The Art of Gradient Mesh in Second Life

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

Gradient mesh is a technique for creating complex colour transitions across a surface. Using a grid of adjustable control points, or nodes, it allows multiple colours to blend smoothly in multiple directions such that they flow and create a sense of shape, light and shadow far more organically than is possible when using more traditional linear, radial, diamond or angular gradients, where the transition is along a line or radiating from a single or central point, and with much finer blending than might be achieved using blur gradient.

Within graphics design, gradient mesh can be used in things like user interface design for apps and web pages, through to creating digital art in a rich variety of styles and genres, and with extraordinary depth. It is a technique particularly effective in producing photo-realistic digital art.

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

This latter use is amply and marvellously demonstrated by Bjarni Guero Danae (Ominur) at his Galeria Danae, home to his exhibition The Art of Gradient Mesh.

Set within a modern, minimalist skybox space, this is a comprehensive collection of gradient mesh art not just because each piece has been created using the technique, but because each image is shown with its corresponding mesh of control points used to give it colour and depth. Thus, we see both the art and the means by which it was given its final form.

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

From musical instruments to human studies, cars, bottles, flowers, headwear and more, Bjarni presents the rich tapestry of opportunities the technique presents to create the most eye-catching art. I particularly found the pieces featuring musical instruments particularly engaging, given the eye and skill for manipulation of control points to generate a piece of art might be likened to the skills involved in reading music and playing an instrument.

Some of the pieces are so reach in depth, colour, form and presence it is hard to consider them anything but photographs of real objects. Just take the four images of drinks to the left of the bar or (my personal favourite, given I use one to warm to warm the alcohol  – usually kahlua -when making a liqueur coffee!) the brandy warmer, together with the image looking up at a sculpture.

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

As to why he creates gradient mesh art, Bjarni gives a personal reason as rich and approachable as the pieces on display:

Gradient mesh work makes the world disappear. It makes noise go quiet. It challenges my creating problem-solving, and being good at this helps me be better at everything else. Yes, it is time-consuming … But at the end, it is the satisfying feeling of accomplishment. It’s what I do to relax after designing for others all day long.

Those are perfectly understandable sentiments; because of them, we are all able to enjoy the pieces displayed at Galeria Danae not just because of the manner in which the reveal the structure of gradient mesh so vividly, but because they are all genuinely and uniquely works of artistic refinement and beauty.

Do be sure to visit!

Galeria Danae: Bjarni Danae – The Art of Gradient Mesh

SLurl Details

A Notable Art Gallery and more in Second Life

Notable Art Gallery, July 2026 – click any image for full size

The delightfully named Perspective Doodles is a Full private region leveraging the Land Capacity available to those regions to present a Group-held setting with multiple elements from ancient ruins through a town-like commercial district and a games-focused spa, and an art gallery.

It was the latter – the Notable Art Gallery – which drew me to the region. The work of Nyte Vargas Siegel Setner (Nyte Vargas), the gallery is designed to offer a rich mix of Second Life and physical world art and photography, poetry and special exhibitions and challenges. And it is extremely well organised and presented.

Notable Art Gallery, July 2026

Sitting within its own garden space, the gallery occupies an imposing conservatory comprising six major rooms all connected by glass spaces and built around two ornate fish ponds. Five of the main rooms and the linking glass-enclosed walks present art, with the foremost room forming the Gallery’s foyer.

The gallery’s programme is a mix of collections by the artists in residence, together with themed exhibitions and and art-related challenges. A schedule on the latter two can be obtained from the desk to the left side of the foyer when entering, along with a Group joiner for those wishing to be kept appraised of future events, challenges and activities. To the right of the foyer is an second desk promoting the artists in residence, all of whom have their collections displayed through most of the rest of the conservatory.

Notable Art Gallery, July 2026

To the rear of the gallery is a lawned garden with some seating space, together with a wall area to one side of the main building which I assume is for outdoor displays – perhaps seeing use during the themed exhibitions and art challenges. I also gather there will be a further exhibition space for child avatars as well.

Beyond the gallery, the region offers several more areas which might be explored, including a town-like commercial distract and the spa mentioned above, the building of both the spa and the town having a Tudor look to them. The spa has a mix of table-top and playable games within it, but being honest, I didn’t really spend too much time at the spa (or the town) – other than to make may way down from the spa to the beach tucked away below it and to spot the 7 Seas Fishing tucked away below the commercial area.

Notable Art Gallery, July 2026

This is because I was somewhat more attracted by the land separating the gallery from the town and spa, together with the ruins to the north-west of the region.

The former comprises both open grazing and a fenced paddock, the open area given over to horses some cattle and a wandering stag saddled for riding, while the fenced paddock is home to more cattle and quietly grazing sheep. Although the saddled stag cannot be ridden, the small stable to one side of the field does offer a horse rezzer for those who would like to take a ride, and there is a bubble rezzer sitting alongside the stable if those wishing to float around the region.

Perspective Doodles: paddock, July 2026

However, the most interesting feature of the open field is the gathering of four glowing portals around a central raised plinth with a spiralling blue light. While the portals may not be actual teleports, they add a sense of mystical intrigue to the setting; why are they here? who might have placed them so, and for what reason?

Meanwhile, the ruins – which can be reached directly from the Gallery’s garden via an archway on their west side – have their own mystery. They are called the Ruins of Eiralith, although I have no idea if this is an intentional reference to The Beginning after the End or not.

Ruins of Eiralith, July 2026

Aged, some with their facing weathered away, guarded by dry stone walls and standing in their own grounds, the ruins have been repurposed into an open-air cathedral for hosting weddings. Wisteria is draped over walls and beams giving the ruins a romantic feel, and I particularly liked the lone arch sitting at the head of steps leading up from the main ruins, standing as if it is the last remnant of a great bell tower.

The mystery of the ruins comes in the form of strange, luminous fungi growing in corners. The growths cast a soft, otherworldly light over their immediate surroundings and their presence adds an otherworldliness to the ruins. Close by, a group of standing stones gives a further sense of antiquity to this part of the region.

Ruins of Eiralith, July 2026

If I’m totally honest, I couldn’t help be feel that the commercial area was perhaps a little at odds with the rest of the region, largely because of the great expanse of the cobbled base on which it stands.

To be fair, I’ve no idea if it is still a work-in-progress, but my impression was that it could do with more to break-up the expanse of cobbles: maybe planters and young trees growing within tree grates and some seating. But that is a personal view; the position of the commercial area is such that it doesn’t overpower the rest of the setting to the point of distraction.

Notable Art Gallery, July 2026

Overall, and as noted above, the gallery is excellently presented with the art rich and varied. The care put into the schedule of exhibitions and events should hopefully encourage repeat visits, and I hope such activities will also be advertised through the likes of the .:SLArt:. Group – something I would most certainly recommend if this is not already the case.

Similarly, the Ruins of Eiralith offer a focal point for photography and quiet, gentle exploration, with a particularly charming place to sit on the very edge of the northern cliffs and offering a view down to the remote beach below. Both the gallery and the ruins make for an engaging visit to Perspective Doodles, with the pastoral feel of the fields and livestock add their own touch to the region.

Notable Art Gallery, July 2026

Slurl Details

Space Sunday: Artemis 4 – to the south pole or not?

Either Blue Origin (left) and SpaceX (right) is due to provide the lunar lander for Artemis 4 – but should the landing take place in the Lunar South Polar Region?

Artemis 4 is currently scheduled to mark America’s return to the surface of the Moon in 2028. However, as I’ve noted in covering the programme in this column, there are several technical matters which need to be addressed – particularly if SpaceX remains the supplier of choice for the mission’s lunar lander – which could see the mission slip back to 2029. But now questions on exactly where Artemis 4 should be going.

Taken as The Artemis Project aims to send humans to the Lunar South Polar Region with the aim of establishing a base there, on the basis that base parts of the Moon’s polar regions remain in complete shadow all the time – notably the bottoms of craters – then it is possible there is accessible water ice to be found which could make lunar operations somewhat easier (providing water for drinking / cooling systems, air, ingredients for rocket motor propellants).

The overall goal of the mission is to primarily check-out what will be largely untested hardware, equipment and systems – both in terms of the lander vehicles and the space suits developed for Artemis. But do these necessarily need to be tested using a mission to the Lunar South Polar region? Could they not equally be carried out using a more equatorial landing zone, one which involves less complexity in its execution – and potentially less risk?

Map of candidate landing regions in the Artemis exploration zone (90°S to 84°S), as identified by NASA, 2022 and 2024. Credit: Lunar and Planetary Institute

Landing at the lunar equator offers predictable solar illumination, simplified orbital dynamics, and reduced communication blackout risks compared to the high-latitude Lunar South Polar Region. While much of the latter does experience near-continuous daylight, its chaotic topography with dramatic elevation changes coupled with a low-angle solar elevation (thus resulting in areas remaining in deep shadow, even outside of craters) present severe hazards for landing craft and extravehicular operations.

Thus, by targeting the more “known” regions of the Moon, such as Mare Imbrium (in which Apollo 17 landed) and Mare Tranquillitatis (Apollo 11), Artemis 4 could operate in a somewhat more predictable operational envelope than would be the case with a South Polar Region landing. This would potentially allow for better initial testing of guidance, control, automated landing systems and communications systems.

The latest voice to be heard advocating for this approach is that of Artemis 2 pilot, Victor Glover, who likened the switch to a more stepwise approach to lunar operations. For example, in the 1960s, NASA initially tested the Apollo Command and Service Module in Earth orbit (Apollo 7), then in a flight around the Moon (Apollo 8), then the lunar lander was tested in Earth orbit (Apollo 9) and then on a non-landing voyage to the Moon where its decent / ascent capabilities could be tested in lunar conditions (Apollo 10). Further, the Apollo missions grew in complexity, making targeting more difficult landing sites more acceptable as experience was gained from earlier missions and the capabilities of the vehicles and their systems became more clearly understood.

Credit: Lunar and Planetary Institute

By contrast, Artemis effective jumps: from an uncrewed cislunar test of the Orion Earth-Moon-Earth vehicle (Artemis 1) to a crewed cislunar test of Orion (Artemis 2) to a semi-orbital test of the landing vehicles in Earth orbit (Artemis 3 – which will not even be a test of either vehicle’s flight and propulsion systems) to attempting a landing in a very challenging environment; so there is much to be said for revising efforts.

As well as lowering the technical complexity of the initial mission, Glover raises a health reason. What if a crew member suffers and injury or medical situation requiring evacuation to Earth? With Apollo, the Command and Service Module orbited between 100 and 300 km above the lunar surface. This made getting back to it aboard the lunar lander in an emergency, and it would be in a position to rendezvous with the ascend lander every few orbits, and likewise be able to more readily to break orbit and return to Earth.

Missions to the Lunar South Polar Regions require a more complex, propellant-intensive flight, culminating in an Elliptical Polar Orbit with Coplanar Line of Apsides (EPO/coLA). Because more propellant is required, this orbit must vary between 100 and 6,500 km above the Earth, as the high altitude is required for Orion to be able to break orbit and return to Earth; lower than this, and it could have insufficient fuel remaining to escape the Moon.

NASA Astronaut and mission pilot for Artemis 2, victor Glover. Credit: NASA

Because of its range, this EPO/coLA orbit means that a rendezvous between Orion and an ascending lander can only happen once every couple of days or so. By switching to a more equatorial landing zone, propellant usage is reduced, making Orion more capable of entering a more circular, lower orbit of the Moon, thus presenting more opportunities for an emergency rendezvous with the lander should this be required. Of course, this doesn’t solve the issue of emergency evacuations on missions are Artemis 4; what it does mean is that the risks associated with the “first time” nature of Artemis 4 might be further reduced.

In terms of missions beyond Artemis 4, SpaceX have already suggested that their massive Starship-derived land could actually take Orion to the Moon if the two were to dock in Earth orbit. This would conserve Orion’s propellant, potentially allowing the elliptical nature of the EPO/coLA orbit to be reduced, again offering more opportunities for emergency rendezvous in lunar orbit. Similarly, the switch to using a modified Vulcan-Centaur booster and the upper stage of the SLS rocket, replacing the current Interim Cryogenic Propulsion Stage (ICPS) could also allow the EPO/coLA orbit range to be reduced, again allowing windows for Orion / lander rendezvous to be increased.

Finally, Glover (and others) note that the political onus on Artemis 4 is increasingly about “beating the Chinese” rather than achieving science / engineering goals. If this is the case, then a mission to land within the Moon’s more familiar equatorial regions, building on all of the knowledge gained on such mission during Apollo, would help make that goal easier by removing several levels of complexity to Artemis 4.

Thus far, NASA management has given no indication any such shift will be made, but in many respects it does fit with a more step-by-step approach to lunar operations they have adopted since the start of 2026.

Starship IFT-13: More of the Same, but with Twists

On July 24th, SpaceX completed the 13th integrated flight test (IFT) of its Starship / Super Heavy booster combination, flying the “version 3” of each vehicle for the second time, the fist having been in May 2026.

A camera mounted on one of the two forward flaps of Starship S40 looks back down the length of the vehicle and its Super Heavy booster towards the Boca Chica launch site as IFT-13 approaches max-Q following launch on July 24, 2026. Credit: SpaceX

In broad terms, the flight was something of re-run of the past few missions: launch, get Starship to sub-orbital velocity / altitude, return the Super Heavy booster for a controlled splashdown in the Gulf of Mexico, with the Starship deploying a payload before initiating a test-restart of one of its engines and then making a re-entry and splashdown in the Indian Ocean not all of which had been achieved through IFT-10 through 12.

An initial attempt to launch the flight had been made on July 16th, but was halted by on-board systems when four of the booster’s 33 Raptor engines failed to ignite. Subsequent analysis revealed that due to the way the engines are chilled, ice had formed within those four engines, choking them at start-up. This resulted in two of the engines having to be swapped-out on the pad. A second Attempt on July 23rd was scrubbed as cloud would have obscured observations of the vehicle’s ascent.

On July 24th, things went remarkably smoothly, with the raw power of the Raptor 3 engines clearly seen – it took just sixty seconds for the booster and ship to go from the launch platform to supersonic speed and then pass through max-Q (the point of highest dynamic stress on the vehicles during ascent).

As the Super Heavy booster performs its boost-back flip, a camera on its hull captures Starship S40 with all six engines lit. Credit: SpaceX

Hot staging took place with the booster shutting down all but five of its engines as the ship fired-up its six engines. On separation, the booster immediately vectored away from the ascending Starship, avoiding the issue which led to a failure with the boost-back engine burn seen with IFT-12 in May. However, the booster did suffer a engine re-start failure just before a planned splashdown in the Gulf of Mexico, when only 9 of the anticipated 13 engines restarted – and four of those immediately shut down again and the booster hit the water at an estimated 160 km/h. This and the ice issues of July 16th suggest the Raptor 3 still needs refinement.

Starship S40, however, went on to achieve sub-orbital flight, deployed its payload, finally carried out a restart of an engine (something the last several flights have tried and failed to achieve, and which forms a vital part of vehicle operations) and then made a perfect re-entry into, and passage through, the denser atmosphere. Finally, it successfully re-lit three engines, flipped itself vertically to make a gentle landing in the Indian Ocean. So gentle, in fact, it didn’t explode; it gently tipped over on its back to float on the ocean, small fires licking around the hull caused by vented gases. This obliging allowed the aerial drone patrolling the landing zone to capture video of the vehicle’s re-entry heat shield for analysis.

The key difference between this mission and the earlier payload carrying sub-orbital flights lay in the fact that this time, and actual working payload was carried aloft in the form of 20 Starlink v3 satellites.

A flap-mounted camera on StarshipS40 captures some of the deployed Starlink satellites reflecting sunlight (white) and seemingly firing their icon thrusters (blue dots). Credit: SpaceX

At up to 2 tonnes each, and with a span of 15 metres with their solar arrays open, the Starlink v3 is a veritable monster compared to the v1 (300 kg) and v2 (600 kg) variants and offers gigabit levels of data transfer rates.

These satellites are seen as vital to Starlink’s future, and are wholly dependent on the Starship / Super Heavy combination to launch them, as they are too big and bulky to be launched en-masse by Falcon 9 (hence why SpaceX is almost solely focused on getting Starship working with a Starlink deployment system rather than building it capable of delivering a range of payloads to orbit – in fact, there is an argument to make that Starlink is Starship’s only viable payload, but that’s for another article).

Starship S20 “bellyflops” through the atmosphere after re-entry, the four and aft flaps maintaining its aerodynamic control. Credit: SpaceX

None of the deployed Starlink units survived long – just 20 minutes given they were sub-orbital as well. However, this was long enough for SpaceX to test their ion engines and communications capabilities, hooking them into the main Starlink network and testing their laser communications systems among themselves.

Six of the satellites were fitted with cameras and spotlights, and were tasked with following the starship vehicle down through re-entry, filming its manoeuvres and interactions with the upper atmosphere. At the time of writing, none of that footage, if successfully relayed to Earth, has been released.

Almost 2 minutes after splashing down vertical and then toppling into the sea, S20 floats as fires from vents gases burn around parts of it. Credit: SpaceX

Overall, IFT-13 was a step forward from the rinse-wash-repeat status of the last few Starship / Super Heavy flights. The system still has a long way to go before it can be said to have met even its baseline requirements (launch, deploy, return and capture for re-use), and even longer to go in terms of actually proving it is viable for anything other than Starlink launches. However, subject to the on-going issues with the Raptor 3 motors, SpaceX have indicated the 14th flight might actually be an attempt to reach orbit – possibly with an attempt to catch the orbital vehicle on its return.

Psyche’s Time-Lapse of Mars

On May 15th, 2026 NASA’s Psyche spacecraft swung by Mars, using the planet in a gravity-assist manoeuvre to help propel it on its way to its intended target, the M-type (indicating it has a high metallic content) asteroid 16 Psyche, which it will reach in 2029.

The fly-by marked the mid-point in the spacecraft’s journey, and I covered it and the overall Psyche mission just after it happened. However, earlier in July NASA issued a time-lapse video of the encounter, stitched together from individual images captured by the spacecraft’s imagining system between May 2nd and May 31st.

Approaching from a “high phase” angle relative to the Sun, Psyche initially reveals Mars as a thin crescent, only around 4% of its surface visible. This rapidly grows as the spacecraft sweeps down towards the planet’s northern hemisphere, features somewhat blurred, but with craters and clouds visible before Psyche arcs over the very heavily cratered southern hemisphere, closing to within 4,609 km of the planet’s surface before heading back into space, speeding towards the asteroid belt and 16 Psyche with 1,600 km/h more velocity than when it approached at Mars.

While the fly-by didn’t add much to the masses of data already gathered on Mars, it did serve a second important function for the Psyche mission: by aiming Psyche’s suite of instruments at a well-studied world, mission engineers were able to properly calibrate and validate the spacecraft’s major science instruments ahead of its encounter with 16 Psyche.

Travelling through Binnancumb and a visit to Bellefleurs in Second Life

Binnancumb Village, July 2026 – click any image for full size

In 2018, I visited Bellefleurs, an Elizabethan-styled grand manor house which at that time occupied a Homestead region (see here for more). As I noted in writing about it, it caught my eye when first seeing in the Destination Guide as it immediately put me in mind of Somerset’s Montacute House, a spectacular Elizabethan Renaissance house now operated by the National Trust.

A lot has happened since then. For one thing, Bellefleurs has relocated and, whilst still occupying a Homestead region, it now adjoins a Full private region, the home to the engaging village of Binnancumb.

Bellefleurs and Binnancumb Village, July 2026

The estate and village are the work of India Canning, a woman clearly from my part of the world, and who has an admirable sense of humour going on her Profile (I particularly like the take on a line of Elizabeth I’s Tilbury Address of either August 9 or August 19 –  depending on whether you are using Old Style or New Style calendar references – 1588). Combined, they offer a mix of public and private spaces reproducing the very best of England’s Green and Pleasant Lands.

Spectacular Bellefleurs Great Lodge is the former hunting estate of the Duchesses of Ominum and Demnoncia. This Elizabethan great house offers a curated Renaissance art collection, a Salon Music series, dances, En Garde, and other events.

Bellefleurs description

Bellefleurs, The Great Lodge, July 2026

At the time of my first visit, the grand house – which in part was indeed inspired by Montacute House – was the hereditary seat of the Canning Family and home of the Duchesses of Ominum, and came with a fascinating backstory which marvellously wove the Cannings into the fabric of English history. The region on which the house sat at that time was also home to the House Sakura Companion Guild.

In its current form, the Canning Family seem to have faded into history, and House Sakura appears to be no longer active. This leaves the house under the care and oversight of the Duchesses of Ominum and Demnoncia, as noted in its description above, whose largesse allows us to continues to enjoy and appreciate it.

Bellefleurs, The Great Lodge, July 2026

Nevertheless, none of the historical care put into the house has been lost. Rooms are exquisitely furnished in the manner of such a stately home surviving down the centuries. Fine tapestries hang from panelled walls, each one a reproduction of an actually tapestry from the 15th and 16th centuries, while chandeliers hang from ceilings.

This is very much a museum of art from the Renaissance period, the upper floor of the house particularly rich in carefully scaled and presented pieces, although there are some to be found on the ground floor along hallways and within some rooms.

Bellefleurs and Binnancumb Village, July 2026

Events within the Music Salon are advertised as being held every Sunday at 19:00 SLT, and there are regular En Garde (fencing) activities with the grounds behind the house, where eight pistes (including one for training) can be found.

Also to be found at the rear of the house is a beautifully garden and manicured lawns, with trimmed boxwood hedging providing boundaries to the immediate grounds of the house on either side. Just outside of the eastern most of there, where one of the two roads to Binnancumb Village might be found (the other being at the front of the estate at the landing Point), where steps also lead down to a small cove-like beach.

Binnancumb Village, July 2026

The walk (or ride for those making use of the horse rezzer at the Bellefleurs’ Landing Point – perhaps one might also be put on the western road?) to the village travels first past farmlands. These provide a mix of crops and open grazing for sheep and cattle, the fields neatly marked out by low walls.

Binnancumb village itself is again a perfect representation of England’s heart, buildings of age and independent styling blending together in a community space mixing private residences (very clearly marked to avoid trespass) with public destinations readily accessible to visitors. Chief among the latter is the Abbey of St. Hild (currently under restoration, but available on a limited basis for weddings), the tithe barn just across the road (available on a limited basis for events), and the local pub.

Binnancumb Village, July 2026

The pub, the Lion & Bear is a grand Tudor-style building dating to 1487. It sits at the northern end of the east road up from Bellefleurs, just before it starts to loop around part of the village to meet the west road. On offer at the pub are events, films, dancing, chess and more fencing. A spur road from here leads down to a little port, house to the main rental office.

I generally try not to take direct photos of private residences within regions open to the public so as not to encourage trespass (although sometimes, the layout of a location means they might creep into the background of images). However, there are time when they fit the theme so ideally, they are hard to ignore, so a couple of pictures of the houses in the village do appear here.

Binnancumb Village, July 2026

Bellefleurs and Binnancumb Village are excellently conceived and executed. Neither is intended as a role-play region nor should they be taken as such. They are places to explore and enjoy, the natural beauty of the design highly photogenic.

Slurl Details

2026 week #30: SL Open Source UG Summary

Hippotropolis Theatre: home of the OSD/TPVD meeting
The following notes were taken from:

  • My chat log of the Open-Source User Group (OSUG) meeting held on Friday, July 24, 2026, together with my chat log of that meeting.
  • Pantera’s video of the meeting (embedded at the end of this article) – my thanks to her for providing it.
Table of Contents

Meeting Purpose

  • The Open Source User Group (OSUG) meeting is an open discussion of Second Life development, including but not limited to open source contributions, third-party viewer development and policy, and current open source programs.
  • This meeting is generally held twice a month on a Friday, at 13:00 SLT at the Hippotropolis Theatre and is generally text chat only.
  • Dates and times of meetings are recorded in the SL Public Calendar.

Official Viewer Status

  • Default viewer: Flat UI – 26.2.0.25386466510,  -“flat” UI and font update, dated May.
  • Second Life Project Viewers – Lua Editor Alpha viewer 6.1.0.23768336784, April 29.

Viewer Notes

  • 26.3 is heading towards a beta  / Release Candidate release, but with the texture streaming work removed. The latter will now form a part of the Graphics Care Package (GCP) viewer.
  • The next alpha version of the Lua viewer (with Linux support) is seem to appear “soon” – it is just awaiting the OK to be allowed into the wild.
  • Overall, the viewer release schedule is “a bit up in the air right now”. The hoped-for plan remains:
    • 26.3 issued as an RC and progressing to release status.
    • Lua/Linux progressing to beta / RC shortly after 26.3 releases release status and then itself moving to release. However, this is not guaranteed as yet.
    • On-going work with GCP so that it can be more fully discussed at the next OSUG.
  • Vcpkg (under-the-hood viewer packaging to replace the current Autobuild process used to build the viewer):
    • Currently, LL is trying to figure out where to land this work, but currently it is unlikely to be introduced with the GCP viewer builds.
    • One thought is to try to land it in develop at some point in the coming months.
    • However, feedback was requested from TPV developers relying on the existing autobuild infrastructure as to what they would like as the preferred path towards adoption.
    • Geenz requested TPV Developers should contact him with their views; in lieu of feedback, he’ll also post something on this on Github .

The SL Wiki

From Kyle Linden:

We’re reviving the Wiki. Our goals are improved moderation tools, a theme refresh and it will be the new central repository for Lua documentation, complimenting the LSL Portal in the Wiki. That means we also want to re-open editor access to all SL accounts that have logged in world. Enabling the Wiki to be a Wiki. Along with a more robust moderation toolset we’d also like to have dedicated residents who are interested in helping, be part of the human moderation team. Please IM me if interested.
  • Kyle also noted that the Second Life Creation Portal is to take a “new direction” and that the scripting information currently there is to be migrated to the SL Wiki

Other Items

  • Monty Linden noted that Lua/Luau documentation is sparse at the moment, so LL will be leaning on external materials and contributions to support Lua.
    • In this regard, those interested should refer to Suzanna’s SLua Guide, developed by Suzanna  Linn, which includes documentation and details on in-world Lua scripting classes.
  • It has been noted that there is code on the SL Github repositories written around CEF to replace the current plugin model.
    • The advice was given to keep whatever the new plugin architecture might be running in a separate process.
    • Linking directly the CEF library to the viewer was seen as causing issues with memory allocations as CEF/Chromium uses its own allocator; would expose the viewer to all of the vulnerabilities and exploits discovered weekly in Chrome; open the viewer to crashing each time CEF crashes.
    • Additional concerns were raised on this, including the idea that perhaps LL should investigate a means to push CEF updates to all users, regardless of the viewer they are using.
    • Callum Linden indicated that the work in the SL Github referenced is a research project – LL are looking at ways to improve memory and speed + cookie sharing with CEF that would remove some of the issues associated with it. However, the concerns raised were noted.
    • This led to a technical discussion on CEF and how best to approach its use in the viewer- please refer to the video.
  • Geenz noted the work to simplify the means by which developers can contribute code to LL (e.g. shifting from a Contributor License Agreement (CLA) to a DCO – Developer Certificate of Origin) has been on hold due to time and availability, but he hopes to be able to get back to it in the near future.

Next Meeting

Of New Santorini and Lost Gardens in Second Life

New Santorini, July 2026 – click any image for full size

Santorini is the largest island of an archipelago in the southern Aegean Sea. Officially called Thira (Thera in classic Greek), the island is world-renowned for the brilliant, white-washed walls of its buildings – perhaps most keenly exemplified by photographs of the principal city, Fira.

Within Second Life, New Santorini is renowned for being a part of the Calas Galadhon estate, operated by Tymus Tenk and Truck Meredith and a team of talented supporters. Inspired by the physical world’s Santorini, it is a place I last visited in 2019, just after its return to Second Life after an absence of around 3.5 years.

New Santorini, July 2026

At that time, Ty and Truck were still debating how to further develop the regions – Eriador and Erebor – in which Santorini and the Lost Gardens are located. As such, and with the passage of a further seven years(!), I felt it was high time I dropped back in to see what has happened.

New Santorini sits at the eastern extreme of the Calas Galadhon estate – itself a favourite location of mine, oft covered in this blog. It can be reached via direct teleport to a Landing Point sitting a brief walk away from the town, or via one of two routes linking both New Santorini and the Lost Gardens of Thera with the rest of the Calas Estate.

New Santorini, July 2026

One of these links is a causeway running out along the north side of the Bay of Bel, whilst the second take the form of a bridge connecting the Gulf of Lune, and thence up the southern island of the Bay of Bel. Both routes can be travelled on foot or horseback – they are both a part of the Calas Galadhon horse trail, and if you’ve never been horse riding in Calas Galadhon, it is an absolute must, again as I’ve written about in the past. You can either use your own horse or one from the many rezzers available throughout the parklands.

Along both of the routes out to New Santorini are villas which are open to the public, with the more southern from the Gulf of Lune passing by way of the Villa Eirini with its hilltop Zen garden, whilst also offering a teasing glimpse of some of the submerged ruins of the Lost Gardens of Thera.

New Santorini, July 2026
Like its physical word inspiration, New Santorini sits atop a tall escarpment rising from the sea. Whether this is part of a caldera wall or not is entirely up to you to decide; either way, the whitewashed houses rise up from the rocks rich in vegetation, steps offer the way up to the buildings from a waterside plaza where balloon and underwater tours might be taken, with the steps pausing first at the local church.

It is here that I should mention that all of the buildings within New Santorini are fully furnished and decorated, all in a style fully in keeping with the location, and all are open to the public. There are no private rentals within the setting, so buildings can be explored as much as New Santorini’s alleys and footways.

New Santorini, July 2026

The latter pass around, between and in front of the houses and buildings as they sit clustered together. Alleyways form canyons of whitewashed walls and blue-tiled steps which rise and fall to provide access to more and more of this engaging little town.

Many of the houses have balconies before them offering views out over the surrounding waters and across to the rest of Calas Galadhon. There are also two large terraces. One is located towards the middle of the town where it extends out over the roofs of the houses below. Backed by a small café it has plenty of outdoors seating and room for dancing whilst offering a grand view out over the bay below.

New Santorini, July 2026

The second terrace is located at the eastern end of the houses and forms another rooftop space. Reached via a spiral stair, it forms a delightful retreat, complete with a small roof garden centre on a statue of a satyr and his female lover.

This terrace is quite my favourite spot, rich in the colours of summer, watched over by a trio of friendly French Bulldogs and with a big, cosy sofa which can be shared with friends.

New Santorini, July 2026

Below the town and running across the front of the escarpment on which New Santorini sits, is a long bridge reach around to a western headland. The later points a sandy finger south to the Phoenix stage as it looks back towards New Santorini. Watched over by a large statue of Poseidon, the Phoenix is home to many of the events organised and presented by the Calas team, and a teleport up to another venue – the 1950s-style Calas Skate-o-Rama – can be found toward the end of the walk leading to it.

The western end of New Santorini’s island used to be an area of ancient ruins, perhaps destroyed by an earthquake only to leave parts of arched walls, some standing, some partially collapsed. Some still remain, but a portion of this area has been reclaimed and built upon to become home to a couple of enterprising businesses presumably catering to the beach below them.

New Santorini, July 2026

The open-end oval of the bay caught within the sweep of New Santorini and the Phoenix headland forms the first part of the extensive Lost Gardens of Thera, an absolute must-see for any visit.

The Gardens can be enjoyed in many ways – merfolk are especially welcome, but swimmers and scuba divers can also freely explore, whilst ancient steps just off the causeway leading out from the Landing Point allow those on foot easy access to the gardens (and allow those who take the submarine tour with a way to climb back up to dry land at the end of the tour). Note that scuba gear can be obtained from a free vendor towards the bottom end of these steps.

New Santorini, July 2026

The submarine tour is really the best way to gain a good view of the entire Lost Gardens and the sea floor beyond them. It can be found just below the terrace in front of the steps leading up to New Santorini. Tours take around 20 minutes and are really worthwhile.

Capable of sitting individuals or couples, the submarine is a very Steampunkian-come-wind-up take on the Disney Nautilus from 20,000 Leagues Under the Sea. To use it, simply sit on board, set your desired pose(s) then touch the hull to get started (you will likely have to adjust the position of your camera as well).  It might take a few seconds before the submarine starts moving; presumably it is winding itself up – the key to its propulsion system sticks out the back and serve as the propeller!

New Santorini, July 2026

The 20-minute balloon tour, meanwhile will carry passengers around New Santorini and beyond. Once seated in a balloon, touch the top of the envelope to get started. After circling New Santorini and the Lost Garden it will take passengers further over the parklands, eventually depositing them in the heart of Calas Galadhon – so if you specifically want to see New Santorini after TPing / riding there but are also interested in the balloon tour, be sure to take the latter after you’ve wandered the town and explored the Lost Gardens!

Calas Galadhon is a joy to visit wherever you choose to set down. It is possibly the longest-running, privately held public park in Second Life, providing no fewer than 14 publicly-accessible regions to explore, none of them restricted by private residences or similar, as well as providing a range of weekly music events. And, of course, there are also the special Calas seasonal regions for Halloween and Christmas.

New Santorini, July 2026

Calas Galadhon continues to exist through the generosity of visitors to the parklands; so if you enjoy visiting New Santorini or any other part of the parklands, please do consider making a donation towards the estate’s continued presence in SL.

SLurls and Links