Search Results for: The Watch

National Portrait Gallery in Second Life

There hasn’t been an enormous fanfare about the launch of the National Portrait Gallery’s doppelganger exhibition in Second Life, but there probably deserves to be. For its first foray into virtual worlds, the Gallery has created an impressive exhibition that beautifully showcases the power of digital artwork.

I asked the architect of the exhibition, Greg More (SL: Dynamo Zanetti) to explain each of the exhibits, which he kindly agreed to do. Greg is a Senior Lecturer in the School of Architecture and Design at RMIT. Since 2002 he’s been primarily engaged in the use of 3D, realtime environments for architecture design visualisation. The RMIT’s island in SL, for RMIT architecture and interior design students, came into existence in early 2007. Greg also happens to be the driving force behind OOM Creative, a local virtual worlds design consultancy

iMirror

Artist: Cao Fei

It seems natural for an exhibition like this to feature machinima, and it’s certainly a striking one that is being shown. Superficially, it’s a montage of Second Life residents’ faces, but the overall effect is much greater.

Greg: “Developed for the Venice Bienale 2007, this is the only work in the show that wasn’t developed specifically for Portrait Island. Space designed to envelope the viewer into a screen experience, and also marks the limits of the landparcel supporting the streaming video.”

CodePortraits

Artist: Patrick Lichty

Aside from the vivid ‘Last Supper’ portrait, which is alone worth a visit, there are also QR codes for each of the portrait subjects, readable by smart phones with the appropriate software installed.

In CodePortraits we can extract these representations from their native environment via Quick Response codes which enable us to watch his archive of footage on our own mobile devices. Viewing these videos on a portable device, that can be played anywhere, at any time, reminds us of the photographs of loved ones and family that we may keep in our wallets, or the earlier tradition of the cameo.

Another fascinating mix of digital media with more traditional imagery.

temporary self portrait in preparation for the singularity

Artist: Andrew Burrell.

The largest work in the exhibition, it’s difficult to provide an explanation of its scope and purpose that’s better than the one provided by the artist himself. In short, the exhibit is a virtual device offering a glimpse of the narratives of the artist’s life, “both remembered and imagined”:

Each of the cubic nodes within the device can forge new connections with its neighbours creating a navigable network of narratives to which the viewer is given access through text and image. The work questions the site of the self and its relationship to the narratives of memory.

Autoscopia

Artists: Adam Nash, Christopher Dodds and Justin Clemens

I have to admit this was probably the exhibit that fascinated me the most. The Autoscopia website explains it nicely, but essentially you enter a phrase such as your Second Life name, and you receive (after a wait) a link to a detailed profile of yourself as found on the internet more widely. Try it for yourself and you’ll likely be surprised with the results.

Autoscopia’s portraits are built using data from internet-based ‘vanity searches’ conducted within the Second Life installation. Each name creates a unique outcome composed of 27 ‘limbs’. Each limb is fed data from websites such as Google, Facebook, Twitter etc, with colours, geometry and audio affected by variations in search volume. Data is then re-published via discrete web pages automatically composed through snippets of text and images collected during the search

iGods

Artist: Gazira Babeli

The experience of entering iGods can be a little disconcerting. The Greek temple exterior contrasts against the impressive experience of having your avatar transposed onto one of the seven ‘sins’ on the inside:

Move a little closer and the clones come to life, morphing into the appearance of the observer’s avatar; replicating their image back at them. Gaz’s hall of mirrors reminds us that, in Second Life, DNA is code and in virtual worlds this code can be replicated or borrowed. This unnerving experience exposes fears associated with identity theft and the often reluctant realisation of personal identification with one’s avatar.

The Wrap

According to Greg, the main approach for the exhibition, and the build, is not to replicate existing notions of portraiture or exhibition space. “Gill Raymond, the curator, set a really open brief for the project, and luckily on my advice we developed the space over a couple of phases, allowing for the environment to evolve, accomodate the artists developing the work, and tie things together with the website content”.

Feedback from visitors to date has apparently been enthusiastic, with a significant cohort of visitors spending more than an hour interacting with the exhibits. Kudos to the National Portrait Gallery for their investment in the exhibition. Alongside the ACVA initiative and the momentum built by the University of Western Australia’s Art competitions in Second Life, it’s fair to say that Australian art in the virtual world is an incredibly lively part of the wider art community.

Check it out in-world

Happy New Year

Dear Family & Friends,

At the start of this year I wanted to thank you for the emails you have forwarded over the year.

I must send a big thank you to whoever sent me the one about rat crap in the glue on envelopes, because I now have to use a wet sponge with every envelope that needs sealing.

Also, I now have to wipe the top of every can I open for the same reason.

I no longer have any savings because I gave it all to a sick girl who is about to die in the hospital for the 1,387,258th time. But that will change once I receive the £15,000 that Bill Gates/Microsoft are sending me
for participating in their special email programs. Or from the senior bank clerk in Nigeria who wants me to split seven million dollars with me for pretending to be a long lost relative of a customer who died intestate.

I no longer worry about my soul because I have 363,214 angels looking out for me.

I have learned that my prayers only get answered if I forward emails to seven friends and make a wish within five minutes. I no longer drink Coca-Cola because it can remove toilet stains.

I can no longer buy petrol without taking a friend along to watch the car so a serial killer won’t crawl in my back seat when I’m filling up. I no longer go to shopping centres because someone will drug me with a perfume sample and rob me.

I no longer answer the phone because someone will ask me to dial a number and then I’ll get a phone bill with calls to Jamaica , Uganda , Singapore and Uzbekistan . I can’t use anyone’s toilet but mine because a big brown African spider is lurking under the seat to cause me instant death when it bites my bum.

I can’t even pick up the £5 I found dropped in the car park because it probably was placed there by a sex molester waiting underneath my car to grab my leg.

If you don’t send this email to at least 144,000 people in the next 70 minutes, a large dove with diarrhoea will crap on your head at 5:00pm tomorrow afternoon and fleas from 12 camels will infest your back, causing you to grow a hairy hump. I know this because it actually happened to a friend of a neighbour’s ex-mother-in-law’s second husband’s cousin’s beautician.

By the way….a South American scientist after a lengthy study has discovered that people with low IQ who don’t have enough sex, always read their emails while holding the mouse.

Don’t bother taking it off now, it’s too late.

All the best for 2010

The reverse argument for virtual worlds in the enterprise

With thanks to Tateru Nino for the heads up, this machinima just about perfectly encapsulates the tug-of-war within the enterprise in regards to adoption of virtual worlds as a collaborative tool. It’s an incisive piece that strips bare some of the stereotypes and barriers put forward by business as ‘arguments’ against utilising virtual worlds in their operations.

It’s the sort of piece that may be useful after some initial discussions have been had within an enterprise. It would probably make some people defensive if used up front, but its power is likely to be found after the stereotypical arguments have been made by those less convinced of the opportunities virtual worlds provide.

Watch and enjoy:

Virtual worlds predictions for 2010

Having completed our review of our 2009 predictions, we’re back for another round for the coming year.

1. OpenSim will continue or even improve on its growth trajectory – the momentum will continue, although a handful of larger grids are likely to have the lion’s share of that growth, with all the challenges that go along with it.

2. Australia will have its first government funded virtual environment – a proposal is already underway to see this come to fruition. Education will be the focus, but the foresight of the proposal’s facilitators is likely to ensure it involves business, education and government in a collaborative partnership.

3. Closures – it’s not a desirable prediction to make, but unfortunately it’s also a fairly safe one. There’ll be company and/or platform failures. Some may be bought out, but like Metaplace in the past week, there’s going to be some outright shuttering of some environments. I have some specific ones in mind but don’t have the data to support naming them specifically as being on a ‘death watch’.

4. Intellectual property disputesThe Eros vs Linden Lab action is likely to be resolved during 2010 and it will generate a large precedent in regards to virtual goods. Linden Lab will probably defend the action successfully, but the playing field will still have changed considerably.

5. Integration – Whether it be Second Life or Habbo Hotel, the level of integration between virtual environments and social media services will increase. Whether it’s a Facebook Connect sign-in or the ability to Tweet from Second Life, that functionality will move from the plugin / add-on phase to core architecture more commonly.

6. ABC in Second Life – I don’t have any inside knowledge on this, and I really hope I’m proved wrong, but I can’t see the ABC continuing to fund its Second Life presence beyond 2010. For the past year, the majority of the activity on ABC Island has come from its tight-knit community, with support from ABC staff. With the burgeoning ABC Online continuing to grow, there’s always the risk that the Second Life component will be squeezed out. Please, prove us wrong on this one.

7. The mandatory ISP filter – If the legislation passes during 2010, there remains a real possibility of adult content in Second Life and elsewhere falling foul of the filter. There were some gob-smackingly naive acceptances of Linden Lab’s claim they’d heard nothing about being affected by the filter and therefore were not concerned. There’s a chance everything will be fine but given the blacklist isn’t defined, nothing is certain at this stage. Our prediction: Australia-specific verification mechanisms will need to be put in place for Second Life and other environments where content creation occurs.

8. Taxation of virtual goods – 2010 will see the United States further formalise taxation arrangements in regard to virtual goods. I doubt the Australian Tax Office will make any substantive rulings in the coming twelve months.

9. Gaming worlds – 2010 is going to see the largest MMO launch since World of Warcraft: Star Wars The Old Republic. It won’t eclipse the incumbent but it will become the solid number 2 player in the short-term, with all bets off in the longer term. The second half of 2010 also sees the launch of the next World of Warcraft expansion, called Cataclysm. Head-to-head clashes in the MMO industry don’t get much bigger, and it’ll make for some fascinating times.

10. Social games – this year saw social games like Farmville take off in a big way. There’ll be some significant fatigue from users with these platforms, but there’ll also be further innovation to make them more engaging and with easier integration of virtual goods without the spam-like accompaniments that plague people’s Twitter or Facebook timelines. Overall: continuation of exponential growth, albeit not at the same level it has been the past six months.

Again, over to you. What’s in your crystal ball for the coming year?

Other sites with some interesting 2010 predictions:

Eddi Haskell
Daniel Voyager
Adam Frisby
Living on a Prim (some damn funny ones here!)
All Virtual (focused on virtual events)
Second Sins (NSFW)
Tateru Nino
Adric Antfarm

Alter Ego on SBS, and thoughts on vocabulary, identity, truth and perspective

wolfie-alterego-smlSo, here I am, watching the Alter Ego documentary on SBS. Indeed, it is still running at the time I am writing this. I’m not really quite sure what I expected. Not the usual sense of regretful chagrin that I’d expect at a documentary on Second Life, because Writer/Director Shelley Matulick is basically a good sort.

Nevertheless, the emotion that most comes to the surface right now is one of frustration.

“Real world”, “virtual world”, “real”, “fake”, “virtual” terms and prefixes are thrown around with little consistency, and make me wince or cringe.

It’s not really anyone’s fault, exactly. The users presented on the program lack the vocabulary to clearly express their experience. They obviously have a firm emotional and instinctual grasp of it, but not the conceptual vocabulary to clearly explain it to others.

For the part of the viewer, the average non-virtual-environment-user, well, without enough first-hand experience or a few doctorates in philosophy it’s really hard to absorb the concepts. Until we take our lives online in a decisive sort of way, we don’t really give much thought to core issues like identity or the fundamental nature of humanity – issues that remain relatively intractable after thousands of years of thought by the best minds that our species has to offer.

With such vast conceptual gulfs, how do you convey the obvious?

Good luck trying to explain it to someone who doesn’t have the common experience of a different perspective. Remember in Sesame Street, they had a number of animations that explained communication? One figure with a series of coloured shapes in their head, and as they spoke, the other person wound up with similar coloured shapes in their own head.

What we lack is a vocabulary to express the colours and the shapes. I tell you that there’s no difference between virtual identity and non-virtual identity.

In interviews with the BBC, I was often asked “What is the difference between virtual identity and real identity?”

The obvious and correct answer is that there isn’t any difference. If that doesn’t make sense, then it’s because you’ve misunderstood the nature of identity itself, rather than the nature of virtual identity.

It’s simple, it’s obvious, and if it doesn’t convey the proper concepts to you, then as a message it’s wrong, even if it’s the truth.

This is why the parable (παραβολή) was originally developed – sometimes a fictitious story can convey more truth than the factual one. If simpler truths cannot be grasped, metaphors, analogies and parables need to be employed. Rectitude is not only in possessing the truth, but in effectively sharing it.

Virtual environments, somewhat paradoxically, tell us more about the nature of our ordinary mundane world and selves than actually living it, because in order to grasp the nature of something very large or very close, you need perspective.

If you’re paying attention, a year of using a virtual environment will teach you more about humanity, identity and gender than 30 years of actually experiencing those things first-hand. If you’re not paying attention, though, it may teach you nothing at all.

‘Alter Ego’ finally hits the small screen

Alter Ego Poster SmallIt’s coming up to a year since Alter Ego was being completed, and finally SBS have committed to a screening date. It’s showing next Monday, 14th December at 11.25pm. More on the screening time later, but first:

The Mini-Review

I had the opportunity to watch Alter Ego a few months back. Directed by Shelley Matulick, this documentary takes a very close look at Second Life from the perspective of four people. Three of them are Australian, the other from the United States. All have very different stories but their commonality is the role Second Life has played in bringing them closer to other people. I think there’ll be some very different reactions to the portrayal of the subjects. It’s fair to say each have had significant challenges in their lives, with Second Life being a central activity for each.

There are a few aspects of the story that could easily be used by virtual worlds detractors who speak in terms of “get a real life” – that would totally miss the point as what this documentary shows in a stark way is the mixed bag of opportunities and challenges virtual environments present. Overall, Alter Ego is an engaging, well-made documentary that firmly illustrates the role virtual worlds are playing in modern life. Veteran Second Life residents will find areas to criticise – it’s far from a full picture painted, but like any powerful documentary it’s the power of individual stories that can make the difference and Alter Ego certainly achieves that.

Although SBS deserve some kudos for screening Alter Ego, I can’t for the life of me understand why it was relegated to late night just before Christmas. This is a quality Australian documentary that has appeal well beyond those who are involved with Second Life – surely a repeat of Inspector Rex could have made way for a documentary?

Wolfie’s perspective

Over the past three years I’ve gotten to know one of the documentary subjects, Wolfie Rankin. One of the first things I did after watching Alter Ego was to contact Wolfie and ask for his thoughts on the documentary experience, which you can read below:

I had no idea what I was in for, I thought a crew would come around and Shelley would interview me a bit and that’d be it, but it took a lot longer than I realised. Shelley would drop in now and then just to record me on voice, using a digital recorder… and then later she bought the crew. I think they were here about eight or more times, gathering bits and pieces.

The interesting thing for the technically minded was that no tapes were used, everything either went to hard drive or flash card, The High Definition camera which was used had two large flash cards in which it recorded about 20 minutes of footage which was then dumped to a laptop with a 1TB hard drive hanging off of it.

My house was an absolute mess, well I live alone, so if my house gets a bit messy, it doesn’t matter. So I cleaned up like mad and threw any excess stuff into the spare room and closed the door. What I didn’t realise was they’d bring a truck load of stuff, lighting and cables which had to go somewhere and ended up in the spare room too.

I hadn’t cleaned my bedroom or the bathroom either, so guess where they wanted to film, good grief. Oh yes, and the garden, which had been horribly neglected.

I used to be a keen gardener, but my parents were living with me then so we all had our own jobs to do, but now I live alone I find I have very little time for everything, and as everyone knows, I spend a long time each day on the computer. I’m thankful for Katie, my dog, who insists on about three daily walks or I wouldn’t get out quite as often.

My advice to anyone who might find themselves doing a doco, clean clean clean, inside and out. Although the funny thing was that all the scenes showing my house were mostly cut out. Marko, who was in the kitchen, cooking… in his rat suit, as you can see on Youtube. I watched the tape back and saw a kitchen which hadn’t been that clean for years. I have been trying to maintain that ever since.

Marko really wishes he could do a sort of kids cooking show, and I think it’d be great to see him do this, though how he manages to do anything much in that suit, I don’t know.

In another scene which didn’t make it (you can view it on YouTube here), Marko and I went to the local deli. I loved that, it was a really funny experience. Marko got into his rat suit “Rattus”, and then we all walked out into the street, Marko as Rattus, Shelley, Bart (The sound guy), Zach (our Cameraman) and myself… and got into Shelley’s not so roomy car, with Marko in the front passenger seat. If he’d been driving, that would have looked even funnier. Shelley drove, and us three guys were cramped up in the back with all the equipment. We got to the deli about five minutes later and all piled out, then Marko and I went to the deli and went through a routine where we’d buy cheese (of course) and other items which we’d take home and eat while talking about furries and so on later that night. Marko would point at various cheeses and I’d buy them, he asked me to get blue vein, and the strange thing was he didn’t actually like it, I asked him why he wanted it, and he said Rattus wanted it, not him. How do you respond to that logic?

Marko thought Bart looked cute, but he doesn’t want anyone to know so you’d better leave this bit out. 😉 There’s a nice scene in the deli of Rattus being stroked by Bart, but then Shelley hugged him and I was walking around the shops holding Rattus’ hand. I remember something about a woman gently telling Rattus to behave and be a good boy, and Rattus nodding. There was something really warm about that, a shame we didn’t get that on tape, it was beautiful.

Rattus also went into the Bakers Delight a few doors down from the deli, and hugged all the girls who were working there, it’s interesting to see the effect of a fursuit on people, many don’t look, they feel shy or embarrassed, but others love it, and I’m talking about grown people, kids are generally really keen on the idea, but the adults who have this wonderful positive response to it, it’s a lovely thing to see.

Last year I had no heater, and we were filming during winter. The house was frozen, and the doors were usually wide open because the crew kept coming in and going out a lot. So I was usually in a beanie and coat, and shelley whipped my beanie off before each scene which explains the wayward hair 🙂

Shelley picked Katie and I up to film a scene in the forest, she lives up near where Puffing Billy is and drove all the way to Footscray to pick us up. We got to her home, and what amazed me was her driveway is almost vertical, the steepest driveway I’ve ever seen… anyway, Katie and I went to this place in the forest which Shelley thought looked like a European pine forest. Well we were planning the shot when Katie stuck her nose into the dead pine needles and pulled out this hideous lump of meaty something. I know that baits are used up there so I feared the worst, even if it wasn’t a “proper” bait, it could have been left by one of those nuts who hate dogs and want to poison them, so we raced to the vet with Katie, and she was looked at and was fine, but she’d scared all of us. Jamie who composed the music for the doco was driving and we were almost hit by another car on the way, and Shelleys little boy was hot and upset. So we didn’t end up with any film at all that day which was a real shame.

The forest scene was difficult, I don’t have the fastest connection, and that sim lagged like mad. I couldn’t walk anywhere, and Shelley had to TP me to her most of the time. It’s a wonder she got the footage that she did. The video of me howling was added to the scene digitally later on.

It was suggested that we talk about sex, which I think was appropriate, but I suggested that if we must show genitalia that we show the furry stuff, because there have been other docos where human ones were mentioned, so perhaps we should try this to be different. But the funny thing was that because we had to compress things down and have one thing lead neatly into another, the film kind of gave the impression that I hang out at furry penis vendors, hoping to meet newbies and take them to strange parties in the forest, which was supposedly my Rezday.

It was a bit of a shame that I couldn’t show the kind of rezday I would normally have, a party with friends at the Kookaburra pub, with friends like Kath and Ryu, Simon, Gumby, Vermus, Quadrapop and Lowell, of course… and the performers we usually have, like Komuso and Jaggpro, but it was thought that the forest would be more visually pleasing, which it is.

We wanted a lot more people in the shots but those who we were after were usually offline when Shelley was filming, which we found really frustrating.

I didn’t like the last scene in the doco, I think what I said should have been edited better than that, and I told Shelley. I don’t know if the version which goes to air will still be the same, but I hope they can change it. While trying to explain how I felt, I found myself flip-flopping with ideas which sounded really weird and confusing, but the visuals on that final scene are really beautiful. so just absorb the music and visuals and mentally filter my voice out, please!

What I did was just kind of waffle on about ideas that popped into my head, knowing they’d be edited later, or hoping may have been a better word. I don’t think I do a good job explaining myself when there’s a mic or camera in front of me, I feel that if I can sit and write, then I am more likely to get the idea across much better… but I gave it a go.

I thought they did a really good job on the Second Life visuals, they were almost as good as what we saw in the CSI episode earlier in the year.

One of my favourite scenes in the doco is the one where Alf was laying down with his keyboard on his lap and his LCD screen hanging from an angle, He’d drilled a hole in it and tied a bit of string through it, unbelievable!

Marko is my very dear friend, who I met online around 1996 I think, and we’ve been the best of friends ever since. And he’s been here for me whenever anything bad happened, he’d come to see me, and I’m very very grateful for that, we’re soulmates, I’m sure. We met on a group he’d set up called Ozfurry, which is still around but Marko has gone onto other things.

Marko would like to do a serious doco on the furry culture, and I think he’d be the perfect one for it. He knows a lot about the scene, the people and has travelled to the US a number of times to see friends and visit furcons.

Shelley, our director, is this wonderful, very good looking, intelligent woman, who aims to produce more docos in future, under her own steam. She’s studying more about film production at Swinbourne uni at the moment. She told me that she doesn’t want to be in front of the camera, she mostly wants the people in her films to tell their own story, which I think is fine, but I’m trying to pursuade her to go out the front and be in the film too, I think she’d so a fine job of it.

Interview – Evelyn McElhinney, Glasgow Caledonian University

kali1 (This story appeared earlier today over at Metaverse Health).

Coming from a nursing background myself, I’m always fascinated by the work going on in virtual environments in regards to nurse education. To some extent it’s a natural fit in that clinical simulation is a pivotal part of the education process for nurses anyway – using virtual environments is simply an extension of recognised practice.

Evelyn McElhinney (SL: Kali Pizzaro) is a Nurse Lecturer in the post-registration department of Glasgow Caledonian’s School of Health. She teaches a number of advanced practice modules including modules within the Nurse Practitioner pathway. She joined the university full time 3 years ago, and was a lecturer/practitioner working in an advanced practice role within the National Health Service prior to that and has worked in a number of acute care areas including anaesthesia. Evelyn also happens to be active in the use of Second Life in Nurse Practitioner training, so I caught up with her to discuss her work to date and some broader issues around collaboration.

Lowell: From a nursing education viewpoint, what are your key areas of professional interest / research focus?

Kali: Advancing practice, physical examination, clinical simulation, and recently the use of virtual worlds for Nurse Practitioner Education.

Lowell: When you say nurse practitioner, can you define that a little? I’m assuming you mean someone undergoing their undergraduate nursing education?

Kali: Ah no in the UK Nurse Practitioners are Registered Nurses who are advancing their practice. A nurse who takes a history, physical examination, diagnoses, prescribes and treats.

Lowell: Ok, that’s similar to Australia then. So are there particular advantages for using virtual worlds with more experienced nurses like practitioners rather than nursing students?

Kali: The advantages are that they need flexibility as they have competing demands on their time. So any medium that allows for extra practice in a time conducive to them is attractive. However, virtual worlds can do more than the usual virtual learning environment.

Lowell: When did Second Life become a consideration in your work?

Kali: I considered Second Life after seeing a project by one of my colleagues. I had know about it’s existence as the University had a project exploring it’s use for marketing. That was in March this year.

Lowell: Can you describe the work you’re doing in Second Life and how it links to the University’s CU There initiative?

Kali: I am trying to develop a virtual patient which will be used by Nurse Practitioner students to practice history taking. I have also embedded heart sounds into the avatar’s chest to enable the student to link the history to the heart sounds they hear. They must click on the correct anatomical position to hear the sounds. This work links to the CU There project as it fulfills the criteria for use of virtual worlds in education. By creating an AIML bot/bots the students have the flexibilty to practice at any time either as an individual or as a group. I plan to have a number of patients and to build on the sceanrios to create longer problem-based learning scenarios. The bot we use were developed by myself and the School technician Andy Whiteford aka AndyW Blackburn.

Lowell: So what level of work has been required to get the lab to this stage and how much more is involved to get it to where you’d like it to be?

Kali: The clinical skills lab was designed by the CU There team with guidance from the head academic in charge of the simulation lab . The build was done mainly by a computer student who is seconded to the team. There are plans to build an ITU for a scenario for 3rd year students. For my scenario it is mainly me thinking of ways to expand each scenario in alignment with the needs of my students.

Lowell: The most common feedback I’ve gotten from nursing academics is a skepticism on what virtual worlds offer that a well integrated curriculum with comprehensive leraning management tools can’t, that is, aside from the advantage of not needing to get students to a real-world simulation lab, are there other benefits of working in environments like this?

Kali: The immersive environment enables authentic scenarios to be developed. There is also the ability to offer syncrounous text and voice communication, as well as the ability to show the whole class videos etc. We can also simulate things that would be difficult in real life.

Lowell: Is there an example of that you currently use?

Kali: Not at the moment. However, for undegraduates it could be useful for them to be inside a heart or lung to understand the anatomy and physiology. It is also much more interactive than other VLE’s.

Lowell: I suppose that’s the crux of the challenge for nursing educators using virtual environments: convincing others that things have moved beyond the gimmicky, would you agree?

Kali: Yes, you need to show them something that is pedagologically sound, something they can see is useful.

Lowell: On pedagogy, what do you see as the key foundations in your work and in virtual environments more broadly?

Kali and Colin_001Kali: Constructivism and social constructivism are the key learning theories in my work. By linking history and heart and lung sounds to other parts of a clinical scenario, I am building on the students previous knowledge to create new knowledge. People in simulations tend to act the same as they do in real life. The ability to capture the text allows for reflection on the decision-making of this particular group.

Lowell: What has the feedback been from students?

Kali: Positive- they can see they value. They feel they are in the sceanrio. However, it is early days. We have only had a few folk through as a pilot. We will be using it more in the next two semesters.

Lowell: Are there formalised evaluations planned on clinical skills training in Second Life ? Will there be comparative studies on those who used such tools versus those who didn’t and their subsequent outcomes?

Kali: Yes, a number of academics are evaluating their projects and one is plannning to compare in-world and out-of-world simulation. Some of these are through a University scheme, Caledonian Scholars.

Lowell: What’s your take on nursing research in virtual environments internationally? Is it fair to say it’s still very early days?

Kali: Yes, there are a number of good projects. However, it is still in it’s infancy. Simulation seems to be the most popular project.

Lowell: Is there any research completed or underway that has particularly interested you?

Kali: Many projects have impressed me. For example the work of John Miller at Tacoma, the Imperial College in London and the Ann Myers Medical Center. However, any project which is being used by students impresses me. With regards to research most are evaluations, however, my own university has just completed some research into student nurses’ clinical decision making (Dr. Jacqueline McCallum, Val Ness, Theresa Price, Andy Whiteford).

Lowell: Can you discuss what it’s found?

Kali: It’s still in publication, however a lot of what the students said was that they wanted to experience areas they had not been to, and that they also found the scenario exhausting. Interestingly, they did not do a single observation in an hours sceanrio in a busy surgical ward. They also did not know what to do with a patient who was demented and kept leaving the ward. I think they were too busy thinking what to do next, this was despite being prompted to do observations.

Lowell: You raise a very interesting point – perhaps virtual environments make a more natural stage for making errors as there isn’t the stress of the educator looking over their shoulder?

Kali: Maybe, although this sceanrio had educators involved. Although that is the beauty of simulation – make mistakes and no-one dies 😉

Lowell: For the nurse who has been working in either a hospital or community setting for five years or more, how do you make virtual environments like Second Life an appealing and logical extension of their professional development needs?

Kali: By making the scenarios authentic and as realistic as possible. Also they must be available at all times to ensure maximum flexibility. The student must see the value to be motivated to take part. If they are fun, then great.

Lowell: Do you think Second Life is at a stage of usability that it can achieve that now?

Kali: Not yet in the UK – it is still not widely know as a social tool. However, if it is introduced in education they may see more value, as it helps them to learn.

Lowell: On usability though – it’s still quite a learning curve to actually use, particularly for those not as net-savvy as others?

Kali: Well you could say that about any VLE, and it is really only arrows and clicking. Changing clothes is not mandatory for education. Well, not all education. I think most folks would get it in a short space of time with some guidance.

Lowell: Again specific to nursing, is there any great degree of collaboration going on internationally in regards to projects like these? How do you think nursing faculties could further improve collaboration?

Kali: We are exploring a couple of collaborations. I know Scott Deiner in New Zealand has collaborated with American colleges. However, there is the potential for major collaboration both nationally and internationally. Although you need to have a firm idea about what you want to collaborate on. Also there is still a little bit of folk finding their feet, so to share is still scary methinks.

Lowell: Do you think there’s the critical mass for organised collaborative structures such online journals or other formats for working together?

Kali: There could be, and the Virtual World Watch here has opened up avenues for collaboration by highlighting the people who are involved with virtual worlds, although there is a bit to go.

Lowell: So for a nursing academic looking to integrate virtual environments into their teaching or research, would you have any simple advice?

Kali: Make sure you think about what you want to use it for. Script the scenario and look around at other people’s work to find out what the virtual world is capable of. Also visit educational areas and talk to other academics or join a group. Make sure there is a strong pedagogical structure to your idea and show it to folks when you have something to show!! Seeing is believing.

——–

To view the publicly accessible clinical skills laboratory in Second Life, go here.

Telstra responds to questions on Second Life withdrawal

bigpond-secondlife-nov2009-3-smlAs mentioned yesterday, Telstra have announced their withdrawal from Second Life, and there’s been no shortage of discussion on it around the blogosphere.

We’ve had some passionate comments and a couple of emails from residents quite upset at the decision.

I took the opportunity to put some questions to Telstra’s media spokesman, Craig Middleton, to get some further clarity on future plans and what will happen to the content that’s been successful for their presence:

Lowell: After more than two years of operation, what are the key lessons Telstra has learnt from the experience?

Craig: From our venture into Second Life we learnt a great deal in a variety of areas, including online community anagement and how to foster event-based traffic – experiences in relation to the in world support team and management of frequent in world events .

Lowell: It’s arguable that Telstra has been one of the more successful examples of a business building a community, through regular activities, dedicated staff support and a large presence. Was the costs of delivering that service too much for the returns it provided?

Craig: We don’t discuss the commercial aspects of our business, however we were very happy with the popularity of the islands and the interaction they allowed us in-world.

Lowell: In regards to cost – how does Telstra plan to report to shareholders on any substantive outcomes from the Second Life foray? BigPond’s involvement on the face of it has been a success, so how will those successes be captured?

Craig: BigPond’s activities and investment in Second Life have been widely reported since our launch. I do not expect any further reporting beyond that.

Lowell: Are there any particular issues with Second Life that have hastened the decision to leave?

Craig: Our focus is now moving towards other social media options that are gaining in popularity and functionality on computers, mobile phones, TVs and game consoles. Watch out for such announcements in coming months. It is important for a communications company like Telstra to continue to experiment with emerging Web 2.0 applications

Lowell: What will happen to all the BigPond content? Does Telstra have any plans to archive it or even make it available for BigPond customers to use as a basis for further content creation?

Craig: There are no plans beyond helping our customers transition their inworld residences to other locations

Lowell: Does BigPond have any plans to continue development of products in virtual environments at all?

Craig: As per above.

For mine, after the impact on the community of residents, the disappearance of all the BigPond content is the biggest shame of the decision by Telstra to withdraw from Second Life. It appears they’re not ruling out further forays into virtual environments, but aside from that and anything they’ve learnt from the experiment, there doesn’t seem to be a lot of joy for BigPond customers who are Second Life residents.

Archi-Me: CAD to virtual world

airport2 There’s no denying the demand by business for virtual environments that allow for replication of real world products and processes. Forterra’s OLIVE platform, TeamingStream’s NoviCraft, Second Life and OpenSim grids are just four environments used extensively by business for prototyping products or business.

Archi-ME is a new entrant in that space. Created by UK-based company MOOFU, its stated purpose is “a new solution that enables designers to create fully interactive avatar-based virtual environments from 3D CAD models”. If you spent a couple of minutes watching the video below, you’ll see Archi-Me in action. Those who’ve used Second Life in particular will see some big similarities around appearance and the ability to manipulate objects and change textures on the fly. In fact, there’s very little from the demo that can’t be replicated in Second Life. Which isn’t the point really: this seems an application designed for building and architecture firms who want an easy way to bring their CAD-based designs into an avatar-driven 3D environment.

To get some more details, I shot some questions through to Nick Palfrey, Managing Director at MOOFU:

Lowell: Can you give a ball-park estimate on typical cost of something like a basic house walk-through?

Nick: For applications where the client is using toolkit functionality and requires very little tailoring, which would be the case for many Architects we would be looking at under £5k. We also design custom interfaces and environments for larger organisations such as property developers, with budgets of up to £25k as new avatars, functions, networking and design options are all re-visited.

Lowell: Is there any intention to allow people to own their own copy of Archi-Me i.e. pay a license fee to create their own content rather than rely on it arriving on a DVD.

Nick: We plan to offer an import system at some point so that users can generate their own environments through their CAD models, we should stress that we are not replicating Second Life and the system will not have tools for building spaces in it. Archi-Me is all about showcasing designs and for that reason, we rely on the client or user having a thorough understanding of either 3DS Max or ArchiCad. It is also important to note that only we can package the system up for web application and hosting.

Lowell: What is the fundamental architecture that Archi-Me is based on – is it a ground-up proprietary virtual environment or does it leverage say Forterra’s OLIVE platform or something similar?

Nick: We use Unity 3D to compile our code and for all of MOOFU’s game work, we stick with this. All code, assets and scripts are customised as well as a number of SDKs being used. We use Unity because it compiles the data instantly on-screen and for visualising large buildings with multiple cameras, this functionality is very helpful!

Nick: Are you able to disclose who the client or clients in Australasia have been?

Lowell: Yes… Dr Kenn Fisher Associate Professor Melbourne University and Director of Learning Futures Woods Bagot Architects, Melbourne. This has been a project organised by him with a number of international stakeholders. More information on Kenn is available at Rubida.net!

Shopping

Took my dad to the shopping centre the other day to buy some new shoes (he is 84)..

We decided to grab a bite at the food court.

I noticed he was watching a teenager sitting next to him. The teenager had spiked hair in all different colours: green, red, orange, and blue.

My dad kept staring at him.

The teenager would look and find him staring every time.

When the teenager had had enough, he sarcastically asked: ‘What’s the matter old man, never done anything wild in your life?’

Knowing my Dad, I quickly swallowed my food so that I would not choke on his response; knowing he would have a good one.

And in classic style he did not bat an eye in his response:

‘Got stoned once and fu*ked a peacock. I was just wondering if you were my son.’

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