Funny thing, the "telehubs" (which were not marked with the usual, domed builds) in Piegler and Amydria have now disappeared. I dunno why.

I came back from a fun jaunt in Sandbox Island. A jaunty jam, actually. Toxius Stephanopolis is working on new musical instruments and I'm assisting in supplying samples. Still in what they call "early stages" but I got him some olde piano keys to play via Gestures. After all, tapping computer keys, while awkward compared to playing an actual pianostyle keyboard layout, is still steps above the compounded latency of mouse-clicking the screen. Magic melodies!

Octal Khan has his home studio inworld, now functional (one might say, like a fully operational battlestation). He's scripted the boxes, resembling such synthesis classics as a Roland TR-909 (so fine) and a Korg Trinity ($$$), so they'll sync and play audio loops. Thus, making use of scripted functions which have been long-neglected. If you remember the old Linden Mixmaster, which I've also written about here, then you may see the connexion.

I am hoping something prosperous comes about as a hybrid between loop-based layering and live triggering. Now, when I did techno music, this was a very dear thing to me: being able to have a repetitive foundation which I contrasted with the improv atop of it, making the music static+dynamic at the same time. As attrocious as the lag can be, making tight timing difficult, I am optimistic these experiments will lead the way towards bigger, better things!

That gramophone is not anachronistic, and was recently handcrafted by Cottonteil Muromachi. As is often what happens in my life—and Second Life—several things came together. I was on my way to check out some builds by YadNi Monde. This village is his work, and they are on the lovely island of Anango. Someone's first reaction might be to think of the tiki huts from There, and in that respect, there is a lazy, tropical vibe. Almost like I want to stretch out in one and enjoy fish and pineapple.

During this time, I was with Cotton in IM. She had assistance from Francis Chung—who has her own fan club forum now—in scripting it to play a song. In a moment of synchronicity, I arrived in Shivar, and found another gramophone, this one made by YadNi. This was in the midst of a shop of antiques. I TPed Cotton and we mused about how it's nice to be able to "touch" these treasures… would have been quite ironic (and tragic) if they were stashed away in vendors. My Mom has a wood desk like this—it triggered some memories. I don't own a harp, however.

Several moments later, Cotton drew my attention to the fact that we were being approached by a most venerable Resident of Second Life, Cessadia Thetan. She is Salazar Jack's great-grandmother. And The Great Erase is a wonderful account of SL prehistory. I've long thought it sad (although not surprising) that we don't have more retirement homes to take care of the elderly, or even clubs for them in SL. (Yes, a certain scene from The Wedding Singer comes to mind.) Cessadia wanted to take a look at the gramophone, so we showed her!

We then went traaaveling across Shivar, which seems to be quite snowy, although the snow is a bit yellow (!), and there was a festive Christmastime house along with some other buildings. Cess sure knows how to travel in style!

Eventually, we came upon a desert. It's not unusual to find sand in the snow (especially if you're driving), but this appeared a little too warm. Still, it provided us with creature comforts, and we were better off for it.

VISIT…

—> Octal Khan's studio @ Shamrock (48, 173)
—> Anango
—> Shivar
—> Cess's family dwelling, The Brownstone West @ Grignano (96, 116)