Lowell: Any last words?

Denlee: I guess for me the most powerful thing about a virtual world like SL is that it provides a medium by which researchers, academics and students can come together to collaborate, undertake research and also for providing experiential learning opportunities for students within a global platform. The other significant aspect of this environment is the flexibility it affords for engaging people who might otherwise not be able to meet, whether due to disability, geographical location or other circumstances.

Check it out in-world

Virtual worlds as lawn mowing

lowell_mowingthelawnAlthough it’s mostly a throwback to the mid to late 20th Century, there’s still a significant cohort of Australians who associate mowing the lawn with the ‘Aussie lifestyle’ (I hate generalisations, but bear with me). There’s no shortage of people who still dream of owning their own land, on which they can inflict the weekly spring and summer routine of mowing the lawn. Last weekend I had the opportunity to do some lawn mowing, and it occurred to me that for widepsread adoption of virtual environments to occur, the in-world experience needs to be a lot more like mowing the lawn. Keep reading to see a metaphor beaten within an inch of its life.

Experience

Lawn mowing, like any experience, is for most people a combination of sensory input that creates a memory. For the person cutting the grass, it’s everything from the smell of the mower fuel, the noise of the mower, the physicality of starting it up and pushing it, the visuals of the enviroment you’re partially decimating and finally the odour of cut grass.

It’s no surprise there’s heavy research into the development of interfaces that integrate the senses as part of the virtual world experience – it may not be a must-have for effective interaction but it will ensure it gets as real as possible for those wanting the richest in-world experiences. The day I can smell petrol fumes as an avatar is when I know the revolution has occurred. Whether that’s a good thing is another lengthy argument.

Achievement

Ask any devoted mower of lawns and they’ll confirm one of the big rewards for their activity is seeing the chaos of long grass turned into a controlled, neat expanse. Yes, it’s a maddening perspective for a lot of people and there’s a lot of fence-sitters (like me) who enjoy seeing the neat results but like the unruly option as well. What underlies the mowing fetish is the sense of achievement of physically pushing a machine around that makes a difference to the look of your abode (and no, I will not divert to vaccuum cleaner metaphors as well). Gaming worlds have had this nailed down beautifully for years, and I can vouch for the fact World of Warcraft have polished that nail to a dazzling sheen. Social-oriented worlds like Metaplace and Farmville also have some pretty well fleshed out achievement systems. This is one aspect where the lawn mowing analogy comes into its own: we’re quite happy to push or ride the mower around the same circuit week after week, year after year if there’s a reward. Ring a bell, MMO grinders?

Ownership

Unless I have no choice, I don’t want someone else mowing my lawn. Sure, I’m happy to do someone else’s if they need me to, but it’s my lawn I’m passionate about and I want everyone to respect that and to also enjoy their green patch in their own way.

Virtual environments are struggling to come to grips with how best to achieve harmony with content ownership – you only need to look at this week’s Burning Life content theft issue in Second Life to see the ongoing challenges. There are still a lot of individuals quite happy to bring their plough over univited and rip a large channel through your prize turf. Part of the answer is governance and law enforcement, but the larger challenge is inculcating an acceptance of content ownership and rights across the entire virtual worlds sphere. Sure, the majority of us have that respect, but I’d wager there’s more plough-toting avatars than real-world equivalents.

Usability

If you’re lucky enough to own a lawn mower manufactured in the last 10 years or so, you’ll know how well they work now. Startup tends to be a breeze, they’re lighter to push around, emptying the catcher is easier and the days of choking on exhaust fumes are pretty much over. Most virtual environments are better than a 1954 Victa but most are still essentially 1988 models. They work fairly well but are heavy on the resources and make for a frustrating experience if used for long periods of time. To flog the analogy to death, there are still people who collect or even use old mowers, and the same applies to virtual worlds. Niches are good but the better model is always going to attract the bigger support.

The Last Word

If you’ve read this far, you’ve probably had enough of the lawn mowing analaogy. But whether it’s that or another human experience like first love, the smell of freshly baked bread or the birth of a child, the point remains the same. We all want a lot more out of virtual environments and we’re likely to get it eventually. The trouble is, by that time I may be old enough that I’m yelling at kids to get off my lawn.

UWA: making everyone welcome

The UWA campus in SL

It began with a team from the University of Western Australia and Google SketchUp. Having won the Google “Build your Campus in 3D” competition, for which the team re-created some of the physical world’s campus buildings in SketchUp, it was but a short, logical step to want to bring those same buildings into Second Life, and create the campus in a more detailed fashion. SketchLife is the product of a UWA student – SketchLife realises SketchUp models as prim-based builds in Second Life.

Jayjay Zifanwe (SL) heads the team which put together the buildings and the surrounds of the UWA campus in Second Life. This team, composed of people from the UWA, together with associates gathered from across the globe – and discovered through Second Life – has done a marvellous job of creating a campus that is welcoming to all. Apart from the rendering of the real-life campus, intended for prospective students, alumni, and the vice-chancellor, there’s also:

– a skybox, intended to be used by university staff to run classes in
– a magnificent art exhibitions, composed of the ingenious works of Glyph Graves
– the entries for the UWA’s art and design competitions.

The main UWA landing site can be found here.

Mini Launch Day, August 21st 2009

4004178744_a7a1d5da80The mini-launch of the UWA sims occurred in August, well before the campus was complete. Jayjay Zifanwe and Ted Snell worked feverishly for several weeks and at least one whole weekend to ready the Astronomy art gallery in the SL Physics building for the occasion.

Spreading the word

After the mini-launch, but prior to the main launch, Wad Halberstadt, from the UWA’s School of Business, was gamely plugging away at teaching his Electronic Communication Strategy classes in Second Life, unaware of the work going on in other parts of the university. It took a chance meeting between Wad’s student, Leonie Clarrington, and Jayjay, to bring the campus builders and the teachers together. Wad and Jayjay have collaborated on the project since that time.

Main Launch Day, October 2nd 2009

uwa_launchOn the launch day of the UWA sims, 40 people attended the ceremony as avatars in Second Life, and 120 people packed into a RL space to attend. The people in the physical space were able to follow the proceedings in SL; the SL folk able to view the video kindly relayed the action for the other people unable to view the video through SL.

The IMAGINE competition: calling all artists

Second Life is swarming with artists of all persuasions, and what do artists like better than extra cash to help them to continue making art?  Peer recognition, perhaps? A place to exhibit? How about all of the above?

What better way to encourage this burgeoning group than to offer prizes, put on awards ceremonies, and then display the winning pieces in pride of place?

UWA has recently launched the IMAGINE 3D art competition, open to all users of Second Life. The response to this launch has pleased and overwhelmed the UWA SL team – there were 30 submissions for IMAGINE, and 40 people were present in Second Life for the awards ceremony for the inaugural month. The IMAGINE competition has been designed to encourage people to push their imaginations to the limits, and to submit work which expresses their best efforts in their SL favourite medium. There is a 100 prim limit on submissions.

Due to the efforts of the UWA team, the prizes for the overall winners at the end of the IMAGINE competition have been increased to L$75,000 each for first place, L$14,000 for second place; also L$14,000 for the best non-scripted entry. Monthly prizes come in at L$5,000 for first place, L$1,250 for second place, and L$1,250 for the best non-scripted entry. Additionally, the two winners receive a custom RL tee-shirt.

Each entrant who submits any genuine entry (not a block of plywood), and does not win a main prize, is eligible to receive money from the participation pool. The participation pool for the month of September was filled by Jayjay Zifanwe, Sasun Steinbeck and Tranguloid Trefoil, and in October, Phillip Vought will be contributing. If you would like to donate to the participation pool, you can do so here.

The monthly judging panel consists of: Professor Ted Snell (RL) – Director, Cultural Precinct, The University of Western Australia, Frank Roberts (RL) – The University Architect, The University of Western Australia, John Barret-Lennard (RL) – Curatorial Director, Lawrence Wilson Art Gallery, Jayjay Zifanwe (SL) – Owner of The University of Western Australia, Raphaella Nightfire (SL) – CEO SW&MB Fashion Productions, CEO Evane Model Agency
Snr Writer Best of SL Magazine, Owner Sanctorum Gallery, Tranguloid Trefoil (SL) – Owner of WASP at the University of Western Australia. Each of these people is well-versed in the judging of art, therefore when they sat down together to judge the September competition, many of their decisions were unanimous.

Along with honourable mentions for the works of Venom Silverfall, Ninka Darkstone, Tweak Serpente/Strix Serenity and Soror Nishi, and the Best New Artist award, going to Isaa Gelber (see the reason why here), the main place-getters for September were:

First Place: Snubnose Genopeak

Best Non-Scripted Entry: Isaa Gelber

Second Place: Alizarin Goldflake.

September Round Winners: view them here.

Jayjay Zifanwe, as the head of the UWA team, has been particularly impressed with the efforts of Quadrapop Lane with regards to IMAGINE, naming her “the jewel of Western Australia”. Along with Jayjay, Quadrapop acts as the co-host of IMAGINE, and is the curator for all the entries. In a world where much art is plonked down higgledy-piggledy next to contrasting, distracting, or down-right incompatible pieces, Quadrapop’s efforts have allowed the entries to shine individually, and create a harmonious whole of all the pieces together.

The FLAGSHIP competition: calling all architects

There were fewer entrants for the FLAGSHIP competition, the design component, and with good reason. While IMAGINE encourages people to push their imaginations to the limits, and to submit work which expresses their best efforts in their favourite media, the end goal of FLAGSHIP is to attempt to bring the winning Second Life build into being as a physical building on the UWA campus.

Likewise, the FLAGSHIP competition attracts prizes of L$75,000 and L$14,000 for the first and second place-getters in the overall competition, and L$5,000 and L$1,250 for the equivalent in the monthly competitions.

Flagship Winner: view it here.

Beautiful Kate – screenings move outside the capital cities

Just a quick heads-up for those living outside Australian capital cities, interested in seeing Beautiful Kate. There are now screenings in a range of other towns and cities throughout Australia. For example, Event Cinemas (formerly Greater Union) now have sessions schedule over the coming couple of weeks for Wollongong and Newcastle in addition to capital Darwin. Albury-Wodonga has been screening the film recently as well.

You’ll need to check your local cinema guides to determine times and availability, but it’s good to see a little wider distribution of the film. Still no word on international release dates at this stage. For those new, here’s a brief snippet of the Second Life scene in Beautiful Kate:

For those who have seen the movie, we’re always keen to hear your thoughts, or whether you agree with our assertion that the movie as a whole is an impressive piece of art.

R.I.S.E. U.P. – lymphoma information in Second Life

nodeman Roche Integrated Support Entourage Unique & Personal Our Mission, or R.I.S.E. U.P, is an area in Second Life recently launched to provide education on lymphoma. It’s a joint effort between pharmaceutical company Roche Products Australia, Lymphoma Australia and the Leukaemia Foundation.

The purpose of R.I.S.E. U.P is singular: to provide an interactive, engaging way for people to find out more about lymphoma. For the veteran Second Life resident, there’s nothing particularly ground-breaking about the approach, but that’s not really the point. Given the importance of the health topic, it needs to be communicated clearly and somewhat simply – it’s about retention not entertainment. R.I.S.E. U.P. achieves that – there’s links to traditional web content, streaming media and a ‘Node Man’, which provides an effective way of showing the myriad of lymph nodes around the human body.

Collaborative partnerships

A noteworthy aspect of the project is its backing by the medical profession, private enterprise, key peak bodies and a range of people who have lymphoma. I took the opportunity to shoot some questions to Professor Jeff Szer, Clinical Haematologist at the Royal Melbourne and Western Hospitals to get his take on the project:

TMJ: What for you would demonstrate that the presence in Second Life has been successful?

Professor Szer: Pairs of eyes – how many people attend the general public presentations on lymphoma, as well as the number of YouTube replays. How many questions received during the presentations – there were a few during the first presentation this week.

TMJ: Do you believe there is growing acceptance of the use of virtual environments as a health education tool within the Australian medical profession, or is it still a case of pockets of innovators fighting against significant scepticism?

Professor Szer: My view is that there is growing uptake of this form of communication. The patients and families are better at this than the profession so we need to engage it proactively.

TMJ: As virtual environments continue to evolve, are there further education or actual interventions you’d like to be able to offer in regards to lymphoma or related disease states?

Professor Szer: I can see many educational opportunities for this type of live interaction. Another patient group that values education is the multiple myeloma population and there may be some interest from the patient groups (such as Myeloma Australia in Australia) in pursuing such an event. Currently, many of these activities are conducted through webinars or the like and this adds another possible dimension of interaction. My only concern is the behind-the-scenes work involved in setup which I suspect was far greater that I was exposed to.

I also had the chance to ask some questions of a lymphoma sufferer, 60-year old Anna Blyth, who I’d like to particularly thank for taking the time to respond (see Anna’s experience with lymphoma at the end of this post):

TMJ: Are virtual worlds like Second Life something you see as being useful for receiving health information i.e. does it provide something that other routes of communication like traditional websites can’t?

Anna Blyth: My experience with virtual worlds is very new and I’ve found that in comparing the communication of information with traditional websites, they are very different. When I looked for information on non-Hodgkin’s lymphoma (NHL) on traditional websites I was pretty overwhelmed. There was a lot of medical language that I didn’t understand very well. There was also a lot of research data that I couldn’t quite follow. And because there are so many types of lymphoma, I found it difficult to find information on the specific one that I have. I also found many sites conflicting with other ones in regards to long term outcome and the benefits of different forms of treatment.

Going to Second Life and visiting R.I.S.E. U.P., I was very impressed. The graphics are great and I felt that I was actually in a place that ‘real’ – as is intended of course. But the feeling is a good feeling and a calming feeling when looking for information regarding my health. I found it exciting visiting the different places and reading the information available on lymphoma. The information is direct and easy to understand and going into the Node Man was great also because I could see exactly where lymph nodes are and relate that to my body.

TMJ: How would initiatives like R.I.S.E. U.P. have helped you in your particular circumstance if it had been available?

Anna Blyth: When I was diagnosed in 2007, apart from websites to look up my cancer there wasn’t anywhere else to go. I got totally confused which really increased my overall state of anxiety. If I had been directed to the virtual world of R.I.S.E. U.P. I believe that I would have stayed away from the traditional sites and focused on the virtual world. With the simplicity of the tour, the information available and other events such as lectures etc., I think I would have understood my cancer much better. As I described in question one… the overall feeling of being in a real world would have helped me to not feel so alone and I would have had a much more positive experience as I learnt about lymphoma. Instead I was in a state of constant anxiety and fear as to what to believe from which traditional website.

Finally, I asked some questions of Libby Day, Roche Products’ Australian Director of Corporate affairs:

TMJ: Can you outline why Roche chose to get involved in virtual environments as a health education tool?

Libby Day: Roche Products has been committed to improving the health and well-being of people across the world for more than 50 years. Lymphoma is the most common blood cancer and the incidence has doubled over the past 20 years for no known reason, yet new statistics released by Lymphoma Australia reveal that one in five Australians do not know what lymphoma is, and less than 20% can name at least one common symptom. Furthermore, nine out of ten people don’t realise exactly how common lymphoma is within the population, even though more than 4,000 Aussies are diagnosed with the cancer each year.

Australians are increasingly going online to search for health information. After consulting with their doctor, the internet is the most popular source of health information. With the support of a number of health consumer organisations, Roche Products is aiming to meet this need by providing easily accessible lymphoma information to the general public through R.I.S.E. U.P. For many people, receiving a diagnosis of lymphoma is a particularly frightening and overwhelming experience because they have a low awareness of the disease. Furthermore, early detection can make a huge difference in the ability to combat this often life-threatening cancer, making the provision of accurate information critical.

There is a lot of misinformation about healthcare on the internet and Roche is committed to helping ensure that people are accessing correct and accurate resources.

TMJ: Does Roche have any involvement with Second Life outside of this project?

Libby Day: R.I.S.E. U.P. is the first Roche health awareness initiative to be launched within Second Life and is currently in its pilot phase – future plans for the initiative will be confirmed once it has been tested and evaluated. Roche is pioneering the provision of virtual health education amongst the pharmaceutical community and is, as yet, the first organisation to do so.

TMJ: Outside of this project, dose Roche see virtual environments as a means of maintaining competitive advantage in a competitive marketplace?

Libby Day: The virtual space is a growing area for all business sectors. With regards to education, as mentioned previously, we know that people searching for information regarding health are increasingly turning to the web. Projects such as R.I.S.E. U.P. will hopefully fill a void.

With regards to maintaining a competitive advantage, it is early days but even in this pilot phase, the virtual world technology is promising. At this early state, Roche Australia is only piloting the program and needs to address the technological barriers which have been detected during the test. This technology means Roche delegates can communicate in an engaging manner, at anytime and anywhere. From here, Roche Australia is working to strategise on how best to maximise the value of this technology.

TMJ: Does Roche have any plans in Second Life or other virtual worlds for the future?

Libby Day: The R.I.S.E. U.P. initiative is currently being piloted in Second Life and future plans for the initiative will be confirmed once it has been tested and evaluated.

Upcoming events at R.I.S.E. U.P

For those wanting to find out more or to enjoy some of the activities going on in coming weeks, here’s the details:

Until Saturday 24 October: Robin Roar, a R.I.S.E. U.P ambassador and Second Life expert, will be available to answer any questions you may have about R.I.S.E. U.P. and take you on a tour of the facilities. AEST: Tues‐Sun, 12:00‐17:00. Second Life time: Mon‐Sat, 05:00‐10:00.

Tuesday 27 October – Professor Jeffrey Szer, Clinical Haematologist at the Royal Melbourne and Western Hospitals in Australia, will hold a brief seminar on lymphoma signs and symptoms in the Auditorium. Professor Szer will be available to answer any questions R.I.S.E. U.P. visitors may have. AEST: 14:00. Second Life time: 21:00.

There’s also some music events going on – check out the details on R.I.S.E. U.P itself.

The Sum Up

As a health professional myself, I’ve long had a passion for using a range of methods to get crucial health information disseminated within the community. VIrtual environments are no exception to this, and given their growth, initiatives like this are key early steps. Skeptics may point to a lack of clarity around outcomes versus the cost of implementation. That tends to miss the point to a large extent. As Professor Szer stated: it’s consumers who are driving the momentum in the use of social media for health information. If companies like Roche Products are going to engage in brand recognition exercises in Second Life, I can’t think of a better way for them to do so.

Finally, the machinima created for the project gives a nice summary of R.I.S.E. U.P’s intent:

Check it out in-world

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Anna’s story:

• Anna noticed a large lump above her collar bone in late September 2007 and was initially advised to have it removed for cosmetic reasons
• However, five weeks later, Anna was diagnosed with Hodgkin’s Lymphoma
• Anna was not prepared for this, as she was initially told she wasn’t at risk of a cancer diagnosis
• She found it particularly difficult to tell her husband and four children about her diagnosis, as her family is very close
• Later that week, Anna underwent blood tests, a CT scan and a surgical biopsy. She was soon admitted to Cabrini Brighton Hospital and found herself in intensive care following an anaphylactic reaction to one of the anaesthetic agents. She was unconscious for over an hour until the medical team were able to revive her
• Following surgery, Anna was official diagnosed with Follicular Lymphoma and her diagnosis was a shock. She felt physically and emotionally exhausted and found herself in a surreal state
• Anna’s treatment consisted of twelve weeks of chemotherapy and a targeted biologic therapy. Throughout the treatment, she felt 100% supported by her family and a group of great oncologists
• On the ninth week of treatment, Anna’s oncologist informed her that the treatment was successful and she was cancer free
• Anna has now officially been in remission since April 2008 and she is a proud wife, mum and grandmother

Trademarking and educators: Linden Lab responds

As reported yesterday, there’s been some activity around the use of the ‘SL’ trademark, with Australian educator Jokay Wollongong receiving a takedown notice. I shot through a few questions to Linden Lab on the issue, and Pathfinder Linder has formally responded. So as promised, here’s Linden Lab’s full right of reply:

Lowell: What was the impetus for LL tackling Jokay’s Wiki specifically?

Pathfinder: Jokay’s Wiki is a wonderful educational resource for the Second Life community, and Jokay organizes incredibly thoughtful and informative conferences about education in Second Life.

Some Lindens were recently invited to participate in a conference that Jokay was organizing, and we wanted very much to accept and show our support for Jokay and all the amazing work she’s done for the community. We were concerned, though, that the name of her blog is “Second Life in Education” and that her uses of our trademarks do not comply with our policies and create confusion about her blog’s relationship with Linden Lab.

We realize now that we poorly expressed our concerns by sending her an email from our trademark team, and that we should have reached out more personally to such an important contributor to the educational community. I (Pathfinder Linden) did speak to Jokay inworld after we sent her the email to explain to her why it’s so important for Residents to respect our trademark policies. However, in hindsight, this should have been the first step in our process.

Lowell: Does LL see it’s in its interest to issue takedown notices to educators showcasing one of SL’s strengths (i.e. it’s power as en educational platform)?

Pathfinder: We have great respect for the work of Jokay and other educators in Second Life. We’re also committed to increasing awareness of intellectual property, as we said in our recent Content Management Roadmap, through improved policies and outreach to the community. When we get in touch with Residents about improper uses of intellectual property – whether it be the intellectual property of other Residents, companies outside of Second Life, or Linden Lab itself – it’s nothing personal. It’s simply what we must do to help protect intellectual property.

Lowell: How much confidence should educators have that further trademarks won’t be registered, leading to a further change of landscape that can’t be forseen?

Pathfinder: When choosing a brand name or name for your website or domain name, it’s good practice to check that you are not using another person’s trademark or brand name. Trademarks do not need to be registered – so it’s best to search the web as well as trademark office records, and to consult a trademark attorney if you’re uncertain. This good practice is called “trademark clearance,” and it protects against your having to make a name change down the road.

Pathfinder: In this case, both Second Life and SL have been Linden Lab trademarks since we first started using them for our virtual world many years ago. To help promote awareness about proper use of our trademarks, especially for Residents unfamiliar with trademark clearance, we updated our trademark policies in early 2008, providing additional information and examples. We have also been reaching out to Residents about our trademark policies.

Lowell: How would you respond to claims that actions like this provide further motivation for people to move to other grids or platforms outside of SL?

Pathfinder: Intellectual property rights are part of what makes Second Life unique and compelling, and we’re committed to supporting a community that respects each other’s intellectual property. Although making changes in response to intellectual property complaints can be frustrating, it ultimately makes our community stronger, more aware and respectful of each other’s intellectual property, and a more desirable place for content creators and content consumers alike.

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Over to you – is Linden Lab’s position a reasonable part of protecting intellectual property rights or an example of brand protection at the expense of community?

Update: Tateru Nino at Massively has a follow-up piece with some views of educators on Linden Lab’s response to the issue.

Trademark protection gone mad: Linden Lab takes aim at educators

sl-wikispacesI’ve had the pleasure of having a chat to Jokay Wollongong in RL on one occasion, and hope to again in the future. I was more than aware of her work in Second Life prior to that catch-up, but only then did I realise her passion for the work she does. Sure, it’s part of making a living but it’s also a lot more than that – she is fundamentally driven by seeing the outcomes virtual environments can provide in education. In that, she’s no different to hundreds of other educators in Second Life.

That’s primarily why I’m gobsmacked and somewhat angry at a move Linden Lab has made, as reported by Tateru Nino over at Massively. Essentially, Jokay’s use of the URL sleducation.wikispaces.com has come under attack by Linden Lab, who’ve asked Jokay to take it down because of the use of ‘sl’ in the URL. As Tateru Nino outlines:

Under the Lanham Act, which controls the registration, usage and control of trademarks in the United States of America, Wollongong’s usage appears to fall squarely under nominative fair use, and thus legally unable to be counted as dilution of Linden Lab’s trademark which finally saw registration on 22 September this year.

Aside from the questionable legalities, I just can’t get past the apparent futility of issuing a takedown notice for a wiki site devoted to showcasing some of Second Life’s main strengths.  Sure, I can understand protecting a trademark makes exceptions difficult, but this has the whiff of a scorched earth policy. To that end, I’ve contacted the ever-helpful Pete at Linden Lab to get his thoughts on four specific questions:

1. What was the impetus for Linden Lab tackling Jokay’s Wiki specifically?

2. Does Linden Lab see it’s in its interest to issue takedown notices to educators showcasing one of SL’s strengths (i.e. it’s power as en educational platform)?

3. How much confidence should educators have that further trademarks won’t be registered, leading to a further change of landscape that can’t be forseen?

4. How would Linden Lab respond to claims that actions like this provide further motivation for people to move to other grids or platforms outside of SL?

Linden Lab deserve full right of reply and they’ll certainly get it (Update 2: you can read their response here).  My guess is that the takedown was instigated by Linden Lab legal people without a lot of consultation with others. Time will tell. I also had a brief chat to Jokay in-world late this evening, and although insistent on keeping positive about things, she made one key point that sums up the senselessness of this decision:

I’ll also be working to consolidate and publish my research on other platforms and will seek to diversify the wiki.  In the end all of this only strengthens my desire to establish presence in a broader range of virtual worlds, and we’ll be working on that over the coming months.

Then again, expanding the outcomes derived from Second Life into other platforms can only be a good thing. Perhaps it’s been Linden Lab’s intention the whole time 😉

Update: Jokay has posted her thoughts in more detail on her blog

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