Background notes on SL

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Revision as of 13:20, 20 July 2009 by Jieun5 (Talk | contribs) (From wikipedia)

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From wikipedia

  • "The Second Life Terms of Service ensure that users retain copyright for any content they create"
  • on average, 38,000 residents were logged in at any particular moment. The maximum concurrency (number of avatars inworld) recorded is 88,200 in the 1st qtr. 2009
  • During a 2001 meeting with investors, Rosedale noticed that the participants were particularly responsive to the collaborative, creative potential of Second Life. As a result, the initial objective driven, gaming focus of Second Life was shifted to a more user created, community driven experience.[11][12]
  • Open Simulator
  • Live Music
    • With in-world voice chat, where the user dons a headset and microphone then enables a Second Life browse to "broadcast" his voice to other users, much like a telephone conference call.
    • With streaming, where vocal and instrumental music by Second Life residents can be provided with the aid of Internet broadcast software, such as Shoutcast. This is input, via microphones, instruments or other audio sources, into computer audio interfaces and streamed live to audio servers. Similar to webcast radio, the audio stream from the live performance can be received in Second Life for the enjoyment of other Residents on their computer speakers. This started with performances by Astrin Few in May 2004 and began to gain popularity mid 2005. For example the UK band Passenger performed on the Menorca Island in mid-2006. Another UK band, Redzone, toured in Second Life in February 2007.
    • With inworld samples, where sounds samples are uploaded and an inworld user interface – instruments – is made to trigger those. Unlike streaming, performing with inworld samples make use of the Second Life environment and creates a threedimensional sound experience to the audience. The Avatar Orchestra Metaverse featuring among other composer Pauline Oliveros is the most prolific representative with this approach.

From experience/ exploration

  • concept of "live music" events
    • what are the motivations for the performer and for the audience?
  • concept of user-driven/-generated environment
  • no predefined objectives

Related topics

  • Richard Bartle:
    • Bartle did research on player personality types in massively-multiplayer online games. In Bartle's analysis, players of massively multiplayer online games can be divided into four types: achievers, explorers, socializers and killers.[3] This idea has been adapted into a popular online test generally referred to as the Bartle Test.[4] The test is very popular and scores are often exchanged on MMORPG forums and networking sites.[5]
  • MUDs (multi-user dungeon):
    • "Life on the Screen" by Sherry Turkle:
      • focuses on how the boundary between humans and machines has evolved to become extremely vague
      • also noticed that people now began to talk to machines freely without much embarrassment
      • argues that misrepresenting oneself in a MUD may have the benefit of being therapeutic

Brainstorm for potential music-based VW

  • objectives?
    • chat-room analogue for jamming
    • writing-circle analogue for giving advice & feedback
    • performance with audience (~SL)
    • "RP" option: specific musical role
    • contest/ competition/ ratings
  • education