Woj: The NBA In-Season Tournament is
As I hope you've already discovered, the Fediverse is nothing like Twitter/. There is no algorithm automatically forwarding your posts to those who might be interested in them. Also, even though Mastodon has introduced full-text search, it's only slowly picking up.
Instead, the key to post visibility and discoverability is using hashtags.
If you're using OpenSim, and you aren't sure what to tag, here are some recommendations. If I mention a tag explicitly, it most likely already exists.
First of all, of course,
Then there's
I myself also use
If you write about a grid or mention it sufficiently, tag it.
Sometimes things might get complicated, for example if there's a popular abbreviation or acronym for a grid. In that case, feel free to tag e.g. both
In addition, if you actually write about a grid, you might want to use
Of course,
Events usually come with their own official suggestions for social media hashtags. This year, for example, we've already had
Other things worth tagging include OpenSim's own mesh bodies:
Some more examples for OpenSim-related tags I've used before:
More generally, there are tags such as
#Hashtags #Long #LongPost #CWLong #CWLongPostA couple of times in the past, I've considered making virtual-world videos once I have a sufficiently powerful graphics card and a screen with a solution that won't make me the laughing stock of the Fediverse. I think I have the graphics card now.
I was going to publish them on PeerTube which is part of the Fediverse in case you don't know yet.
I no longer am.
Fulfilling the accessibility requirements in the Fediverse in a sufficiently informative way would not only be an out-right titanic effort. It would make my videos borderline unwatchable.
I'm someone who . I have to because people wouldn't even get what's in the picture in the first place if I didn't. Imagine what I'd do in a video that shows much more than that. Much much more.
Very early in the video, it'd freeze so I could explain where it would have been made which would take a few minutes. Once everything in-world is visible for the first time, the video would freeze for half an hour or more while I describe and explain absolutely everything within the video frame. Whenever I move or turn, or the camera moves or turns, and something new comes into view, the video would freeze again for several minutes of description and explanation. And so forth.
In fact, the video freezes would end up quite long because I would have to speak slowly, clearly and in Simple English. That wouldn't make my descriptions any shorter, though.
A five-minute clip would be inflated to six hours or more.
The effort to get there would be gargantuan. Even short videos would take me weeks to write the audio description. Then they'd take me some more weeks to re-phrase everything in Simple English. The recording would take several days itself. Of course, I would have to transcribe what I have said in the original video to make subtitles. Then I would have to weave the transcriptions into the audio description script to create special subtitles for deaf-blind users. You never know what they might be interested in, no matter how niche your videos are.
And then it'd all be in vain. Nobody would watch the videos, either because they'd be way too long or because nobody is interested in the topic or both. Thus, there wouldn't be any comments on them.
So I wouldn't know if I had done everything right by being 100% compliant with WCAG 2.2 and the Fediverse accessibility requirements. Maybe I've missed something and not been thorough enough, but I wouldn't know. Or maybe I've completely overdone it and rendered the video unwatchable by being utterly overcompliant with accessibility requirements, and a tiny fraction of what I've done would have been sufficient. But since nobody would ever comment, I wouldn't know.
#Fediverse #Accessibility #A11y #Inclusion #MediaDescription #MediaDescriptions #AudioDescription #AudioDescriptions #Long #LongPost #CWLong #CWLongPost
A vast liminal space, but it's a gloomy abandoned early medieval castle that feels like Dracula's bedroom or Dr Frankenstein's lab could be around the next corner. The lower levels would be your typical dungeon.
The upper levels, let's just say they could seem like someone has built an enormous Victorian mansion on top of the castle that appears just as gloomy and just as much to be abandoned, and that still doesn't have any windows for some reason. One floor could be a vast library that's its own liminal space.
This would work even better in OpenSim than in Second Life because varsims allow for bigger buildings without sim borders. Unfortunately, neither support procedurally-generated buildings, at least not without jumping through a series of hoops and closing the sim for semi-automated regeneration.
Another disadvantage would sadly be that liminal spaces don't work as well if you see them appear around you bit by bit. Even if you landed in a small room with no windows and a closed door, there's no guarantee that the walls, the floor, the ceiling and the door around you will rez before everything else.
#VirtualWorlds #Metaverse #SecondLife #OpenSim #OpenSimulator #LiminalSpace #Idea #Long #LongPost #CWLong #CWLongPost Long I've learned about seasons in OpenSim. I guess I've figured them out.
Autumn is only one month, namely October. Or it starts whenever people re-open their Halloween sims.
Winter starts in early November when the Halloween sims are shut down, the Christmas sims come back, and the more flexible sims replace Halloween decoration with Christmas decoration.
In early January, summer comes back. There is no spring in OpenSim. Not if you look at how people dress. Except for Juno Rowland, myself and maybe a very few others.
At least there are some permanently seasonal sims, although there are precious few permanent autumn sims. And there is Novale by and Dabici Straulino which goes through all four seasons and what they look like in Qubec.
#OpenSim #OpenSimulator #Metaverse #VirtualWorlds #Seasons #SeasonsChange #Holidays #Halloween #Christmas #Long #LongPost #CWLong #CWLongPost(Apologies for not protecting Mastodon users from this long post and from the contained eye contact, but I lack the technical capabilities for either. I'm not on Mastodon. I'm on Hubzilla which is not Mastodon, which is not based on Mastodon, which is not influenced by Mastodon, which is older than Mastodon and which works differently from Mastodon. On Hubzilla, this is not a stand-alone post. It's a comment like a blog comment. Comments don't have a field for summaries which are content warnings on Mastodon. Also, on Hubzilla, I have no means at all to blank sensitive images out on Mastodon.)
That depends on the picture.
Real-life photographs, the most common kind of image in the Fediverse, are something people are familiar with, and they usually show something that's at least halfway familiar, so they don't necessarily need everything described.
Pictures from obscure 3-D virtual worlds, and that's what I post, are pictures taken in places that nobody knows and full of stuff that nobody knows. If I do what one usually does with real-life photographs, if I only the describe the bare minimum without explaining anything, the people simply won't get my pictures.
For demonstrational purposes, I have attached three pictures with fairly minimal alt-texts. They don't describe what anything looks like, they don't explain anything, not even where the pictures were made, and they don't transcribe any of the text in the pictures. They're basically useless even though they're still longer than most alt-texts for real-life photographs.
Full descriptions can be found in the post linked below which is almost 77,000 characters long due to the image descriptions (the same content warnings apply here again). Due to technical difficulties, I can't link to a Mastodon copy of it, only to the Hubzilla original. If you want to see it on Mastodon proper, search the hashtag #OSFest2023.
Yes, but about two of them for each one who prefers detailed descriptions.
From what I've read so far, putting the image description someplace else than the image isn't really accessible.
#AltText #ImageDescription #ImageDescriptions #Accessibility #A11y #Long #LongPost #CWLong #CWLongPost #EyeContact #CWEyeContact
Image descriptions are serious business on Mastodon. Not few users refuse to boost posts with pictures without alt-text. Some even try to get everyone whom they see posting images to add a description to them. In fact, some actually criticise alt-text that isn't sufficient. Sometimes I even see people praise other people's alt-text.
I myself usually end up spending many hours describing one measly image. The outcome may pretty well be an alt-text with over 800 characters which mentions that the actual image description is in the post text. And that image description is tens of thousands of characters long.
However, nobody seems to care. It is as if nobody even notices.
Only in a few cases have I ever received any kind of feedback for posts with lengthy image descriptions. The first time I had written an image description with over 10,000 characters, I used it in which I also posted to Lemmy and in which I demonstrated four different ways of posting that image description. It got 19 likes and 2 dislikes, all from Lemmy, none from anywhere else, and it didn't get a single reply. The only times I got a reaction from the rest of the Fediverse, especially Mastodon, was a few times when I either replied to a Mastodon user with an image description or pointed Mastodon users at my image descriptions.
Otherwise, nothing. Not even criticism that my posts are too long. Or that my image descriptions are too long and too detailed. Or that my image descriptions are actually even lacking. Or that image descriptions belong into alt-text and not into the post. I'm not even being criticised for using too many or too few content warnings.
I can't see if my posts are being boosted, but it seems like not even this is happening.
I know that I'm writing about completely uninteresting stuff. I know I'm writing many many times more in one post than typical Mastodon users are willing to read. It just strikes me that neither any of my several hundred followers nor anyone who might be following any of the hashtags I use nor anyone who spots my posts in their federated timeline ever gives any feedback.
#AltText #ImageDescription #ImageDescriptions #ContentWarning #ContentWarnings #AskFedi #Feedback #CW #Long #LongPost #CWLong #CWLongPostI'd really like to discuss accessibility and inclusion in the Fediverse with people who really care about it and ideally know more than average.
But I can't.
On Mastodon, it's irreversably set in stone that "alt-text" and "image description" are mutually synonymous. They mean 100% exactly the same, full stop. Content warnings always go into the content warning field which is the content warning field literally everywhere in the Fediverse. And posts can never be longer than 500 characters. Challenging either is absolutely futile because the very concept of deviating from either is absolutely unimaginable for too many Mastodon users. At most, they may be aware that some Mastodon instances allow for writing over 500 characters, but even then they are barely aware that there's a Fediverse outside of Mastodon, much less that it's different from Mastodon in any way.
And absolutely everywhere else in the Fediverse, be it Firefish or Friendica or Hubzilla or Lemmy, people don't even know that there is such a thing as accessibility or inclusion in the Fediverse at all. And they don't care.
I could just talk away right here right now. But it'd be futile. Over 450 connections don't mean certain reactions. One or two likes if I'm lucky. Replies No. Unless I happen to use a hashtag that someone interested in the same topic is following. If I want reactions, I have to stoop as low as asking my connections to boost my posts which especially fairly new users may actually do when asked.
Or I could try Lemmy. But there's exactly one , where there's a chance you might see at least one reply at all. It's mostly a community of disabled users, and the threads are either about their own disability issues or sharing news. Never in four months has accessibility in the Fediverse been talked about. Also, neurodiversity is absent entirely because it has its own community. So I'm not sure if this is the right place to join to talk about what I'd like to talk about.
#Fediverse #Accessibility #A11y #Inclusion #Inclusivity #InclusionMatters #Long #LongPost #CWLong #CWLongPostOkay, this is new.
I know that Misskey has a hard-coded limit of 3,000 characters for writing posts.
But I've just discovered that two Misskey instances and one Sharkey instance I'm connected to failed to accept tonight because it is too long. That post is a bit under 49,000 characters long. That is, both alt-texts included, it it is a bit over 50,000 characters long.
The post wasn't cropped. It was rejected entirely.
The delivery report lists this chopped-off error message for all three instances:
Similarly, lemmy.world rejected the post which wasn't even targetted at any community there with:
Now I'm wondering what the limit could be. I think I should pay attention to more delivery reports of longer posts.
The flagship instance misskey.io failed with a 403, so that might have been caused by internal issues.
At the same time, at least some Firefish instances did accept the post. Remember that Firefish is a Misskey fork.
#Fediverse #CharacterLimit #CharacterLimits #Misskey #Sharkey #Lemmy #Long #LongPost #CWLong #CWLongPost
One of the new boxes actually contains an absolute rarity, the full Christmas Firepit Set. As far as I know, the original is not available anywhere anymore, and the copy at the various Clutterfly stores is broken. So the only chance to get it is by obtaining my upgraded version.
All 19 boxes, along with some more things created or modified by me, can be obtained in two places:
As usual for me, you can either copy the boxes or buy their contents without having to unpack them.
Image descriptions:
The pictures in this post are digital 3-D renderings created using shaders, but without ray-tracing, as they were taken inside a virtual world based on OpenSimulator. They show shelves with boxes containing various different items which I have either created or modified, offered for free.
OpenSimulator (), OpenSim in short, is a free and open-source platform for 3-D virtual worlds that uses largely the same technology as the commercial virtual world Second Life. It was launched as early as 2007, and it mostly became a network of federated, interconnected worlds when the Hypergrid was introduced in 2008. It is accessed through client software running on desktop or laptop computers, so-called "viewers". It doesn't require a virtual reality headset, and it actually doesn't support virtual reality headsets.
Just like Second Life's virtual world, worlds based on OpenSim are referred to as "grids" because they are separated into square fields of 256 by 256 metres, so-called "regions". These regions can be empty and inaccessible, or there can be a "simulator" or "sim" running in them. Only these sims count a the actual land area of a grid. It is possible to both look into neighbouring sims and move your avatar across sim borders unless access limitations prevent this.
The first picture:
The first image shows a public shelf unit on the sim DropBox in OSgrid. OSgrid is the largest OpenSim grid and the oldest one, launched in 2007. DropBox is a sim on which everyone can offer items of almost all kinds for free as long as they are legal. It was created by Neovo Geesink, formerly tech specialist in Metropolis, once the first and biggest German-speaking grid, launched in 2008, which was shut down in July 2022. He has also built the 66 identical shelf units in the Alpha Quadrant, the triangular northern quarter of the sim. The other three quadrants do not have shelves they are for offering items that are too large for the shelves.
These contraptions have four shelves each. The shelves are supported by one cylindrical column in each edge. The pair of columns on each end is connected at the top with a horizontal cylindrical rod of the same diameter which is arranged in such a way that it appears to be resting on top of the columns which, in turn, would have to have semi-circular cutouts for the rod. The rods itself do not protrude beyond the columns. A third, much longer rod is installed between them and connects them, reminiscent of a giant handle. All parts show the same texture in various shades of grey on all faces. This texture imitates the look of stainless steel brushed in a circle or, due to being stretched on all surfaces, rather an oval. The constructions are about twelve metres wide, two metres deep and four and a half metres high. The shelves are one metre apart.
One of the shelves is in the foreground of the image and the only one carrying items or rather mostly boxes with items in them with only one exception. The boxes are cubes with an edge length of 50 centimetres.
The top shelf carries three boxes, centred precisely on it and 50 centimetres apart. The boxes will be described from left to right.
First comes a box with a sky blue front face. The only visible side, like the other three sides bordering on the front, has small strips of sky blue to the left and the right and eight different skin tones with black lines separating them in-between. The skin tones are ordered darkest to lightest from the front to the back. The three lightest skin tones are displayed twice. The box is oriented this way because the rear side which is the actual front is not quite safe for work.
The sides symbolise the content of the box which is eleven more boxes which, in turn, contain either twelve or eighteen classic female human avatar skins. They were created by Eloh Eliot in 2009, and I have taken them and "remixed" them into something more useful and versatile in 2021 because I was dissatisfied with what was already available. The eleven skin tone variants are snow, snow with baked-on clown red lipstick, pale, pale with baked-on freckles, fair, fair with baked-on freckles, tan, bronze, chestnut, coffee and mahogany.
The skins are available in not-safe-for-work variants with textured-on nipples and a textured-on hairless vulva, semi-safe-for-work variants like which omits the vulva and fully safe-for-work variants which also lack nipples. Each one of these is available with or without Eloh Eliot's original dark eyebrows and with or without Eloh Eliot's original black eyeliner. In addition, the snow skins with red lipstick are also available in variants with black eyeliner and blue eyeshadow.
Back to the box itself: Only the front has writing on it, practically entirely done in a Helvetica-like typeface. Right below the top front edge of the box, there is a writing in regular all-caps, "Eliot" and a midpoint in white and "Rowland" in gold, all with two blank spaces between the characters. It it almost as long as the box is wide. Underneath it, written in a taller, bold and condensed font and in all-caps again, "Starlight" is written in white, and "Remix" is written in gold. The writing stretches over the same width as that of the line above. The next line, in a font that is still bold, but not condensed and smaller, also still in all-caps and entirely white, is "The complete set". It aligns with the two lines above on the left, but it is shorter on the right.
The other lines are written in a regular font, in white and without all-caps, and most of them are written in the same size.
Below the three top lines, at roughly twice the distance between the three top lines, follows a bullet-point list. It sits significantly further to the left so that the letters after the bullet points start slightly further left than the three top lines. The list items are "classic skins, no applier", "high-res body textures", "11 skin tones with up to 18 variants each", "3 modesty levels with optional eyebrows and eyeliner" and "Free MIT-licensed".
Some more writing is shoved into the bottom left corner. The first two lines are "Made in OpenSim for OpenSim" and "Recommended for Ruth2 v2" which is a typo and should read "Ruth2 v4". Below, in a much smaller font, is one more line that starts with an all-caps "Warning:" and continues with "These skins do not work properly on Athena 6."
Ruth2 v4 and Athena 6 are so-called mesh bodies. They are 3-D models of female human bodies which can be rigged onto avatars in Second Life and OpenSim. Their purpose is to replace the original standard system body which is not really good-looking even for the standards of 2003 when Second Life was launched. Both of these bodies use a technology called Bakes-on-Mesh which was introduced in 2019 and makes the texturing methods for the system body available to mesh bodies. However, there are slight differences between the implementations on these two bodies, hence the warning.
The other two boxes on the shelf have six identical mostly white faces, and they look almost the same. They contain special nail polish which I have made for Ruth2 v4 in 2022 when there was practically no nail polish available for this body.
The middle box contains 24 different nail polishes. 22 of them come in colours which I have taken from the configuration nail polish applier for Ruth 2.0. I have named the originally nameless colours colours rose, cerise, crimson, hot pink, magenta, violet, light lilac, purple, cornflower, bright blue, Prussian blue, French blue, royal blue, emerald, forest green, olive, caramel, mocha, smoke, carbon, Tuscan red and thunder. I found the 23rd, mint, as a default custom setting on one of these appliers. The 24th is white and is intended as a basic user-tintable nail polish although the tints of the other ones can be modified, too.
The right box contains nine different nail polishes. Eight of them come from the nail control on the so-called HUD which is normally short for heads-up display but stands for a graphical controller that can be attached to the user viewport. I have named them pink, magenta, fuchsia, bright red, medium red, dark red, very dark red and vantablack. The ninth one is white again.
Both boxes have four rather relaxed female hands with nail polish on the nails on them. In fact, it is four times the same hand. It reaches into the box art twice from the left and, mirrored around the vertical axis, twice from the right. If I recall correctly, the nail polish colours on the middle box are crimson red on the top left hand, Prussian blue on the top right hand, emerald green on the bottom left hand and mocha brown on the bottom right hand, but don't take my word for it. On the right box, they are fuchsia on the top left hand, medium red on the top right hand, pink on the bottom left hand and bright red on the bottom right hand. The sides of the nails that are oriented towards the on-lookers show a light stripe of shininess.
The styling of the boxes is identical otherwise except for individual writing. Centred at the top, "Nail Polish" is written in large, medium red letters in the Lobster Two typeface with a smaller "for Ruth2 v4" in otherwise the same style below. The only difference in labelling between the boxes is in the black writing in the middle. Still between the top hands and still in the Lobster Two typeface, a bit smaller than the top line, the number of main nail polishes is indicated which is "22" on the middle box, not counting the white nail polish and the bonus nail polish, and "8" on the right box, not counting the white nail polish again. On the middle box, "colours from the Ruth 2.0 nail polish applier" in a small, bold Helvetica clone stretches across the width of the box between the top and the bottom hands with "+1 bonus colour" below. The same writing in the same style and at the same size on the right box is "colours from the Ruth2 v4 HUD".
The writing at the bottom is identical on both boxes again, still in a bold Helvetica-like typeface. It starts with a medium red line the same size of the previous line, "Caution:". The other three lines are smaller. Two are black and read, "Requires OpenSimulator 0.9.1.1 or higher and Bakes-on-Mesh" and "Compatibility only guaranteed for Ruth2 v4". The third and last one is medium red again and reads, "Not compatible with Athena and other SL bodies" where SL is short for Second Life.
With one exception, the boxes on the two shelves below contain scripted furniture and similar items, all made in mesh by Linda Kellie in the mid-2010s and released under her Clutterfly brand. I have upgraded them with the more modern, more versatile and more lightweight SFposer sit animation controller developed by Satyr Aeon while still keeping the same animations and largely the same features.
On the outside, the boxes have several things in common. Again, all six faces look identical. The top of each face is covered by a semi-transparent grey stripe with centred, opaque white writing on it. The top line is fairly small and reads, "Clutterfly Upgraded". The line below is larger and tells what kinds of items are inside the box. Optionally, there is another line below with the same font size as the top line which tells the particular style of the items if necessary. In this case, the grey stripe is a bit wider. In the bottom right corner, at a small distance from the edges of the box, there is the SFposer logo with yellow letters, the "SF" in a stencil typeface, with thick medium green outlines on a medium blue background. A semi-transparent grey rectangle sits on top of it with the opaque white writing "Now powered by" on it. All lettering except for the SFposer logo is done in a bold Bookman-like typeface.
So, the second shelf from the top carries nine boxes, centred precisely on it and 50 centimetres apart. The boxes will be described from left to right again.
The first box, labelled "Bathtubs", contains eleven bathtubs in different colours: black, blue, brown, cream, gold, green, pink, purple, red, teal and white. The box art shows them in this order in two rows of four and one row of three, all oriented horizontally with the faucet at the top. The ground was custom-made for the box art with small, fancy white bathroom-style tiles. All bathtubs are only coloured on the outside while the inside is still white. They are currently the only items on the shelves that can make additional objects appear and disappear when choosing animations.
A close-up picture in the bottom left corner, roughly the size of the SFposer logo plus the grey rectangle on top, shows the only modification on the outward appearance I've done on the bathtubs: The faucet knobs are colour-coded, red on the left, blue on the right. For purists, the box still contains the original texture for the faucet knobs. The close-up picture has the black writing "Colour-coded faucet knobs" right above itself.
The second box, labelled "Bean Bag Chairs", contains ten bean-bag chairs in different colours: berry, black, blue, brown, green, pink, purple, red, teal and white. The box art shows them in this order in one row of three, one row of four and another row of three, all oriented with the back to the top. The ground shows a brownish, blurry sand texture. All bean-bag chairs have a rhombically-shaped fabric structure textured on and the same blanket with colourful stripes thrown over the right side of the back. The shadows around the chairs indicates the sun standing right above them.
The third box, labelled "Beach Towels", contains four beach towels to be laid on the ground. They come in two shapes with two decorations each. From left to right, they are as follows:
The one referred to as "orange" is mostly orange with a white fringe that is thicker at the ends than on the sides. In the middle, there is a stylised white starfish with three dash-like ovals between its arms, one at the top, two on the sides. Five somewhat irregular white curves surround it like a circle. Shape-wise, it only has one large crease towards the bottom right.
The one referred to as "pink" has a background that is very light pastel teal on about the middle 40%, lined by thick vertical stripes in light teal and edges in pastel pink. It is decorated with stylised tropical flowers in magenta. It is messier than the first towel.
The one referred to as "teal" uses the same mesh as the "pink" one. It has only got thick horizontal stripes on it in darker teal, lighter teal, pastel teal, pastel lime green, pastel green and medium green. The pattern repeats a bit more than one half time, ending in another pastel lime green stripe that is about 35% the width of the others.
The one referred to as "yellow" uses the same mesh as the "orange" one. It is mostly yellow with some white print on it. At the top and the bottom, there are narrow vertical lines. Most of the rest has widely-spaced white polka dots on it.
The background of the box art is a beige sand texture.
The fourth box, labelled "Innertubes", contains seven inner tube floaties. The box art shows them in a two-and-three-and-two arrangement on a greyish beige sand texture. They all have a basic colour and three thick and thin stripes each.
The top left one is referred to as "purple" it is light purple with thick dark purple and thin magenta stripes. The top right one is referred to as "red/yellow" it is white with thick red and thin yellow stripes. The left one is referred to as "pink" it is pink with thick red and thin orange stripes. The middle one is referred to as "red" it is red with thick dark orange and thin lighter orange stripes. The right one is referred to as "yellow" it is lemon yellow with thick dark yellow and thin orange stripes. The bottom left one referred to as "purple/teal" it is white with thick teal and thin purple stripes. Finally, the bottom right one is referred to as "teal" it is the same as the previous one, but light teal instead of white.
According to the shadows cast by the floaties, the sun is standing high up to the upper left.
The fifth box, labelled "Pool Floaties", contains ten air mattress floaties in different colours: black, blue, green, orange, pink, purple, red, teal, white and yellow. The box art shows them in two rows of five on a ground texture similar to that on the "Beach Towels" box.
What follows are fourteen boxes with the same ground texture as the "Bean Bag Chairs" box. Thirteen of them contain three different sets of items in different themes.
The six "Cuddle Lounge Chairs" boxes contain four lounge chairs each, shown on the box art in one row. All lounge chairs have a bottom part that's slightly curved upward and a cylindrical pillow pushed against the backrest. The one on the left is plain otherwise. The next one has a blanket draped over the backrest and the pillow. The third one has one diagonally draped over the right front corner. The one on the right has one transversally draped over the bottom, but lifted so that the front left corner is free. The sun is always shining from above.
Three boxes are labelled "Firepit Set". Each one shows a firepit with animated flames in the middle, a tree stump below, two tree stumps with reddish-brown wood surrounded by a greyish-brown bark and one blanket draped over half of each one on the sides and two hollow pieces of tree trunk with the same greyish-brown bark at the top. The piece of trunk above the firepit has a blanket over its left end and two differently-sized square pillows and one round pillow in front of it. The piece of trunk on the right has one blanket pushed against it on the ground, another blanket draped over the first blanket and the right end of the trunk, four differently-sized square pillows on the second blanket and a fifth one lying next to the left end of the trunk which happens to be always lime green with a faint vine motif on it. Only the fire pit casts a shadow, but it indicates the sun shining from right above again.
Four boxes are labelled "Cuddle Blankets". They contain three times the same blanket with the right front corner pushed inward and three times the same two rectangular pillows and one round pillow with a knob in the middle on it and show them on the box art. The one in the middle has the blanket tucked under a hollow piece of tree trunk with a dark bark, referred to as "Forest Log". The one on the right is the same, but usually with a lighter, bleached tree bark and known as "Beach Log". On the left, there is the "No Log" variant which has one more rectangular pillow and one more round pillow, both with a knob in the middle, in the place of the log.
So numbers six, seven and eight on the second shelf from above are all "Cuddle Lounge Chairs" boxes. Number six is the "Tropical" variant with dull green loungers. The blankets have different arrangements of tropical colours on them like yellow, orange, lime green, magenta and teal. Number seven is the "Contemporary" variant with dull dark blue loungers. The second lounger has a medium blue blanket with white lines in a slightly chaotic, but roughly rectangular pattern on it. The third lounger has a dark yellow blanket with a heavily stylised white and grey flower print in a somewhat 60s style. The fourth lounger has a dark yellow blanket again, but with a different white pattern and some blue elements in-between. Number eight is the "Gothic" variant with black loungers. The blanket is red on the second lounger, purple on the third and striped red and purple on the fourth.
The ninth and last box on this shelf is the only different one. It is labelled "Lesbian Furniture", and it contains one armchair and one couch with lesbian animations. Both are black with light pink cushions, and this is also the colour scheme of the whole box. There is also a black round coffee table with two levels which the box art shows towards the left with the couch above and the armchair to the right of it. On top of the coffee table, oriented towards the armchair, there is a pink laptop with a black keyboard, a black touchpad and black hinges and an OpenSim viewer running on the screen. In the corner between the couch and the armchair, there is a black round end table which has two levels, too. It has a mostly black table lamp with a pink lampshade standing in the middle of it. Of course, all six items are in the box. Once again, the shadows indicate the sun shining from above.
One shelf further below, the objects on it start with a square blue sign resting against the left rear column. It is a copy of the "No Stairway To Heaven" sign from the film Wayne's World which was a jab against Led Zeppelin not authorising the use of their songs in films. Thus, it has a thin white line with rounded corners along its edges. In the middle, there is "No" written in all-caps and what appears to be a very big and heavy Helvetica-style typeface, and "Stairway To Heaven" in three lines right below in a smaller but even heavier slanted sans-serif typeface and still in all-caps. It is mostly intended for guitar departments in music stores.
Otherwise, there are another ten boxes on the shelf as partially described above. This time, they are grouped not by type, but by style. The boxes in groups are only 25 centimetres apart whereas the distance between boxes stays 50 centimetres otherwise.
The first box is the Christmas-themed "Cuddle Blankets" box. The blankets have a texture with a medium red and grey pattern on cream that is vaguely reminiscent of stereotypically ugly winter sweaters with trotting reindeer, strips with snowflakes on them and what could be described as very course pixel art of poinsettias. The rectangular pillow to the left is cream with a detailed red print of vines and blooms. The round pillow to the right is green with a darker green vine motif in the background plus large stylised snowflakes in different pastel yellow and green tones. The rectangular pillow underneath the round one is white with eight different kinds of stylised decorated Christmas baubles hanging on red threads.
One thing that is unique about this box is that it does not have a beach variant of the trunk. Instead, there is another blanket with a "Forest"-style trunk which is covered with snow. The variant without a trunk has a rectangular red and a round green pillow behind the other pillows, both with darker vines on them.
The second box is the Christmas-themed "Firepit Set" box. The blanket on the stump to the left is cream with a red and green Paisley print. The one on the stump to the right is chequered with four different squares. Two are red with black borders slightly darker red prints on them, one with what appears to be a snowflake, one with what could be vines. The other two are white with green borders. One is partially light green in the background with white six-point stars on it and a green twig with five leaves in the middle. The other one shows a green and red holly twig.
As for the trunks, the blankets on the ground have got roughly the same pattern based around the same "pixel poinsettias" as in the "Cuddle Blankets" set. On the blanket to the left, it's green, on that to the right, it's red and a bit bigger. Both have a rather low resolution and a whole lot of visible JPEG artifacts, though, as if they weren't available at full resolution anymore. The trunk on the left also has a medium-sized white buttoned rectangular pillow on the blanket with a mostly red and green Christmas print, including baubles, candy canes, both green and red conifers and Santa Claus in his sleigh. To its right, resting directly against the trunk, there is a larger rectangular pillow with a pattern in red and various shades of light brown that is a mixture of a tartan and Gingham. The smaller buttoned round pillow leaning against it is red with thin beige vines and stars.
The second blanket on the trunk to the right is mostly a darker cream with Christmas plant motifs on it such as pinecones, holly or a poinsettia, separated by red borders. The same cream rectangular pillow with red vines as in the "Cuddle Blankets" box is leaning against it. In front of it, there are a copy of the small lime green pillow at the left end of the trunk, a small dark green rectangular pillow with holly print and, half behind it, the same small white pillow with baubles as in the "Cuddle Blankets" box.
The two Christmas-themed boxes are followed by three Country-themed boxes, starting with a "Cuddle Lounge Chairs" box with dark brown cuddle lounge chairs. The second chair has a simple beige and red Gingham-patterned blanket. The third one has five cute pictures involving tiny teddy bears with cups, plates and the like in front of a background of vertically installed white wooden planks, separated by dark brick red borders. The picture at the top has a beige banner below it with the writing "Home Sweet Home" in a rather irregular serif typeface, all-caps and letters in red, blue, yellow and green. The blanket on the fourth chair appears to be a mostly white quilt with a dark grey border and some pieces in plain or printed red, green and different shades of light brown. Some of them appear to stand for autumn leaves.
The second box in the Country group is the "Cuddle Blankets" box. This time, the blanket shows a very coarse fabric pattern with a tartan with broad red and thin dark grey lines on cream. The rectangular pillow to the left is the same "Gingham tartan" pillow as in the Christmas-themed box. The buttoned round pillow to the right is various shades of brown with large leaves printed on it. The rectangular pillow under it is cream with green vines and leaves and red blooms. Of the pillows behind them in the trunkless version, the buttoned rectangular one is off-white with a cock, various chickens and a few eggs printed on it, and the buttoned round one is red with a tiny, hard to recognise pattern in cream on it.
The third box in the Country group is the "Firepit Set" box. The blanket on the stump on the left is mostly a light tan. Medium brown curves composed of circular arcs divide the texture into fields with two kinds of mostly brick red stylised blooms in them, a small and rather simple one with eight "petals", a slightly larger and more elaborate one with two layers of eight "petals". The blanket on the stump on the right is textured with a tartan which I consider purely fictional after having failed to identify it. It is mostly green and beige with one thin Bordeaux red and thicker Burgundy red line each.
The blanket on the trunk on the left shows a texture which is somewhat reminiscent of patchwork while clearly being a print because some of the sections aren't square or rectangular. Interspersed with blocks with chequered or chevron patterns or solid colours, various wildlife is depicted such as deer, waterfowl or a bear. There are also depictions of conifers and their cones. The smaller buttoned rectangular pillow on the blanket is the same cock-chickens-and-eggs pillow as at the back of the trunkless cuddle blanket in the previous box. Next to it, leaning directly on the trunk, the "Gingham tartan" pillow re-appears again. The buttoned round pillow leaning against it is mostly covered by a beige and gold texture with a crinkled appearance the knob in the middle is honey yellow.
The trunk on the right has the same arrangement with two blankets and five pillows as in the other "Firepit Set" boxes again. The blanket on the ground is striped horizontally in peach and brick red. The blanket cast over the trunk has a mostly white texture which indicates a very coarse fabric with horizontal brown and mustard yellow stripes and vertical dark orange and dark brown stripes woven in. The large rectangular pillow leaning against it is a darker cream with slightly stylised plants in shaded yellowish green and a few red berries and mostly red blooms with five petals each, all with black outlines. The small rectangular pillow a bit further to the right, leaning against this pillow, is mostly beige with an apparently abstract pattern in various tones of blue, red, green and yellow. The pattern is technically symmetrical around both the vertical and the horizontal axis, but the symmetry is ruined by the pattern being slightly misoriented and not being seamless. The small rectangular pillow behind it is cream with a rather elaborate and detailed hand-painted plant print that is mostly green with large blooms in rose and Bordeaux red tones and smaller ones in different shades of aqua blue. The two small lime green pillows are in the same places as in the Christmas variant.
Following the three-box Country group, the Shabby Chic group has the same three boxes in the same order, only with a different visual style and thus mostly different textures. So again, it starts with a "Cuddle Lounge Chairs" box. This time, the chairs are light grey. And again, the first chair does not have a blanket on it.
The blanket on the second chair, draped the same way as on all the other second chairs, has an appearance much like a quilt with the seams covered in white fabric, only that this is clearly supposed to be a print. The colour theme is cream, green and pink otherwise. There are twelve unique rectangular patches on the upper side of the blanket, six of which are largely or fully visible on the box art along with tiny bits of a seventh and maybe an eighth patch. Three of the largely or fully visible patches show roses against a cream, pastel green or pastel pink background. One has an elaborate cream and pink vertical stripe pattern. One is cream with pastel green vertical stripes with darker outlines, interspersed with rose decorations. One is simply pink with white or cream polka dots. The one that is barely visible is white with dark pink polka dots, and the one whose visibility is unclear repeats the elaborate stripe pattern, but in green.
The blanket on the third chair is white with a printed pattern of pastel pea green vines with leaves and blooms mostly or entirely in pastel rose and in various shapes and sizes. The blanket on the fourth chair is baby blue and has hand-painted plants printed on it with quite a variety of blooms on them, different songbirds sitting on them and butterflies flying in-between them all the visible butterflies are light blue. The aspect ratio of this texture is off, it is stretched vertically.
The second box in the Shabby Chic group is the "Cuddle Blankets" box again. Also again, it has the same blanket in all three variants. The blanket is white with yet another different hand-painted plant print which is mostly khaki apart from the blooms which are either white or various shades of pastel pink. The rectangular pillow to the left is sand-coloured with horizontal stripes in old rose in a pattern of three wide stripes surrounded by two stripes as narrow as the gaps between the stripes. The round buttoned pillow to the right is a faint pastel pea green with a very light faint pastel green and faint pastel old rose print of what might be supposed to be simplified roses with vines and leaves in-between, some of the leaves only being outlines. The rectangular pillow lying under it has the same lime green texture as the two identical small pillows in each of the two previously described "Firepit Set" boxes. As for the two buttoned pillows in the back of the trunkless variant supporting the other pillows, the rectangular one is sand-coloured with a vertical pattern of jagged stripes in two shades of pea green and one shade of rose. The round pillow is lime green with an olive green square pattern consisting of octogonal shapes, each made of four hexagons, interspersed by thick circles.
The third box in the Shabby Chic group is the "Firepit Set" box again. This time, the blanket on the stump to the left is off-white with a pastel violet and green flower pattern that is different from all previously mentioned prints yet again and three semi-transparent stripes, two light brick red and one pastel green, slightly diagonally across it. The blanket on the stump to the right shows another different rose print in pastel old rose and pea green on a bluish grey background with white dots, an irregular rectangular grid in semi-transparent somewhat darker bluish grey layered over it.
The blanket draped over the end of the trunk on the left is a faint greyish pastel blue with yet another different flower print, this time in pastel shades from white to dark rose and centred around roses. The three pillows in front of this trunk have all appeared before. The buttoned rectangular pillow on the blanket is the same one as at the back of the trunkless Shabby Chic cuddle blanket, the one with the jagged vertical pattern. The large rectangular pillow to the right of it is the same horizontally-striped sand and old rose pillow as on all three Shabby Chic cuddle blankets. And the round buttoned pillow is the same crinkled-textured beige and gold pillow as in the equivalent Country-style set.
Both blankets around the trunk on the right have new patterns again. The blanket on the ground has a horizontal stripe pattern that looks like lifted from a 1970s deck chair. Thick stripes of cream and pea green have thinner, semi-transparent stripes in various shades of pastel blue, pink and purple on top. The other blanket is lightly sand-coloured with another plant print, this time with branches and twigs in shades from white to tan. Leaves, vines and flower stems in various shades of green grow from them. Different blooms in white, various shades of pink and shades from white to sky blue are part of this vegetation, too. At least one bird of paradise is sitting on a branch, its head turned to the right, mostly two shades of yellow with shades of sky blue in the wing and tail feathers while the outer ends of the wings are salmon-coloured. The bird is actually looking away from a nearby butterfly with a pink body, khaki fore wings and aqua aft wings. The pattern repeats one third of a time vertically.
The large rectangular pillow leaning against the blanket is light pastel steel blue with fairly large ivory polka dots. The small square pillow lying in front of it is not a copy of the lime green pillow at the left end of the trunk for a change it is light pastel pink with fabric structure, but no printed or woven pattern. The small rectangular pillow on top if it, leaning against the rightmost parts of the blue polka dot pillow, is white with a pattern of cerise and teal flowers in large, rounded, almost circular cerise frames. Finally, the small rectangular pillow behind it is the same cream and flower-printed pillow as in the same spot in the Country-styled firepit set.
The last group is the Modern group with only two boxes, for there is no "Firepit Set" box in this group.
The first box is the sixth and last "Cuddle Lounge Chairs" box on the shelves. The lounge chairs are beige this time, still with the first chair lacking a blanket and the other three chairs having blankets draped the same way as in the previous boxes. The blanket on the second chair shows a horizontal gradient from white on the left-hand edge to pastel blue to a wide area of pastel lime green to pastel terracotta all the way to the right. Shading on the texture simulates an embossed longitudinal structure in the fabric.
The blanket on the second chair is greyish blue with a longitudinal stripe pattern. The stripes are rather broad with wavy edges and blurry enough to actually be gradients from light taupe in the middle to pastel slate grey to the greyish blue that makes up most of the texture. Between these stripes, there appear to be thinner, fainter stripes with a slightly greyer or browner tint and small light spots at a regular interval.
The blanket on the third chair is a tone of beige similar to that of the chairs themselves with another longitudinal stripe pattern. Two different stripes with fairly blurry edges alternate. One is pastel petrol blue with wavy edges. The other one is pastel pea green with shorter "notches" in the sides, lined by dark shading on both sides.
Finally, the second and last box in the Modern group and the tenth and last box on the shelf is the fourth and last "Cuddle Blankets" box. The three blankets themselves are identical again. They are white with a rough fabric texture and horizontal stripes which itself contain different black-and-white patterns, some involving lines in long zig-zags, some too small to identify due to the limited resolution of the texture.
The rectangular pillow to the left is beige with a horizontal fabric structure on the texture. It is printed with a petrol blue pattern of branches and rounded leaves and another similar pattern in taupe on top. The round buttoned pillow to the right is pastel teal with a pattern of five white roughly horizontal lines. These lines repeatedly spread out until the two outer lines touch those of the instance of the pattern above or below. The rectangular pillow which it is placed on has an unusual texture. It looks like it was stitched together from different fabrics with different structures and different shades of brown or grey. At least 16 wedge-shaped pieces each, always in two alternating styles, form circular shapes which are arranged in a very large square pattern in such a way that they touch each other. Some of these wedges are divided into an inner part and an outer part. The gaps between the circles are filled with similar wedge-like pieces of fabric with small circular pieces at the centre.
In the trunkless version, there are two buttoned pillows behind these three again. The rectangular one is dark petrol and plain except for a strong fabric texture the knob in the middle is terracotta-coloured, making the embossed edge more easily visible. The round pillow shows a wild, abstract pattern in sand, taupe, light tan, grey and black. The sand and grey areas show horizontal fabric structures.
The bottom shelf of the unit returns to a unified pattern of eight boxes, centred precisely on it and 50 centimetres apart. Each one of these boxes contains four wooden box shelf units. I have built them myself when I needed one for a shop. The units are one and a half metre wide, 70 centimetres deep, and they come in four sizes, namely two, three, four or five shelves which are always 80 centimetres apart. They come in eight different sorts of wood, using wood textures from FleepGrid. However, the rear panel is always plywood and tinted to match the rest of the unit if necessary. Care has been taken to keep the original aspect ratios of all textures.
Each box also contains the textures used for easier modification, signs that can be be mounted on the front sides of the shelves and a positioning aid for several sizes of boxes which makes positioning them easier, especially on shelf units which are installed diagonally.
All eight boxes are decorated largely the same. The four sides are identical. The box art shows all four sizes next to each other, the smallest one on the left, the tallest one on the right and a bit farther from the point of view which is slightly rotated into a diagonal position towards the shelves. The sun shines on them from ahead and above, making them cast shadows behind themselves onto the plain ground which appears roughly cream-coloured due to how low the sun is standing.
The upper third of the sides, as well as the top, are black. In the black are of the sides, the product line is named in golden letters: Centred at the top, "Jupiter's" is written in a medium-sized regular font. Below it, larger and in bold type, "Basic Shelves" is written. Further below, in the top left corner of the product image, the used wood is mentioned in a smaller but still bold font. Finally, "Wood textures, shelf signs and positioning aid included" is written along the bottom edges, aligned towards the right, in a rather small regular font. The typeface always mimicks Bookman.
On the shelf, the boxes are ordered alphabetically from left to right: beech, birch, cherry, dark oak, hickory, maple, pine and stained oak.
All boxes described above are switched to what is called "full bright". This means they have their shading turned off. Neither lighting or the lack thereof nor cast shadows have an effect on their appearance.
The textures on the contents of the boxes are too small to be visible in the picture itself. Also, the picture shows all text on the boxes so small that it cannot be read in the picture.
In the background, there are multiple shelf units identical to the one in the foreground, but they are all empty. The background is limited by a light brown brick wall. It is about ten metres high, and the point of view is chosen so that its top edge is aligned with the top shelf of the unit in the foreground.
The floor texture shows some light wood grain the wood is not separated into planks. The shadows underneath and around the shelf units indicate that the sun is shining down on the scene vertically. The sky is blue, but except for to the right and farther in the distance, it is covered by a large, cirrus-like cloud.
The second picture:
The second picture shows the inside of the Kaufrausch Mega-Store, a department store on the sim Santiago in Dorenas World. Launched in several home-hosted iterations in December 2009 and finally re-launched on rented Web space in January 2010, Dorenas World has been the oldest surviving German-speaking grid since Metropolis shut down.
In the foreground, eight wooden shelf units with three shelves each are lined up. They were made by me, and they can be found in the shelves boxes which have already been described as part of the first picture. Each sort of wood is present once as a demonstration, and each shelf unit carries the corresponding shelves box on the top shelf. The boxes are still the same, but they are larger with an edge length of 70 centimetres.
Also, the order is different. The row of shelves starts with the lightest wood, beech, on the left. Darker woods follow, namely cherry, pine, birch, maple and hickory. To the right, there are the two darkest woods, stained oak and dark oak.
The shelves are used to offer my upgraded Clutterfly items boxes as well. Except for the dark oak shelves all the way to the right, all units contain one or multiple of these boxes. From left to right, they are filled as follows:
The beech shelf unit all the way to the left has the Pool Floaties and the Tropical-style Cuddle Lounge Chairs on the middle shelf and the Beach Towels and the Innertubes on the bottom shelf.
The cherry shelf unit has the Lesbian Furniture and the Contemporary-style Cuddle Lounge Chairs on the middle shelf and the Bean Bag Chairs and the Bathtubs on the bottom shelf.
The pine shelf unit is for the Christmas style: It has the Cuddle Blankets and the Firepit Set on the bottom shelf.
The birch shelf unit is for the Modern style: It has the Cuddle Lounge Chairs on the middle shelf and the Cuddle Blankets on the bottom shelf.
The maple shelf unit is for the Shabby Chic style: It has the Cuddle Lounge Chairs on the middle shelf and the Cuddle Blankets and the Firepit Set on the bottom shelf.
The hickory shelf unit is for the Country style: It has the Cuddle Lounge Chairs on the middle shelf and the Cuddle Blankets and the Firepit Set on the bottom shelf.
The stained oak shelf unit has the Gothic-style Cuddle Lounge Chairs on the middle shelf.
Behind the hickory shelves and partly behind the maple shelves, a plain shiny bluish grey piece of wall from the floor to the ceiling separates a very large window to its left to a smaller one to its right. Another similar piece of wall is on the right, extending into the building and beyond the border of the image. One of the building's three revolving doors is behind it. A shadow appears to be cast from the ground up to about 28% of the height of this piece of wall. It is actually a side-effect of the shininess as OpenSim's graphics engine is incapable of raytracing.
The small window consists of one pane which appears to be framed in metal. In the larger one, two wider panes are visible. They extend from the floor to about 80% ceiling height. Above them, the gaps between the walls are filled with additional horizontal pieces of wall. These are a faint dark purple and decorated with lighter rectangular frames corners curved towards the inside. Two of these frames are above the small window, six can be seen above the larger one. The glass in the windows is tinted grey which makes the outside appear darker than it actually is.
The ceiling is plain grey and appears darker than the walls. Towards the right, it has a slight yellow tint which comes from a light source.
A pattern of five tiles makes up the floor. Four of them are large grey squares with one corner cut off they become more or less slightly darker towards the corner opposite the cut-off corner. They are oriented with the cut-off corners turned towards one another. The fifth one is a small, dark red square that fits in the gap created by the cut-off corners.
The department store building is a one-off custom design by grid co-founder Anachron Young.
Behind the shelves with the boxes and through the windows, the outside can be seen. Right outside the department store building, there is a street with yellow centre lines and sidewalks with concrete pavement on both sides.
On the other side of the street, mostly left of centre, the ruins of an unfinished two-floor building, probably a residential one, can be made out. Its walls and columns are covered with cracked and weathered plaster. Doors and windows are missing. However, the building appears to be occupied by hobos. Someone has installed not only primitive wooden railings where the upstairs windows, but a makeshift trellis on the side oriented towards the department store and two more on the left around the corner. Green plants are growing up all three. Also, old and shabby furniture is strewn about both floors. Due to design limitations, the roof shingles can partly be seen from underneath. Various trees with green foliage can be seen behind the ruins.
The grey single-floor building to the right of the ruins is commercial, but unused. Only little of it is visible through the small window to the right. It, too, is labelled as a department store although it is much smaller than the Kaufrausch. So says the dark brown writing above the windows and the boarded-up door, none of which is actually visible in the image except for the uppermost bit of the "D" in the all-caps "department store" writing. Above it, a dirty and damaged yellow sign advertises "housewares & small appliances" in black all-caps. To the left of both, there is another dirty and damaged sign, a white one with "clothing" and "sportswear" written in two lines of red letters.
Directly to the left of the beech shelf unit, on the other side of the street, one of the three posts of a triple road sign can be seen.
Farther to the left and in the distance, there is another one-off custom building created by Anachron for this sim. The two-floor Prim-Air School has walls covered in vertical panels of an unknown material. Between the windows of the ground floor and the first floor, one of each of which is visible, the walls are painted brown, otherwise they are orange. The corners are a darker orange, but glossy which is why the one visible corner appears to be painted in a dark pastel tone. The school yard in front of the building is separated from the sidewalk by a black iron fence. The two large white rectangles on the ground of the school yard which are for various sports activities can just barely be seen.
What little of the sky above is not blocked by buildings or vegetation is blue and cloudless. No shadows can be made out outside, so the position of the sun remains unclear.
#OpenSim #OpenSimulator #Metaverse #VirtualWorlds #Upcycling #AltText #ImageDescription #ImageDescriptions #Long #LongPost #CWLong #CWLongPost #EyeContact #CWEyeContact #Food #CWFoodI thought I wouldn't need an #EyeContact #ContentWarning this time
But there are birds and other animals on some of the fabrics. They're absolutely invisible to the naked eye, usually being less than 1/100th of a pixel each in the final picture. But I guess I can trigger some #Autistic people by just merely mentioning that they're there. Remember that most birds have almost 360 vision, and deer aren't that far away from it. If you see a bird or a deer, you practically always see at least one eye.
On a sidenote: Having to describe over a dozen different plant/flower prints on fabric is tiring. I hope this will be over soon. I've only written some 7,000 characters today so far...
#Long #LongPost #ImageDescription #Inclusion #InclusivityI hate describing fabric patterns.
There's a blanket on a picture on the sides of a box. In the final picture, it'll be shown not much larger than six pixels, two wide, three high. I've just used a bit over 1,000 characters to describe only the visible part of that blanket because it has a patchwork-like print. But I'd do the very same thing if it was only a small pillow that'll be less than one pixel in the final picture.
I'm going to pump tens of thousands of characters into describing dozens of textures. And when I'm done, I'm going to mention that not a single one of these textures is actually visible to the naked eye because #Blind and #VisuallyImpaired people won't know that otherwise. But this invisibility due to low resolution is part of the image and thus needs to be described.
Oh, and I won't be nearly done before noon. And since I've just passed 30,000 characters, I'm not sure if I won't break my own record.
The things you do for #Accessibility.
#Long #LongPost #ImageDescriptionAnd I'm back. Now I hope to be done with the first description before noon and without breaking my #ImageDescription record of 38,650 characters.
14 boxes with content to go, six of them with various fabric textures. The other eight might be rather simple and done quickly unless #Accessibility and the curiosity of random readers demand me to give detailed descriptions of eight woodgrain textures plus plywood which are absolutely invisible to the naked eye in the picture.
I also hope I can really get away with describing and transcribing only once what appears multiple times such as certain labels on boxes. This description would really go completely out of hand if I were to fully describe each one of 30 boxes individually. This would become the first image description in the Fediverse with over 100 individual text transcriptions.
The second picture will only show boxes which are already in the first picture. I do hope I can get away with writing that these boxes have already been described in the image description of the first picture.
#Long #LongPost
Instead, the key to post visibility and discoverability is using hashtags.
If you're using OpenSim, and you aren't sure what to tag, here are some recommendations. If I mention a tag explicitly, it most likely already exists.
First of all, of course,
#OpenSimulator and #OpenSim. You may use either, but I recommend using both.Then there's
#Metaverse. The OpenSim community has used that word for some 15 years already. Besides, it helps demonstrate three things to those who search for it. One, "The Metaverse" isn't dead. Two, it wasn't invented by Zuckerberg either. Three, it can be done and has been done without a blockchain, a cryptocurrency and NFTs. (If you want to write about Zuck's worlds, use #Horizons or specifically #HorizonWorlds instead.)I myself also use
#VirtualWorlds, and so do some Second Life and OpenSim users.If you write about a grid or mention it sufficiently, tag it.
#OSgrid, #Kitely, #3rdRockGrid, #Groovyverse, #CraftWorld, #Bridgemere, #DorenasWorld, #Dereos, #ArtDestiny, #DiscoveryGrid, #BarefootDreamers, #Neverworld, #Astralia, #AviWorlds, #EtheriaGrid, #TheGridThatShallNotBeNamed (you know which one I mean) etc. This should include dead grids such as #Metropolis.Sometimes things might get complicated, for example if there's a popular abbreviation or acronym for a grid. In that case, feel free to tag e.g. both
#AlternateMetaverse and #AMV or both #GreatCanadianGrid and #GCG. It really only gets complicated with #WolfTerritories, #WolfTerritoriesGrid, #WTGrid and #WolfGrid, all four of which have been used by Lone Wolf himself.In addition, if you actually write about a grid, you might want to use
#Grid. Not so much for fleeting mentions.Of course,
#Hypergrid if you mention that.Events usually come with their own official suggestions for social media hashtags. This year, for example, we've already had
#OSG16B for OSgrid's 16th birthday, #OSFest2023 for OpenSimFest (#OpenSimFest or #OSFest) and #HIE2023 for the Hypergrid International Expo (#HypergridInternationalExpo, #HIE or #HIEOpenSim). The OpenSimulator Community Conference is always shortened to #OSCC, and the year is always two-digit, e.g. #OSCC23. And let's not forget #CornflakesWeek.Other things worth tagging include OpenSim's own mesh bodies:
#RuthAndRoth for the whole project, #Ruth2 and #Roth2. #RuthToo and #RothToo or even #RuthTooRC3 and #RothTooRC1. #LuvMyBod. #Max, #Maxine and #Maxwell.Some more examples for OpenSim-related tags I've used before:
#OAR, #HGSafari, #MadeInOpenSim, #ArcadiaAsylum, #LbsaPlaza, #WrightPlaza, #EventPlaza, #Clutterfly, #OpenSimWorld, #BakesOnMesh (feel free to yoink this one, Second Life users), #FirestormViewer (ditto), #PBR (ditto), #LSL (ditto) and #OSSL, #ZHAO (ditto) and #khAOs, #SFposer, #DreamGrid, #Sim, #SimBuilding (good for talking about how a sim is built)... You could also reference what I call #TheGreatGridDyingOf2022.More generally, there are tags such as
#Avatar/#Avatars, #VirtualArchitecture, #VirtualTravel and #VirtualClothing/#VirtualFashion. And if it's related to education, #VirtualWorldsEducation would be the tag.#Hashtags #Long #LongPost #CWLong #CWLongPostA couple of times in the past, I've considered making virtual-world videos once I have a sufficiently powerful graphics card and a screen with a solution that won't make me the laughing stock of the Fediverse. I think I have the graphics card now.
I was going to publish them on PeerTube which is part of the Fediverse in case you don't know yet.
I no longer am.
Fulfilling the accessibility requirements in the Fediverse in a sufficiently informative way would not only be an out-right titanic effort. It would make my videos borderline unwatchable.
I'm someone who . I have to because people wouldn't even get what's in the picture in the first place if I didn't. Imagine what I'd do in a video that shows much more than that. Much much more.
Very early in the video, it'd freeze so I could explain where it would have been made which would take a few minutes. Once everything in-world is visible for the first time, the video would freeze for half an hour or more while I describe and explain absolutely everything within the video frame. Whenever I move or turn, or the camera moves or turns, and something new comes into view, the video would freeze again for several minutes of description and explanation. And so forth.
In fact, the video freezes would end up quite long because I would have to speak slowly, clearly and in Simple English. That wouldn't make my descriptions any shorter, though.
A five-minute clip would be inflated to six hours or more.
The effort to get there would be gargantuan. Even short videos would take me weeks to write the audio description. Then they'd take me some more weeks to re-phrase everything in Simple English. The recording would take several days itself. Of course, I would have to transcribe what I have said in the original video to make subtitles. Then I would have to weave the transcriptions into the audio description script to create special subtitles for deaf-blind users. You never know what they might be interested in, no matter how niche your videos are.
And then it'd all be in vain. Nobody would watch the videos, either because they'd be way too long or because nobody is interested in the topic or both. Thus, there wouldn't be any comments on them.
So I wouldn't know if I had done everything right by being 100% compliant with WCAG 2.2 and the Fediverse accessibility requirements. Maybe I've missed something and not been thorough enough, but I wouldn't know. Or maybe I've completely overdone it and rendered the video unwatchable by being utterly overcompliant with accessibility requirements, and a tiny fraction of what I've done would have been sufficient. But since nobody would ever comment, I wouldn't know.
#Fediverse #Accessibility #A11y #Inclusion #MediaDescription #MediaDescriptions #AudioDescription #AudioDescriptions #Long #LongPost #CWLong #CWLongPost
Woj: The NBA In-Season Tournament is a LONG-TERM play for the league NBA Countdown -TERMPlay -Season -SeasonTournament :TheNBAIn-SeasonTournamentIsALONG-TERMPlayForTheLeague
The Halloween party yesterday gave me an idea for a virtual place that'd really give you the creeps.A vast liminal space, but it's a gloomy abandoned early medieval castle that feels like Dracula's bedroom or Dr Frankenstein's lab could be around the next corner. The lower levels would be your typical dungeon.
The upper levels, let's just say they could seem like someone has built an enormous Victorian mansion on top of the castle that appears just as gloomy and just as much to be abandoned, and that still doesn't have any windows for some reason. One floor could be a vast library that's its own liminal space.
This would work even better in OpenSim than in Second Life because varsims allow for bigger buildings without sim borders. Unfortunately, neither support procedurally-generated buildings, at least not without jumping through a series of hoops and closing the sim for semi-automated regeneration.
Another disadvantage would sadly be that liminal spaces don't work as well if you see them appear around you bit by bit. Even if you landed in a small room with no windows and a closed door, there's no guarantee that the walls, the floor, the ceiling and the door around you will rez before everything else.
#VirtualWorlds #Metaverse #SecondLife #OpenSim #OpenSimulator #LiminalSpace #Idea #Long #LongPost #CWLong #CWLongPost Long I've learned about seasons in OpenSim. I guess I've figured them out.
Autumn is only one month, namely October. Or it starts whenever people re-open their Halloween sims.
Winter starts in early November when the Halloween sims are shut down, the Christmas sims come back, and the more flexible sims replace Halloween decoration with Christmas decoration.
In early January, summer comes back. There is no spring in OpenSim. Not if you look at how people dress. Except for Juno Rowland, myself and maybe a very few others.
At least there are some permanently seasonal sims, although there are precious few permanent autumn sims. And there is Novale by and Dabici Straulino which goes through all four seasons and what they look like in Qubec.
#OpenSim #OpenSimulator #Metaverse #VirtualWorlds #Seasons #SeasonsChange #Holidays #Halloween #Christmas #Long #LongPost #CWLong #CWLongPost(Apologies for not protecting Mastodon users from this long post and from the contained eye contact, but I lack the technical capabilities for either. I'm not on Mastodon. I'm on Hubzilla which is not Mastodon, which is not based on Mastodon, which is not influenced by Mastodon, which is older than Mastodon and which works differently from Mastodon. On Hubzilla, this is not a stand-alone post. It's a comment like a blog comment. Comments don't have a field for summaries which are content warnings on Mastodon. Also, on Hubzilla, I have no means at all to blank sensitive images out on Mastodon.)
Jupiter Rowland I don't think it's necessary to describe everything in a picture.
That depends on the picture.
Real-life photographs, the most common kind of image in the Fediverse, are something people are familiar with, and they usually show something that's at least halfway familiar, so they don't necessarily need everything described.
Pictures from obscure 3-D virtual worlds, and that's what I post, are pictures taken in places that nobody knows and full of stuff that nobody knows. If I do what one usually does with real-life photographs, if I only the describe the bare minimum without explaining anything, the people simply won't get my pictures.
For demonstrational purposes, I have attached three pictures with fairly minimal alt-texts. They don't describe what anything looks like, they don't explain anything, not even where the pictures were made, and they don't transcribe any of the text in the pictures. They're basically useless even though they're still longer than most alt-texts for real-life photographs.
Full descriptions can be found in the post linked below which is almost 77,000 characters long due to the image descriptions (the same content warnings apply here again). Due to technical difficulties, I can't link to a Mastodon copy of it, only to the Hubzilla original. If you want to see it on Mastodon proper, search the hashtag #OSFest2023.
This poll is a bit hard to read because of the included "view results" option, but it seems that blind people do generally prefer short, to the point descriptions over overly detailed ones.
https://stefanbohacek.online/stefan/110848657796445471
Yes, but about two of them for each one who prefers detailed descriptions.
How about using a shorter description that focuses on why the picture is important to you, and then elaborating in a reply for those who do want more detail
Just a thought.
From what I've read so far, putting the image description someplace else than the image isn't really accessible.
#AltText #ImageDescription #ImageDescriptions #Accessibility #A11y #Long #LongPost #CWLong #CWLongPost #EyeContact #CWEyeContact
is
Right now, and sound in Los Angeles
In 20 minutes, and sound in Los Angeles
Dimly Lit Walkways
Today, and sound in Los Angeles
I'm starting to wonder if the effort I put into image descriptions is actually worth it.Image descriptions are serious business on Mastodon. Not few users refuse to boost posts with pictures without alt-text. Some even try to get everyone whom they see posting images to add a description to them. In fact, some actually criticise alt-text that isn't sufficient. Sometimes I even see people praise other people's alt-text.
I myself usually end up spending many hours describing one measly image. The outcome may pretty well be an alt-text with over 800 characters which mentions that the actual image description is in the post text. And that image description is tens of thousands of characters long.
However, nobody seems to care. It is as if nobody even notices.
Only in a few cases have I ever received any kind of feedback for posts with lengthy image descriptions. The first time I had written an image description with over 10,000 characters, I used it in which I also posted to Lemmy and in which I demonstrated four different ways of posting that image description. It got 19 likes and 2 dislikes, all from Lemmy, none from anywhere else, and it didn't get a single reply. The only times I got a reaction from the rest of the Fediverse, especially Mastodon, was a few times when I either replied to a Mastodon user with an image description or pointed Mastodon users at my image descriptions.
Otherwise, nothing. Not even criticism that my posts are too long. Or that my image descriptions are too long and too detailed. Or that my image descriptions are actually even lacking. Or that image descriptions belong into alt-text and not into the post. I'm not even being criticised for using too many or too few content warnings.
I can't see if my posts are being boosted, but it seems like not even this is happening.
I know that I'm writing about completely uninteresting stuff. I know I'm writing many many times more in one post than typical Mastodon users are willing to read. It just strikes me that neither any of my several hundred followers nor anyone who might be following any of the hashtags I use nor anyone who spots my posts in their federated timeline ever gives any feedback.
#AltText #ImageDescription #ImageDescriptions #ContentWarning #ContentWarnings #AskFedi #Feedback #CW #Long #LongPost #CWLong #CWLongPostI'd really like to discuss accessibility and inclusion in the Fediverse with people who really care about it and ideally know more than average.
But I can't.
On Mastodon, it's irreversably set in stone that "alt-text" and "image description" are mutually synonymous. They mean 100% exactly the same, full stop. Content warnings always go into the content warning field which is the content warning field literally everywhere in the Fediverse. And posts can never be longer than 500 characters. Challenging either is absolutely futile because the very concept of deviating from either is absolutely unimaginable for too many Mastodon users. At most, they may be aware that some Mastodon instances allow for writing over 500 characters, but even then they are barely aware that there's a Fediverse outside of Mastodon, much less that it's different from Mastodon in any way.
And absolutely everywhere else in the Fediverse, be it Firefish or Friendica or Hubzilla or Lemmy, people don't even know that there is such a thing as accessibility or inclusion in the Fediverse at all. And they don't care.
I could just talk away right here right now. But it'd be futile. Over 450 connections don't mean certain reactions. One or two likes if I'm lucky. Replies No. Unless I happen to use a hashtag that someone interested in the same topic is following. If I want reactions, I have to stoop as low as asking my connections to boost my posts which especially fairly new users may actually do when asked.
Or I could try Lemmy. But there's exactly one , where there's a chance you might see at least one reply at all. It's mostly a community of disabled users, and the threads are either about their own disability issues or sharing news. Never in four months has accessibility in the Fediverse been talked about. Also, neurodiversity is absent entirely because it has its own community. So I'm not sure if this is the right place to join to talk about what I'd like to talk about.
#Fediverse #Accessibility #A11y #Inclusion #Inclusivity #InclusionMatters #Long #LongPost #CWLong #CWLongPostOkay, this is new.
I know that Misskey has a hard-coded limit of 3,000 characters for writing posts.
But I've just discovered that two Misskey instances and one Sharkey instance I'm connected to failed to accept tonight because it is too long. That post is a bit under 49,000 characters long. That is, both alt-texts included, it it is a bit over 50,000 characters long.
The post wasn't cropped. It was rejected entirely.
The delivery report lists this chopped-off error message for all three instances:
delivery rejected: 413 "statusCode":413,"code":"FSTERRCTPBODYTOOLARGE","error":"Payload Too Large","message":"ReSimilarly, lemmy.world rejected the post which wasn't even targetted at any community there with:
delivery rejected: 413 <html> <head><title>413 Request Entity Too Large</title></head> <body> <center><h1>413 Request Entity Too LarNow I'm wondering what the limit could be. I think I should pay attention to more delivery reports of longer posts.
The flagship instance misskey.io failed with a 403, so that might have been caused by internal issues.
At the same time, at least some Firefish instances did accept the post. Remember that Firefish is a Misskey fork.
#Fediverse #CharacterLimit #CharacterLimits #Misskey #Sharkey #Lemmy #Long #LongPost #CWLong #CWLongPost
Australian tourists reconsider Kelowna vacation in wake of new short-term rental rules
The new rules are the provincial government's response to the housing crisis in an effort to turn short term rentals into long term ones.
-termrentals
Australian tourists reconsider Kelowna vacation in wake of new short-term rental rules
The new rules are the provincial government's response to the housing crisis in an effort to turn short term rentals into long term ones.
-termrentals
One of the new boxes actually contains an absolute rarity, the full Christmas Firepit Set. As far as I know, the original is not available anywhere anymore, and the copy at the various Clutterfly stores is broken. So the only chance to get it is by obtaining my upgraded version.
All 19 boxes, along with some more things created or modified by me, can be obtained in two places:
- Alpha Quadrant, , OSgrid
hop://hg.osgrid.org:80/DropBox - Kaufrausch Mega-Store, , Dorenas World
hop://dorenas-world.de:8002/Santiago
As usual for me, you can either copy the boxes or buy their contents without having to unpack them.
Image descriptions:
The pictures in this post are digital 3-D renderings created using shaders, but without ray-tracing, as they were taken inside a virtual world based on OpenSimulator. They show shelves with boxes containing various different items which I have either created or modified, offered for free.
OpenSimulator (), OpenSim in short, is a free and open-source platform for 3-D virtual worlds that uses largely the same technology as the commercial virtual world Second Life. It was launched as early as 2007, and it mostly became a network of federated, interconnected worlds when the Hypergrid was introduced in 2008. It is accessed through client software running on desktop or laptop computers, so-called "viewers". It doesn't require a virtual reality headset, and it actually doesn't support virtual reality headsets.
Just like Second Life's virtual world, worlds based on OpenSim are referred to as "grids" because they are separated into square fields of 256 by 256 metres, so-called "regions". These regions can be empty and inaccessible, or there can be a "simulator" or "sim" running in them. Only these sims count a the actual land area of a grid. It is possible to both look into neighbouring sims and move your avatar across sim borders unless access limitations prevent this.
The first picture:
The first image shows a public shelf unit on the sim DropBox in OSgrid. OSgrid is the largest OpenSim grid and the oldest one, launched in 2007. DropBox is a sim on which everyone can offer items of almost all kinds for free as long as they are legal. It was created by Neovo Geesink, formerly tech specialist in Metropolis, once the first and biggest German-speaking grid, launched in 2008, which was shut down in July 2022. He has also built the 66 identical shelf units in the Alpha Quadrant, the triangular northern quarter of the sim. The other three quadrants do not have shelves they are for offering items that are too large for the shelves.
These contraptions have four shelves each. The shelves are supported by one cylindrical column in each edge. The pair of columns on each end is connected at the top with a horizontal cylindrical rod of the same diameter which is arranged in such a way that it appears to be resting on top of the columns which, in turn, would have to have semi-circular cutouts for the rod. The rods itself do not protrude beyond the columns. A third, much longer rod is installed between them and connects them, reminiscent of a giant handle. All parts show the same texture in various shades of grey on all faces. This texture imitates the look of stainless steel brushed in a circle or, due to being stretched on all surfaces, rather an oval. The constructions are about twelve metres wide, two metres deep and four and a half metres high. The shelves are one metre apart.
One of the shelves is in the foreground of the image and the only one carrying items or rather mostly boxes with items in them with only one exception. The boxes are cubes with an edge length of 50 centimetres.
The top shelf carries three boxes, centred precisely on it and 50 centimetres apart. The boxes will be described from left to right.
First comes a box with a sky blue front face. The only visible side, like the other three sides bordering on the front, has small strips of sky blue to the left and the right and eight different skin tones with black lines separating them in-between. The skin tones are ordered darkest to lightest from the front to the back. The three lightest skin tones are displayed twice. The box is oriented this way because the rear side which is the actual front is not quite safe for work.
The sides symbolise the content of the box which is eleven more boxes which, in turn, contain either twelve or eighteen classic female human avatar skins. They were created by Eloh Eliot in 2009, and I have taken them and "remixed" them into something more useful and versatile in 2021 because I was dissatisfied with what was already available. The eleven skin tone variants are snow, snow with baked-on clown red lipstick, pale, pale with baked-on freckles, fair, fair with baked-on freckles, tan, bronze, chestnut, coffee and mahogany.
The skins are available in not-safe-for-work variants with textured-on nipples and a textured-on hairless vulva, semi-safe-for-work variants like which omits the vulva and fully safe-for-work variants which also lack nipples. Each one of these is available with or without Eloh Eliot's original dark eyebrows and with or without Eloh Eliot's original black eyeliner. In addition, the snow skins with red lipstick are also available in variants with black eyeliner and blue eyeshadow.
Back to the box itself: Only the front has writing on it, practically entirely done in a Helvetica-like typeface. Right below the top front edge of the box, there is a writing in regular all-caps, "Eliot" and a midpoint in white and "Rowland" in gold, all with two blank spaces between the characters. It it almost as long as the box is wide. Underneath it, written in a taller, bold and condensed font and in all-caps again, "Starlight" is written in white, and "Remix" is written in gold. The writing stretches over the same width as that of the line above. The next line, in a font that is still bold, but not condensed and smaller, also still in all-caps and entirely white, is "The complete set". It aligns with the two lines above on the left, but it is shorter on the right.
The other lines are written in a regular font, in white and without all-caps, and most of them are written in the same size.
Below the three top lines, at roughly twice the distance between the three top lines, follows a bullet-point list. It sits significantly further to the left so that the letters after the bullet points start slightly further left than the three top lines. The list items are "classic skins, no applier", "high-res body textures", "11 skin tones with up to 18 variants each", "3 modesty levels with optional eyebrows and eyeliner" and "Free MIT-licensed".
Some more writing is shoved into the bottom left corner. The first two lines are "Made in OpenSim for OpenSim" and "Recommended for Ruth2 v2" which is a typo and should read "Ruth2 v4". Below, in a much smaller font, is one more line that starts with an all-caps "Warning:" and continues with "These skins do not work properly on Athena 6."
Ruth2 v4 and Athena 6 are so-called mesh bodies. They are 3-D models of female human bodies which can be rigged onto avatars in Second Life and OpenSim. Their purpose is to replace the original standard system body which is not really good-looking even for the standards of 2003 when Second Life was launched. Both of these bodies use a technology called Bakes-on-Mesh which was introduced in 2019 and makes the texturing methods for the system body available to mesh bodies. However, there are slight differences between the implementations on these two bodies, hence the warning.
The other two boxes on the shelf have six identical mostly white faces, and they look almost the same. They contain special nail polish which I have made for Ruth2 v4 in 2022 when there was practically no nail polish available for this body.
The middle box contains 24 different nail polishes. 22 of them come in colours which I have taken from the configuration nail polish applier for Ruth 2.0. I have named the originally nameless colours colours rose, cerise, crimson, hot pink, magenta, violet, light lilac, purple, cornflower, bright blue, Prussian blue, French blue, royal blue, emerald, forest green, olive, caramel, mocha, smoke, carbon, Tuscan red and thunder. I found the 23rd, mint, as a default custom setting on one of these appliers. The 24th is white and is intended as a basic user-tintable nail polish although the tints of the other ones can be modified, too.
The right box contains nine different nail polishes. Eight of them come from the nail control on the so-called HUD which is normally short for heads-up display but stands for a graphical controller that can be attached to the user viewport. I have named them pink, magenta, fuchsia, bright red, medium red, dark red, very dark red and vantablack. The ninth one is white again.
Both boxes have four rather relaxed female hands with nail polish on the nails on them. In fact, it is four times the same hand. It reaches into the box art twice from the left and, mirrored around the vertical axis, twice from the right. If I recall correctly, the nail polish colours on the middle box are crimson red on the top left hand, Prussian blue on the top right hand, emerald green on the bottom left hand and mocha brown on the bottom right hand, but don't take my word for it. On the right box, they are fuchsia on the top left hand, medium red on the top right hand, pink on the bottom left hand and bright red on the bottom right hand. The sides of the nails that are oriented towards the on-lookers show a light stripe of shininess.
The styling of the boxes is identical otherwise except for individual writing. Centred at the top, "Nail Polish" is written in large, medium red letters in the Lobster Two typeface with a smaller "for Ruth2 v4" in otherwise the same style below. The only difference in labelling between the boxes is in the black writing in the middle. Still between the top hands and still in the Lobster Two typeface, a bit smaller than the top line, the number of main nail polishes is indicated which is "22" on the middle box, not counting the white nail polish and the bonus nail polish, and "8" on the right box, not counting the white nail polish again. On the middle box, "colours from the Ruth 2.0 nail polish applier" in a small, bold Helvetica clone stretches across the width of the box between the top and the bottom hands with "+1 bonus colour" below. The same writing in the same style and at the same size on the right box is "colours from the Ruth2 v4 HUD".
The writing at the bottom is identical on both boxes again, still in a bold Helvetica-like typeface. It starts with a medium red line the same size of the previous line, "Caution:". The other three lines are smaller. Two are black and read, "Requires OpenSimulator 0.9.1.1 or higher and Bakes-on-Mesh" and "Compatibility only guaranteed for Ruth2 v4". The third and last one is medium red again and reads, "Not compatible with Athena and other SL bodies" where SL is short for Second Life.
With one exception, the boxes on the two shelves below contain scripted furniture and similar items, all made in mesh by Linda Kellie in the mid-2010s and released under her Clutterfly brand. I have upgraded them with the more modern, more versatile and more lightweight SFposer sit animation controller developed by Satyr Aeon while still keeping the same animations and largely the same features.
On the outside, the boxes have several things in common. Again, all six faces look identical. The top of each face is covered by a semi-transparent grey stripe with centred, opaque white writing on it. The top line is fairly small and reads, "Clutterfly Upgraded". The line below is larger and tells what kinds of items are inside the box. Optionally, there is another line below with the same font size as the top line which tells the particular style of the items if necessary. In this case, the grey stripe is a bit wider. In the bottom right corner, at a small distance from the edges of the box, there is the SFposer logo with yellow letters, the "SF" in a stencil typeface, with thick medium green outlines on a medium blue background. A semi-transparent grey rectangle sits on top of it with the opaque white writing "Now powered by" on it. All lettering except for the SFposer logo is done in a bold Bookman-like typeface.
So, the second shelf from the top carries nine boxes, centred precisely on it and 50 centimetres apart. The boxes will be described from left to right again.
The first box, labelled "Bathtubs", contains eleven bathtubs in different colours: black, blue, brown, cream, gold, green, pink, purple, red, teal and white. The box art shows them in this order in two rows of four and one row of three, all oriented horizontally with the faucet at the top. The ground was custom-made for the box art with small, fancy white bathroom-style tiles. All bathtubs are only coloured on the outside while the inside is still white. They are currently the only items on the shelves that can make additional objects appear and disappear when choosing animations.
A close-up picture in the bottom left corner, roughly the size of the SFposer logo plus the grey rectangle on top, shows the only modification on the outward appearance I've done on the bathtubs: The faucet knobs are colour-coded, red on the left, blue on the right. For purists, the box still contains the original texture for the faucet knobs. The close-up picture has the black writing "Colour-coded faucet knobs" right above itself.
The second box, labelled "Bean Bag Chairs", contains ten bean-bag chairs in different colours: berry, black, blue, brown, green, pink, purple, red, teal and white. The box art shows them in this order in one row of three, one row of four and another row of three, all oriented with the back to the top. The ground shows a brownish, blurry sand texture. All bean-bag chairs have a rhombically-shaped fabric structure textured on and the same blanket with colourful stripes thrown over the right side of the back. The shadows around the chairs indicates the sun standing right above them.
The third box, labelled "Beach Towels", contains four beach towels to be laid on the ground. They come in two shapes with two decorations each. From left to right, they are as follows:
The one referred to as "orange" is mostly orange with a white fringe that is thicker at the ends than on the sides. In the middle, there is a stylised white starfish with three dash-like ovals between its arms, one at the top, two on the sides. Five somewhat irregular white curves surround it like a circle. Shape-wise, it only has one large crease towards the bottom right.
The one referred to as "pink" has a background that is very light pastel teal on about the middle 40%, lined by thick vertical stripes in light teal and edges in pastel pink. It is decorated with stylised tropical flowers in magenta. It is messier than the first towel.
The one referred to as "teal" uses the same mesh as the "pink" one. It has only got thick horizontal stripes on it in darker teal, lighter teal, pastel teal, pastel lime green, pastel green and medium green. The pattern repeats a bit more than one half time, ending in another pastel lime green stripe that is about 35% the width of the others.
The one referred to as "yellow" uses the same mesh as the "orange" one. It is mostly yellow with some white print on it. At the top and the bottom, there are narrow vertical lines. Most of the rest has widely-spaced white polka dots on it.
The background of the box art is a beige sand texture.
The fourth box, labelled "Innertubes", contains seven inner tube floaties. The box art shows them in a two-and-three-and-two arrangement on a greyish beige sand texture. They all have a basic colour and three thick and thin stripes each.
The top left one is referred to as "purple" it is light purple with thick dark purple and thin magenta stripes. The top right one is referred to as "red/yellow" it is white with thick red and thin yellow stripes. The left one is referred to as "pink" it is pink with thick red and thin orange stripes. The middle one is referred to as "red" it is red with thick dark orange and thin lighter orange stripes. The right one is referred to as "yellow" it is lemon yellow with thick dark yellow and thin orange stripes. The bottom left one referred to as "purple/teal" it is white with thick teal and thin purple stripes. Finally, the bottom right one is referred to as "teal" it is the same as the previous one, but light teal instead of white.
According to the shadows cast by the floaties, the sun is standing high up to the upper left.
The fifth box, labelled "Pool Floaties", contains ten air mattress floaties in different colours: black, blue, green, orange, pink, purple, red, teal, white and yellow. The box art shows them in two rows of five on a ground texture similar to that on the "Beach Towels" box.
What follows are fourteen boxes with the same ground texture as the "Bean Bag Chairs" box. Thirteen of them contain three different sets of items in different themes.
The six "Cuddle Lounge Chairs" boxes contain four lounge chairs each, shown on the box art in one row. All lounge chairs have a bottom part that's slightly curved upward and a cylindrical pillow pushed against the backrest. The one on the left is plain otherwise. The next one has a blanket draped over the backrest and the pillow. The third one has one diagonally draped over the right front corner. The one on the right has one transversally draped over the bottom, but lifted so that the front left corner is free. The sun is always shining from above.
Three boxes are labelled "Firepit Set". Each one shows a firepit with animated flames in the middle, a tree stump below, two tree stumps with reddish-brown wood surrounded by a greyish-brown bark and one blanket draped over half of each one on the sides and two hollow pieces of tree trunk with the same greyish-brown bark at the top. The piece of trunk above the firepit has a blanket over its left end and two differently-sized square pillows and one round pillow in front of it. The piece of trunk on the right has one blanket pushed against it on the ground, another blanket draped over the first blanket and the right end of the trunk, four differently-sized square pillows on the second blanket and a fifth one lying next to the left end of the trunk which happens to be always lime green with a faint vine motif on it. Only the fire pit casts a shadow, but it indicates the sun shining from right above again.
Four boxes are labelled "Cuddle Blankets". They contain three times the same blanket with the right front corner pushed inward and three times the same two rectangular pillows and one round pillow with a knob in the middle on it and show them on the box art. The one in the middle has the blanket tucked under a hollow piece of tree trunk with a dark bark, referred to as "Forest Log". The one on the right is the same, but usually with a lighter, bleached tree bark and known as "Beach Log". On the left, there is the "No Log" variant which has one more rectangular pillow and one more round pillow, both with a knob in the middle, in the place of the log.
So numbers six, seven and eight on the second shelf from above are all "Cuddle Lounge Chairs" boxes. Number six is the "Tropical" variant with dull green loungers. The blankets have different arrangements of tropical colours on them like yellow, orange, lime green, magenta and teal. Number seven is the "Contemporary" variant with dull dark blue loungers. The second lounger has a medium blue blanket with white lines in a slightly chaotic, but roughly rectangular pattern on it. The third lounger has a dark yellow blanket with a heavily stylised white and grey flower print in a somewhat 60s style. The fourth lounger has a dark yellow blanket again, but with a different white pattern and some blue elements in-between. Number eight is the "Gothic" variant with black loungers. The blanket is red on the second lounger, purple on the third and striped red and purple on the fourth.
The ninth and last box on this shelf is the only different one. It is labelled "Lesbian Furniture", and it contains one armchair and one couch with lesbian animations. Both are black with light pink cushions, and this is also the colour scheme of the whole box. There is also a black round coffee table with two levels which the box art shows towards the left with the couch above and the armchair to the right of it. On top of the coffee table, oriented towards the armchair, there is a pink laptop with a black keyboard, a black touchpad and black hinges and an OpenSim viewer running on the screen. In the corner between the couch and the armchair, there is a black round end table which has two levels, too. It has a mostly black table lamp with a pink lampshade standing in the middle of it. Of course, all six items are in the box. Once again, the shadows indicate the sun shining from above.
One shelf further below, the objects on it start with a square blue sign resting against the left rear column. It is a copy of the "No Stairway To Heaven" sign from the film Wayne's World which was a jab against Led Zeppelin not authorising the use of their songs in films. Thus, it has a thin white line with rounded corners along its edges. In the middle, there is "No" written in all-caps and what appears to be a very big and heavy Helvetica-style typeface, and "Stairway To Heaven" in three lines right below in a smaller but even heavier slanted sans-serif typeface and still in all-caps. It is mostly intended for guitar departments in music stores.
Otherwise, there are another ten boxes on the shelf as partially described above. This time, they are grouped not by type, but by style. The boxes in groups are only 25 centimetres apart whereas the distance between boxes stays 50 centimetres otherwise.
The first box is the Christmas-themed "Cuddle Blankets" box. The blankets have a texture with a medium red and grey pattern on cream that is vaguely reminiscent of stereotypically ugly winter sweaters with trotting reindeer, strips with snowflakes on them and what could be described as very course pixel art of poinsettias. The rectangular pillow to the left is cream with a detailed red print of vines and blooms. The round pillow to the right is green with a darker green vine motif in the background plus large stylised snowflakes in different pastel yellow and green tones. The rectangular pillow underneath the round one is white with eight different kinds of stylised decorated Christmas baubles hanging on red threads.
One thing that is unique about this box is that it does not have a beach variant of the trunk. Instead, there is another blanket with a "Forest"-style trunk which is covered with snow. The variant without a trunk has a rectangular red and a round green pillow behind the other pillows, both with darker vines on them.
The second box is the Christmas-themed "Firepit Set" box. The blanket on the stump to the left is cream with a red and green Paisley print. The one on the stump to the right is chequered with four different squares. Two are red with black borders slightly darker red prints on them, one with what appears to be a snowflake, one with what could be vines. The other two are white with green borders. One is partially light green in the background with white six-point stars on it and a green twig with five leaves in the middle. The other one shows a green and red holly twig.
As for the trunks, the blankets on the ground have got roughly the same pattern based around the same "pixel poinsettias" as in the "Cuddle Blankets" set. On the blanket to the left, it's green, on that to the right, it's red and a bit bigger. Both have a rather low resolution and a whole lot of visible JPEG artifacts, though, as if they weren't available at full resolution anymore. The trunk on the left also has a medium-sized white buttoned rectangular pillow on the blanket with a mostly red and green Christmas print, including baubles, candy canes, both green and red conifers and Santa Claus in his sleigh. To its right, resting directly against the trunk, there is a larger rectangular pillow with a pattern in red and various shades of light brown that is a mixture of a tartan and Gingham. The smaller buttoned round pillow leaning against it is red with thin beige vines and stars.
The second blanket on the trunk to the right is mostly a darker cream with Christmas plant motifs on it such as pinecones, holly or a poinsettia, separated by red borders. The same cream rectangular pillow with red vines as in the "Cuddle Blankets" box is leaning against it. In front of it, there are a copy of the small lime green pillow at the left end of the trunk, a small dark green rectangular pillow with holly print and, half behind it, the same small white pillow with baubles as in the "Cuddle Blankets" box.
The two Christmas-themed boxes are followed by three Country-themed boxes, starting with a "Cuddle Lounge Chairs" box with dark brown cuddle lounge chairs. The second chair has a simple beige and red Gingham-patterned blanket. The third one has five cute pictures involving tiny teddy bears with cups, plates and the like in front of a background of vertically installed white wooden planks, separated by dark brick red borders. The picture at the top has a beige banner below it with the writing "Home Sweet Home" in a rather irregular serif typeface, all-caps and letters in red, blue, yellow and green. The blanket on the fourth chair appears to be a mostly white quilt with a dark grey border and some pieces in plain or printed red, green and different shades of light brown. Some of them appear to stand for autumn leaves.
The second box in the Country group is the "Cuddle Blankets" box. This time, the blanket shows a very coarse fabric pattern with a tartan with broad red and thin dark grey lines on cream. The rectangular pillow to the left is the same "Gingham tartan" pillow as in the Christmas-themed box. The buttoned round pillow to the right is various shades of brown with large leaves printed on it. The rectangular pillow under it is cream with green vines and leaves and red blooms. Of the pillows behind them in the trunkless version, the buttoned rectangular one is off-white with a cock, various chickens and a few eggs printed on it, and the buttoned round one is red with a tiny, hard to recognise pattern in cream on it.
The third box in the Country group is the "Firepit Set" box. The blanket on the stump on the left is mostly a light tan. Medium brown curves composed of circular arcs divide the texture into fields with two kinds of mostly brick red stylised blooms in them, a small and rather simple one with eight "petals", a slightly larger and more elaborate one with two layers of eight "petals". The blanket on the stump on the right is textured with a tartan which I consider purely fictional after having failed to identify it. It is mostly green and beige with one thin Bordeaux red and thicker Burgundy red line each.
The blanket on the trunk on the left shows a texture which is somewhat reminiscent of patchwork while clearly being a print because some of the sections aren't square or rectangular. Interspersed with blocks with chequered or chevron patterns or solid colours, various wildlife is depicted such as deer, waterfowl or a bear. There are also depictions of conifers and their cones. The smaller buttoned rectangular pillow on the blanket is the same cock-chickens-and-eggs pillow as at the back of the trunkless cuddle blanket in the previous box. Next to it, leaning directly on the trunk, the "Gingham tartan" pillow re-appears again. The buttoned round pillow leaning against it is mostly covered by a beige and gold texture with a crinkled appearance the knob in the middle is honey yellow.
The trunk on the right has the same arrangement with two blankets and five pillows as in the other "Firepit Set" boxes again. The blanket on the ground is striped horizontally in peach and brick red. The blanket cast over the trunk has a mostly white texture which indicates a very coarse fabric with horizontal brown and mustard yellow stripes and vertical dark orange and dark brown stripes woven in. The large rectangular pillow leaning against it is a darker cream with slightly stylised plants in shaded yellowish green and a few red berries and mostly red blooms with five petals each, all with black outlines. The small rectangular pillow a bit further to the right, leaning against this pillow, is mostly beige with an apparently abstract pattern in various tones of blue, red, green and yellow. The pattern is technically symmetrical around both the vertical and the horizontal axis, but the symmetry is ruined by the pattern being slightly misoriented and not being seamless. The small rectangular pillow behind it is cream with a rather elaborate and detailed hand-painted plant print that is mostly green with large blooms in rose and Bordeaux red tones and smaller ones in different shades of aqua blue. The two small lime green pillows are in the same places as in the Christmas variant.
Following the three-box Country group, the Shabby Chic group has the same three boxes in the same order, only with a different visual style and thus mostly different textures. So again, it starts with a "Cuddle Lounge Chairs" box. This time, the chairs are light grey. And again, the first chair does not have a blanket on it.
The blanket on the second chair, draped the same way as on all the other second chairs, has an appearance much like a quilt with the seams covered in white fabric, only that this is clearly supposed to be a print. The colour theme is cream, green and pink otherwise. There are twelve unique rectangular patches on the upper side of the blanket, six of which are largely or fully visible on the box art along with tiny bits of a seventh and maybe an eighth patch. Three of the largely or fully visible patches show roses against a cream, pastel green or pastel pink background. One has an elaborate cream and pink vertical stripe pattern. One is cream with pastel green vertical stripes with darker outlines, interspersed with rose decorations. One is simply pink with white or cream polka dots. The one that is barely visible is white with dark pink polka dots, and the one whose visibility is unclear repeats the elaborate stripe pattern, but in green.
The blanket on the third chair is white with a printed pattern of pastel pea green vines with leaves and blooms mostly or entirely in pastel rose and in various shapes and sizes. The blanket on the fourth chair is baby blue and has hand-painted plants printed on it with quite a variety of blooms on them, different songbirds sitting on them and butterflies flying in-between them all the visible butterflies are light blue. The aspect ratio of this texture is off, it is stretched vertically.
The second box in the Shabby Chic group is the "Cuddle Blankets" box again. Also again, it has the same blanket in all three variants. The blanket is white with yet another different hand-painted plant print which is mostly khaki apart from the blooms which are either white or various shades of pastel pink. The rectangular pillow to the left is sand-coloured with horizontal stripes in old rose in a pattern of three wide stripes surrounded by two stripes as narrow as the gaps between the stripes. The round buttoned pillow to the right is a faint pastel pea green with a very light faint pastel green and faint pastel old rose print of what might be supposed to be simplified roses with vines and leaves in-between, some of the leaves only being outlines. The rectangular pillow lying under it has the same lime green texture as the two identical small pillows in each of the two previously described "Firepit Set" boxes. As for the two buttoned pillows in the back of the trunkless variant supporting the other pillows, the rectangular one is sand-coloured with a vertical pattern of jagged stripes in two shades of pea green and one shade of rose. The round pillow is lime green with an olive green square pattern consisting of octogonal shapes, each made of four hexagons, interspersed by thick circles.
The third box in the Shabby Chic group is the "Firepit Set" box again. This time, the blanket on the stump to the left is off-white with a pastel violet and green flower pattern that is different from all previously mentioned prints yet again and three semi-transparent stripes, two light brick red and one pastel green, slightly diagonally across it. The blanket on the stump to the right shows another different rose print in pastel old rose and pea green on a bluish grey background with white dots, an irregular rectangular grid in semi-transparent somewhat darker bluish grey layered over it.
The blanket draped over the end of the trunk on the left is a faint greyish pastel blue with yet another different flower print, this time in pastel shades from white to dark rose and centred around roses. The three pillows in front of this trunk have all appeared before. The buttoned rectangular pillow on the blanket is the same one as at the back of the trunkless Shabby Chic cuddle blanket, the one with the jagged vertical pattern. The large rectangular pillow to the right of it is the same horizontally-striped sand and old rose pillow as on all three Shabby Chic cuddle blankets. And the round buttoned pillow is the same crinkled-textured beige and gold pillow as in the equivalent Country-style set.
Both blankets around the trunk on the right have new patterns again. The blanket on the ground has a horizontal stripe pattern that looks like lifted from a 1970s deck chair. Thick stripes of cream and pea green have thinner, semi-transparent stripes in various shades of pastel blue, pink and purple on top. The other blanket is lightly sand-coloured with another plant print, this time with branches and twigs in shades from white to tan. Leaves, vines and flower stems in various shades of green grow from them. Different blooms in white, various shades of pink and shades from white to sky blue are part of this vegetation, too. At least one bird of paradise is sitting on a branch, its head turned to the right, mostly two shades of yellow with shades of sky blue in the wing and tail feathers while the outer ends of the wings are salmon-coloured. The bird is actually looking away from a nearby butterfly with a pink body, khaki fore wings and aqua aft wings. The pattern repeats one third of a time vertically.
The large rectangular pillow leaning against the blanket is light pastel steel blue with fairly large ivory polka dots. The small square pillow lying in front of it is not a copy of the lime green pillow at the left end of the trunk for a change it is light pastel pink with fabric structure, but no printed or woven pattern. The small rectangular pillow on top if it, leaning against the rightmost parts of the blue polka dot pillow, is white with a pattern of cerise and teal flowers in large, rounded, almost circular cerise frames. Finally, the small rectangular pillow behind it is the same cream and flower-printed pillow as in the same spot in the Country-styled firepit set.
The last group is the Modern group with only two boxes, for there is no "Firepit Set" box in this group.
The first box is the sixth and last "Cuddle Lounge Chairs" box on the shelves. The lounge chairs are beige this time, still with the first chair lacking a blanket and the other three chairs having blankets draped the same way as in the previous boxes. The blanket on the second chair shows a horizontal gradient from white on the left-hand edge to pastel blue to a wide area of pastel lime green to pastel terracotta all the way to the right. Shading on the texture simulates an embossed longitudinal structure in the fabric.
The blanket on the second chair is greyish blue with a longitudinal stripe pattern. The stripes are rather broad with wavy edges and blurry enough to actually be gradients from light taupe in the middle to pastel slate grey to the greyish blue that makes up most of the texture. Between these stripes, there appear to be thinner, fainter stripes with a slightly greyer or browner tint and small light spots at a regular interval.
The blanket on the third chair is a tone of beige similar to that of the chairs themselves with another longitudinal stripe pattern. Two different stripes with fairly blurry edges alternate. One is pastel petrol blue with wavy edges. The other one is pastel pea green with shorter "notches" in the sides, lined by dark shading on both sides.
Finally, the second and last box in the Modern group and the tenth and last box on the shelf is the fourth and last "Cuddle Blankets" box. The three blankets themselves are identical again. They are white with a rough fabric texture and horizontal stripes which itself contain different black-and-white patterns, some involving lines in long zig-zags, some too small to identify due to the limited resolution of the texture.
The rectangular pillow to the left is beige with a horizontal fabric structure on the texture. It is printed with a petrol blue pattern of branches and rounded leaves and another similar pattern in taupe on top. The round buttoned pillow to the right is pastel teal with a pattern of five white roughly horizontal lines. These lines repeatedly spread out until the two outer lines touch those of the instance of the pattern above or below. The rectangular pillow which it is placed on has an unusual texture. It looks like it was stitched together from different fabrics with different structures and different shades of brown or grey. At least 16 wedge-shaped pieces each, always in two alternating styles, form circular shapes which are arranged in a very large square pattern in such a way that they touch each other. Some of these wedges are divided into an inner part and an outer part. The gaps between the circles are filled with similar wedge-like pieces of fabric with small circular pieces at the centre.
In the trunkless version, there are two buttoned pillows behind these three again. The rectangular one is dark petrol and plain except for a strong fabric texture the knob in the middle is terracotta-coloured, making the embossed edge more easily visible. The round pillow shows a wild, abstract pattern in sand, taupe, light tan, grey and black. The sand and grey areas show horizontal fabric structures.
The bottom shelf of the unit returns to a unified pattern of eight boxes, centred precisely on it and 50 centimetres apart. Each one of these boxes contains four wooden box shelf units. I have built them myself when I needed one for a shop. The units are one and a half metre wide, 70 centimetres deep, and they come in four sizes, namely two, three, four or five shelves which are always 80 centimetres apart. They come in eight different sorts of wood, using wood textures from FleepGrid. However, the rear panel is always plywood and tinted to match the rest of the unit if necessary. Care has been taken to keep the original aspect ratios of all textures.
Each box also contains the textures used for easier modification, signs that can be be mounted on the front sides of the shelves and a positioning aid for several sizes of boxes which makes positioning them easier, especially on shelf units which are installed diagonally.
All eight boxes are decorated largely the same. The four sides are identical. The box art shows all four sizes next to each other, the smallest one on the left, the tallest one on the right and a bit farther from the point of view which is slightly rotated into a diagonal position towards the shelves. The sun shines on them from ahead and above, making them cast shadows behind themselves onto the plain ground which appears roughly cream-coloured due to how low the sun is standing.
The upper third of the sides, as well as the top, are black. In the black are of the sides, the product line is named in golden letters: Centred at the top, "Jupiter's" is written in a medium-sized regular font. Below it, larger and in bold type, "Basic Shelves" is written. Further below, in the top left corner of the product image, the used wood is mentioned in a smaller but still bold font. Finally, "Wood textures, shelf signs and positioning aid included" is written along the bottom edges, aligned towards the right, in a rather small regular font. The typeface always mimicks Bookman.
On the shelf, the boxes are ordered alphabetically from left to right: beech, birch, cherry, dark oak, hickory, maple, pine and stained oak.
All boxes described above are switched to what is called "full bright". This means they have their shading turned off. Neither lighting or the lack thereof nor cast shadows have an effect on their appearance.
The textures on the contents of the boxes are too small to be visible in the picture itself. Also, the picture shows all text on the boxes so small that it cannot be read in the picture.
In the background, there are multiple shelf units identical to the one in the foreground, but they are all empty. The background is limited by a light brown brick wall. It is about ten metres high, and the point of view is chosen so that its top edge is aligned with the top shelf of the unit in the foreground.
The floor texture shows some light wood grain the wood is not separated into planks. The shadows underneath and around the shelf units indicate that the sun is shining down on the scene vertically. The sky is blue, but except for to the right and farther in the distance, it is covered by a large, cirrus-like cloud.
The second picture:
The second picture shows the inside of the Kaufrausch Mega-Store, a department store on the sim Santiago in Dorenas World. Launched in several home-hosted iterations in December 2009 and finally re-launched on rented Web space in January 2010, Dorenas World has been the oldest surviving German-speaking grid since Metropolis shut down.
In the foreground, eight wooden shelf units with three shelves each are lined up. They were made by me, and they can be found in the shelves boxes which have already been described as part of the first picture. Each sort of wood is present once as a demonstration, and each shelf unit carries the corresponding shelves box on the top shelf. The boxes are still the same, but they are larger with an edge length of 70 centimetres.
Also, the order is different. The row of shelves starts with the lightest wood, beech, on the left. Darker woods follow, namely cherry, pine, birch, maple and hickory. To the right, there are the two darkest woods, stained oak and dark oak.
The shelves are used to offer my upgraded Clutterfly items boxes as well. Except for the dark oak shelves all the way to the right, all units contain one or multiple of these boxes. From left to right, they are filled as follows:
The beech shelf unit all the way to the left has the Pool Floaties and the Tropical-style Cuddle Lounge Chairs on the middle shelf and the Beach Towels and the Innertubes on the bottom shelf.
The cherry shelf unit has the Lesbian Furniture and the Contemporary-style Cuddle Lounge Chairs on the middle shelf and the Bean Bag Chairs and the Bathtubs on the bottom shelf.
The pine shelf unit is for the Christmas style: It has the Cuddle Blankets and the Firepit Set on the bottom shelf.
The birch shelf unit is for the Modern style: It has the Cuddle Lounge Chairs on the middle shelf and the Cuddle Blankets on the bottom shelf.
The maple shelf unit is for the Shabby Chic style: It has the Cuddle Lounge Chairs on the middle shelf and the Cuddle Blankets and the Firepit Set on the bottom shelf.
The hickory shelf unit is for the Country style: It has the Cuddle Lounge Chairs on the middle shelf and the Cuddle Blankets and the Firepit Set on the bottom shelf.
The stained oak shelf unit has the Gothic-style Cuddle Lounge Chairs on the middle shelf.
Behind the hickory shelves and partly behind the maple shelves, a plain shiny bluish grey piece of wall from the floor to the ceiling separates a very large window to its left to a smaller one to its right. Another similar piece of wall is on the right, extending into the building and beyond the border of the image. One of the building's three revolving doors is behind it. A shadow appears to be cast from the ground up to about 28% of the height of this piece of wall. It is actually a side-effect of the shininess as OpenSim's graphics engine is incapable of raytracing.
The small window consists of one pane which appears to be framed in metal. In the larger one, two wider panes are visible. They extend from the floor to about 80% ceiling height. Above them, the gaps between the walls are filled with additional horizontal pieces of wall. These are a faint dark purple and decorated with lighter rectangular frames corners curved towards the inside. Two of these frames are above the small window, six can be seen above the larger one. The glass in the windows is tinted grey which makes the outside appear darker than it actually is.
The ceiling is plain grey and appears darker than the walls. Towards the right, it has a slight yellow tint which comes from a light source.
A pattern of five tiles makes up the floor. Four of them are large grey squares with one corner cut off they become more or less slightly darker towards the corner opposite the cut-off corner. They are oriented with the cut-off corners turned towards one another. The fifth one is a small, dark red square that fits in the gap created by the cut-off corners.
The department store building is a one-off custom design by grid co-founder Anachron Young.
Behind the shelves with the boxes and through the windows, the outside can be seen. Right outside the department store building, there is a street with yellow centre lines and sidewalks with concrete pavement on both sides.
On the other side of the street, mostly left of centre, the ruins of an unfinished two-floor building, probably a residential one, can be made out. Its walls and columns are covered with cracked and weathered plaster. Doors and windows are missing. However, the building appears to be occupied by hobos. Someone has installed not only primitive wooden railings where the upstairs windows, but a makeshift trellis on the side oriented towards the department store and two more on the left around the corner. Green plants are growing up all three. Also, old and shabby furniture is strewn about both floors. Due to design limitations, the roof shingles can partly be seen from underneath. Various trees with green foliage can be seen behind the ruins.
The grey single-floor building to the right of the ruins is commercial, but unused. Only little of it is visible through the small window to the right. It, too, is labelled as a department store although it is much smaller than the Kaufrausch. So says the dark brown writing above the windows and the boarded-up door, none of which is actually visible in the image except for the uppermost bit of the "D" in the all-caps "department store" writing. Above it, a dirty and damaged yellow sign advertises "housewares & small appliances" in black all-caps. To the left of both, there is another dirty and damaged sign, a white one with "clothing" and "sportswear" written in two lines of red letters.
Directly to the left of the beech shelf unit, on the other side of the street, one of the three posts of a triple road sign can be seen.
Farther to the left and in the distance, there is another one-off custom building created by Anachron for this sim. The two-floor Prim-Air School has walls covered in vertical panels of an unknown material. Between the windows of the ground floor and the first floor, one of each of which is visible, the walls are painted brown, otherwise they are orange. The corners are a darker orange, but glossy which is why the one visible corner appears to be painted in a dark pastel tone. The school yard in front of the building is separated from the sidewalk by a black iron fence. The two large white rectangles on the ground of the school yard which are for various sports activities can just barely be seen.
What little of the sky above is not blocked by buildings or vegetation is blue and cloudless. No shadows can be made out outside, so the position of the sun remains unclear.
#OpenSim #OpenSimulator #Metaverse #VirtualWorlds #Upcycling #AltText #ImageDescription #ImageDescriptions #Long #LongPost #CWLong #CWLongPost #EyeContact #CWEyeContact #Food #CWFoodI thought I wouldn't need an #EyeContact #ContentWarning this time
But there are birds and other animals on some of the fabrics. They're absolutely invisible to the naked eye, usually being less than 1/100th of a pixel each in the final picture. But I guess I can trigger some #Autistic people by just merely mentioning that they're there. Remember that most birds have almost 360 vision, and deer aren't that far away from it. If you see a bird or a deer, you practically always see at least one eye.
On a sidenote: Having to describe over a dozen different plant/flower prints on fabric is tiring. I hope this will be over soon. I've only written some 7,000 characters today so far...
#Long #LongPost #ImageDescription #Inclusion #InclusivityI hate describing fabric patterns.
There's a blanket on a picture on the sides of a box. In the final picture, it'll be shown not much larger than six pixels, two wide, three high. I've just used a bit over 1,000 characters to describe only the visible part of that blanket because it has a patchwork-like print. But I'd do the very same thing if it was only a small pillow that'll be less than one pixel in the final picture.
I'm going to pump tens of thousands of characters into describing dozens of textures. And when I'm done, I'm going to mention that not a single one of these textures is actually visible to the naked eye because #Blind and #VisuallyImpaired people won't know that otherwise. But this invisibility due to low resolution is part of the image and thus needs to be described.
Oh, and I won't be nearly done before noon. And since I've just passed 30,000 characters, I'm not sure if I won't break my own record.
The things you do for #Accessibility.
#Long #LongPost #ImageDescriptionAnd I'm back. Now I hope to be done with the first description before noon and without breaking my #ImageDescription record of 38,650 characters.
14 boxes with content to go, six of them with various fabric textures. The other eight might be rather simple and done quickly unless #Accessibility and the curiosity of random readers demand me to give detailed descriptions of eight woodgrain textures plus plywood which are absolutely invisible to the naked eye in the picture.
I also hope I can really get away with describing and transcribing only once what appears multiple times such as certain labels on boxes. This description would really go completely out of hand if I were to fully describe each one of 30 boxes individually. This would become the first image description in the Fediverse with over 100 individual text transcriptions.
The second picture will only show boxes which are already in the first picture. I do hope I can get away with writing that these boxes have already been described in the image description of the first picture.
#Long #LongPost
Bought my ticket as fast as I could, got to the platform in time to see my bus pulling out ouch. Hopefully just half, not an hours wait.
to
Girls on the Golf Course, Taylor Swift Brittany Mahomes Handshake Reaction & Ryan Long Ep 212
Tsukiatte Agetemo Ii kana
Do We Relationship
Inuzuka
Sawatari
Cap
Hair
Hair
Even if the could be pressured or bribed into considering taking control, it is far from clear if they would be accepted, or able to do it.
A government installed by the Israeli military would not be seen as legitimate.
The are already widely resented in the for their weakness in the face of Israeli authorities, for being inefficient, unrepresentative and riddled with corruption.
And though the majority of Gazans were not old enough to vote when lost elections to in 2007, there is no reason to think they have become more popular.
The only idea floated by Israeli politicians and officers for Gazas future, an force, seems rooted more in wishful thinking than reality.
It seems that the war is going to be very, very and we have to take into account the , the risk of conflict into the wider region, the of support and the question to whom we are going to pass in Gaza for example if we have to pass it potentially to some Arab-led force, said former prime minister Ehud .
Wo bin ich und wo will ich hin -Vehicel
Sask. government seeking builders for new long-term care facility
On Thursday, the government announced it had issued a Request for Qualifications (RFQ) for a team to design and build the specialized facility.
-termCareFacility
Sask. government seeking builders for new long-term care facility
On Thursday, the government announced it had issued a Request for Qualifications (RFQ) for a team to design and build the specialized facility.
-termCareFacility
it such a to Still not there where I used to be
But be there ( to my )
an awfull year
The era has truly the out of
After Israel warned them to evacuate in light of a planned ground offensive against Hamas, thousands of Palestinians fled to southern Gaza to seek refuge.
Heat Check Podcast: What did we learn from Miami Heats preseason opener
Trip Destination: Balos Beach, Crete. A girl traveler in a black outfit and white shoes, enjoying the stunning view of the ocean, beach, and mountains. Have you ever explored such a scenic paradise, like a modern-day Scalise or in search of the elusive Bigfoot
Regina city councillors work towards providing more long-term bed spaces.
City councillors agreed to rezone a portion of the land by the Wascana Parkway to allow for the development of a long-term care facility.
-termcarehome
Regina city councillors work towards providing more long-term bed spaces.
City councillors agreed to rezone a portion of the land by the Wascana Parkway to allow for the development of a long-term care facility.
-termcarehome
v some of the Gryphons can be rly very long . this Gryph the Gryphon's often rly very long too V
Apparently according to the WHO infection control should be based one ones values and preferences (I guess whether you prefer to infect your patient while wearing a more comfortable ineffective mask like a surgical aka medical masks or whether you prefer to not infect them by using a respirator mask better able to reduce airborne spread diseases).
COVID
1 percent of had through last year, CDC says
By the end of last year, about 92 percent of those 17 and younger had indicating a previous covid-19 infection, but long covid remains rare, especially in children younger than 12, the reports authors wrote.
By comparison, a separate CDC report on long covid among U.S. found that nearly 7 percent (1 in every 14 adults) have experienced long covid, and about half of them still had the condition.
Happy ! Or Long Weekend Where Some People Also Eat Turkey!
We don't celebrate the day in our house, but does get the weekend early as opposed to the US where they double up with BATShit day - Buy All The Shit day. So, it's still an excuse to get the family together for a nice meal. Which may incidentally involve Turkey.
Mom hasn't been with us for 7 years now, but I still use the handwritten recipe cards she wrote out for me 28 yrs ago when I went to college.
Achterbanraadpleging!
De regering geeft geld voor wetenschappelijk onderzoek naar Covid. ZonMw is de organisatie die dit onderzoek financiert. Om dit geld goed te besteden zijn de patintenorganisatie PostCovid NL en de patintgroepen Long Covid Nederland en Kinderen met Long Covid, gevraagd onderwerpen aan te geven waarvan zij vinden dat het binnen klinisch en zorg-gerelateerd onderzoek onderzocht moet worden.
In-A-Gadda-Da-Vida
Iron butterfly - 1968
Nimm heute am Schweigespace auf Twitter teil. -Covid
Last updated: 2023-11-06
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