An inaugural salon

In just a few hours, I will be holding my first salon at Ormsby Hall, Caledon Murdann. I have plans to be at home on the third Tuesday of the month at 5:00pm SLT at least through February.

I don’t know who will drop by, but I’ve let it be known that visitors may wish to prepare by reading Alfred, Lord Tennyson’s “The Lady of Shalott,” which has long been a favorite of mine. And so I will publish here the 1842 version of the poem.

The Lady of Shalott

by Alfred Lord Tennyson

On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And through the field the road run by
To many-tower’d Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.

Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs for ever
By the island in the river
Flowing down to Camelot.
Four grey walls, and four grey towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.

By the margin, willow veil’d,
Slide the heavy barges trail’d
By slow horses; and unhail’d
The shallop flitteth silken-sail’d
Skimming down to Camelot:
But who hath seen her wave her hand?
Or at the casement seen her stand?
Or is she known in all the land,
The Lady of Shalott?

Only reapers, reaping early,
In among the bearded barley
Hear a song that echoes cheerly
From the river winding clearly;
Down to tower’d Camelot;
And by the moon the reaper weary,
Piling sheaves in uplands airy,
Listening, whispers, ” ‘Tis the fairy
The Lady of Shalott.”

2

There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.

And moving through a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot;
There the river eddy whirls,
And there the surly village churls,
And the red cloaks of market girls
Pass onward from Shalott.

Sometimes a troop of damsels glad,
An abbot on an ambling pad,
Sometimes a curly shepherd lad,
Or long-hair’d page in crimson clad
Goes by to tower’d Camelot;
And sometimes through the mirror blue
The knights come riding two and two.
She hath no loyal Knight and true,
The Lady of Shalott.

But in her web she still delights
To weave the mirror’s magic sights,
For often through the silent nights
A funeral, with plumes and lights
And music, went to Camelot;
Or when the Moon was overhead,
Came two young lovers lately wed.
“I am half sick of shadows,” said
The Lady of Shalott.

3

A bow-shot from her bower-eaves,
He rode between the barley sheaves,
The sun came dazzling thro’ the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight for ever kneel’d
To a lady in his shield,
That sparkled on the yellow field,
Beside remote Shalott.

The gemmy bridle glitter’d free,
Like to some branch of stars we see
Hung in the golden Galaxy.
The bridle bells rang merrily
As he rode down to Camelot:
And from his blazon’d baldric slung
A mighty silver bugle hung,
And as he rode his armor rung
Beside remote Shalott.

All in the blue unclouded weather
Thick-jewell’d shone the saddle-leather,
The helmet and the helmet-feather
Burn’d like one burning flame together,
As he rode down to Camelot.
As often thro’ the purple night,
Below the starry clusters bright,
Some bearded meteor, burning bright,
Moves over still Shalott.

His broad clear brow in sunlight glow’d;
On burnish’d hooves his war-horse trode;
From underneath his helmet flow’d
His coal-black curls as on he rode,
As he rode down to Camelot.
From the bank and from the river
He flashed into the crystal mirror,
“Tirra lirra,” by the river
Sang Sir Lancelot.

She left the web, she left the loom,
She made three paces through the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She look’d down to Camelot.
Out flew the web and floated wide;
The mirror crack’d from side to side;
“The curse is come upon me,” cried
The Lady of Shalott.

4

In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining.
Heavily the low sky raining
Over tower’d Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And around about the prow she wrote
The Lady of Shalott.

And down the river’s dim expanse
Like some bold seer in a trance,
Seeing all his own mischance—
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.

Lying, robed in snowy white
That loosely flew to left and right—
The leaves upon her falling light—
Thro’ the noises of the night,
She floated down to Camelot:
And as the boat-head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.

Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darkened wholly,
Turn’d to tower’d Camelot.
For ere she reach’d upon the tide
The first house by the water-side,
Singing in her song she died,
The Lady of Shalott.

Under tower and balcony,
By garden-wall and gallery,
A gleaming shape she floated by,
Dead-pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and Burgher, Lord and Dame,
And around the prow they read her name,
The Lady of Shalott.

Who is this? And what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they crossed themselves for fear,
All the Knights at Camelot;
But Lancelot mused a little space
He said, “She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott.”

Make your voice heard

The official Linden blog has a post on The Big Prim Problem:

For quite a while now Second Life has been home to a variety of jumbo-sized prims, megaprims, and other larger than the usual ten-meters-maximum prims. The original “megaprims” were produced by Residents’ manipulation of the client last year; “new” ones cannot be made, but the existing supply can be (and are) copied and distributed. Linden Lab doesn’t support or encourage the use of these prims, but our policy up until now has been ‘live and let live’.

They are inviting responses in the comments. If you use big prims, or products made with them, you’ll probably want to go say so.

Update:

I went to add a comment, but they have maxed out at 151 comments. Original post: Friday, October 12th, 2007 at 1:33 PM PDT by: Michael Linden. Comment 151: October 12th, 2007 at 2:51 PM PDT

So, just in case Michael Linden is reading this:

Good: Trees (just go take a look at Heart, and then see how many of their trees are making SL a beautiful place); buildings; roads and sidewalks; sculptie mountains (take a look at Lovelace or Caledon Primverness)

Bad: I’ve never encountered any griefing or inconvenience from others. I have, however, had a couple of scary moments when I took a megaprim out of inventory without understanding exactly what it was. (I knew it was a megaprim; I did not know exactly what shape it would be. One item in a collection of megaprims was actually scripted to create a layer of megaprims over the whole sim.) The only downside I’ve ever encountered would be eliminated if I could simply create my own prim larger than 10 meters. In other words, the only negative experience I’ve ever had with a megaprim was created when Linden Lab drove them underground but did not eliminate them in the first place.

Ideas: Allow legitimate creation of prims larger than 10m, with documentation on their use. (Oh, right! Linden Lab can hardly do documentation! Well, allow them with hearsay and rumors about how to use them.) I think 20 or 30 meters would be an acceptable size limit, although I’ve used larger and I’ve seen exceptional builds that depend upon larger (especially larger spheres). Make the existing ones no copy/no trans, no matter what their size.

– the larger ones, when used on the mainland, often produce annoying “parcel encroachment” situations. The megaprims are difficult to interact with, and are often not recognized by Residents as being an object at all — “I couldn’t go past some kind of invisible barrier.” Abusive Residents take advantage of these problems.

This is not about megaprims at all. This is about abusive residents. Do something about that problem, why don’t you?

– the presence of megaprims will interfere with the improvements planned for the physics engine. The bigger the megaprims, the more trouble they will cause for physics simulation in a Region.

How big? How much “trouble”? Why would an improved physics engine handle them worse than the current physics engine? This sounds like a bogus excuse.

– the graphics engine does not work well with prims over 256 meters in any dimension.

Okay, finally something specific. Prohibit prims over 256 meters. (I think the limit can be substantially lower. I can think of only a few uses for truly enormous prims.)

A vision of architecture

This seems pertinent to Second Life (though not, so much, to Caledon!): An Interview with Lebbeus Woods

Woods’s work is the exclamation point at the end of a sentence proclaiming that the architectural imagination, freed from constraints of finance and buildability, should be uncompromising, always. One should imagine entirely new structures, spaces without walls, radically reconstructing the outermost possibilities of the built environment.

If need be, we should re-think the very planet we stand on.

On language in SL and RL

I came across an interesting new (to me) blog, with a fascinating post, Avatar’s Mother Tongue, that also has a good comment thread. The premise?

As you probably concluded from all the missing articles and strange constructions of sentences, English is not my mother tongue. At least, it is not a mother tongue of human me.

Dance etiquette, then and now

My remarks are directed primarily at the women and men of the Independent State of Caledon. (I make no judgment as to whether ladies and gentlemen need this reminder.)

At Victorian dances, as in the least sphere of Victorian life, both public and private, there were a host of rules for the regulation of social intercourse. While we in Caledon draw our inspiration from those beloved times, I will not detail the multitudinous ways in which the rules of Victorian conduct are ill-suited for direct application to our Second Lives. (Some Victorian practices, indeed, would be against the Terms of Service.) Let it suffice to say that I don’t find “they did it that way” to be sufficient justification, in and of itself, for prescribing (or proscribing) our behavior today.

And as to our behavior in these neo-Victorian and Steampunk days.

I do not believe it is ever polite for anyone, of either sex, to make comments about who is or isn’t dancing at any Caledon social venue, whether it be a formal ball or a rave, nor to comment upon anyone’s choice of dance partner. If you wish to dance, and have not been asked, then I suggest you invite someone to dance. If you do not know anyone currently unengaged, simply introduce yourself and ask if you may make their acquaintance by sharing a dance. By doing so, you may help a newcomer feel more welcome in Caledon, or begin to draw a shy or retiring Caledonian into a new social milieu that is frequently both lag-ridden and overstimulating.

Streaming live on Radio Riel

As Radio Riel’s seemingly tireless leader has revealed that, yes, she does occasionally tire, and is taking a well-deserved break, I’m streaming some of my music tonight on Radio Riel, http://rs3.radiostreamer.com:8100. I’m reusing the playlist I created for the opening reception for the Caledon Peace Society, with vocal and American sacred music, world music, and nordic. I’ll need to add on an hour or more at the end. If you have a request, oh, go ahead and send it to me.

Torley’s tips weeks 4 and 5

Tip of the week #4: How to use beacons and highlighs

General tip

When you are in a menu with a ========= at the top, you can tear it off into its own movable window.

Beacons and highlights

The various beacons (3-D cross-hairs) appear under view menu; these will help you find specific kinds of objects (including griefing objects that are spewing particles).

When you turn on the highlight beacons under the view menu, you won’t see any change on the screen unless you are in the edit mode, or use View > Beacons Always ON

Types of objects:

  • scripted items with touch only: red beacon (shows only scripted objects that activate when touched)
  • items with scripts in them (shows ALL scripted objects)
  • physical objects: green beacon
  • sound sources: yellow beacon (show whenever the sound is playing)
  • particle sources: blue beacon

Highlights are an alternative to beacons, makes objects slightly red (but not sound sources). You can use either or both.

In Edit > Preferences > Graphics you can change the width of the beacon (currently only up to 10).

When you turn on beacons, in the lower right corner of the viewer there will be a list of the beacons that are currently on.

Dealing with griefing objects

You can hide particles several ways: In the View menu, click “Hide Particles”, in the Client menu > Rendering > Types > Particles (CTRL-ALT-SHIFT-=, CMD-OPT-SHIFT-= on Mac). [Torley didn’t mention it, but you can also turn particles to 0 in your preferences.]

If an object is spamming particles, use the View menu to turn on the beacons for particle sources while hiding particles, and you will more easily find the griefing object and can return it to owner (assuming you are on land where you have the power to do that).

Tip of the week #5: Useful “Show” options in the Tool menu

General Tip

World > Force Sun > is a local effect. You can set the sun on your viewer to Sunrise, Noon, Sunset, or Midnight. No one else will see this change in the lighting.

Show Hidden Selection

Create a cube as an example (easier to see if you blank the texture and make it gray).

When editing, a yellow glow shows the edges of objects. “Show Hidden Selection” will show all the edges, even the ones inside the object or on the back.

Show Light Radius for Selection

When editing an object you can make it into a light source in the Features tab (check the box); you can also choose the color of the light and three other variables.

To see the effect of making an object a light source, you must be using Nearby Local Lights in Preferences > Advanced Graphics (whether you can see this depends on your computer’s graphics card). It’s easier to see if you use World > Force Sun > Midnight.

Show light radius for selection shows you the sphere where the light will reach (the actual effect is affected by falloff).

You can also select objects owned by other people to see the light radius.

Show Selection Beam

Default is on; these are the dots that appear between you and objects you are editing. These dots are a particle effect, and you can change the dots’ color in Preferences > General > Color For My Effects. This is a viewer-side control: Disabling it will hide everyone’s beams on your screen but everyone else will still see your beam if they still have it enabled.

Photo shoot

In order to complete my host profile for Radio Riel, I did a photo shoot of myself the other day. Here are a few of the results, all taken in Ormsby Hall on Little West Sniggery island in Caledon Murdann.

This is the image I chose for the Radio Riel profile (click for larger version):

I think this one is rather romantic and melancholy at the same time (click for larger version):

A hot time in Carntaigh

Tonight’s DJ for Gen-X with Gabi was Miss Mitsu Figaro. No, the music wasn’t Gen-X. No, it wasn’t with Gabi. But it was a hot time, nonetheless.

I think we made Miss Qlippothic Projects, Fire Chief of Caledon, more than a little nervous: