Space Sunday: “Godspeed, John Glenn”*

An unusual shot of John Glenn as he examines a celestial training device in preparation for his Mercury-Atlas orbital launch in February 1962. Credit: NASA
An unusual shot of John Glenn as he examines a celestial training device in preparation for his Mercury-Atlas orbital launch in February 1962. Credit: NASA

On December 8th, 2016, John Glenn, the first American astronaut to orbit the Earth, passed away at the age of 95.

A  U.S. Marine Corps pilot who served in both World War II and the Korean War, Glenn was actually the third American to fly into space after Alan Shepard and Gus Grissom, who both flew in 1961. However, for his 1962 flight, Glenn completed three orbits of the Earth aboard his Friendship 7 capsule before splashing down in the Atlantic Ocean, becoming the third man to circle the Earth in space. His death means that all of the Mercury 7 – astronauts  chosen to lead the fledging American space programme in 1959 – have now passed away.

Born in 1921 in Ohio, Glenn was commissioned in the US Marine Corps in 1943. After training, he served in the Pacific theatre of war, flying 59 fighter combat missions during World War II. In 1946, he returned to the far east, serving in Northern China and then Guam through until 1948, when he transferred to Texas as an instructor in advanced flight training. After further training, he served two tours of duty in the Korean War, flying a total of 149 combat missions. In 1954, he graduated from th U.S. Naval Test Pilot School, and in 1957 completed the first supersonic transcontinental flight, travelling from California to New York in 3 hours 23 minutes and 8.3 seconds.

Glenn preparing for his orbital flight, February, 1962. Credit: NASA
Glenn preparing for his orbital flight, February, 1962. Credit: NASA

He became involved in the US space programme before he was selected as a part of NASA’s first astronaut intake. As a serving Marine Corps officer, he was part of NASA research on re-entry vehicle shapes and participated in the Mercury capsule design.

even so, his acceptance into the astronaut corps was not assured: he was almost turned down on the grounds of age – he was approaching 40, the upper age limit for candidates, and he lacked the required science-based degree at the time. However, he fought hard for selection, and was accepted into the Space Task Group in 1959, where, in addition to astronaut training, he was involved in helping with both the Mercury and early Apollo cockpit layout and control functions.

He quickly became the unofficial spokesperson for the Mercury 7, having an easy way with the press – but he wasn’t necessarily popular within the group, setting himself somewhat aside from the rest through study and hard work. This became apparent when the choice for the first man to fly into space came down to a vote among the Seven themselves. Glenn came in third behind Alan Shephard and Gus Grissom, both of whom did fly before him despite a lot of behind-the-scenes lobbying by Glenn himself to get assigned to the first sub-orbital flight. have himself put on the first flight.

However, all this passed into history on February 20th, 1962, when Glenn lifted off atop his Mercury-Atlas 6 rocket, flying his Friendship 7 capsule on a 5 hour, 3-orbit flight round the Earth. And I do mean “fly”: during the flight, he was supposed to briefly take control of the Mercury capsule and manually fly it for 30 minutes before handing control back to the flight systems. However a malfunction in the automatic control system during his first orbit mean he had to take over control of the vehicle for the two remaining orbits.

His problems were then further compounded by telemetry suggesting his capsule’s heat shield had come loose, forcing him to manually fly the vehicle and keep the disposal retro-rocket pack (normally jettisoned prior to re-entry into Earth’s denser atmosphere) in place in case the straps from it were the only things keeping his heat shield in position. At the time, the frictional heat caused the rocket pack to burn up, with large chunks of flaming debris from it passing his window, prompting him to think his vehicle was burning up. “Fortunately it was the rocket pack,” he later wryly told a reporter, “Or I wouldn’t be answering these questions!”

His successful splashdown in the Atlantic meant Glenn became the fifth man to fly in space, and the third to orbit the Earth, after Russians Yuri Gagarin and Gherman Titov. Any upset he may have felt at being passed over for the first Mercury flight was swept aside as Glenn found himself fêted by the press and politicians alike; he later called the flight the “greatest day of his life”.

Glenn, left, became close friends with John F. Kennedy (centre) and Robert Kennedy,entering US politics in 1964 at Robert Kennedy's prompting. In this photograph, Glenn and Kennedy are seen with the second man to orbit the Earth, Russian cosmonaut Gherman Titov, who orbited the Earth 17 times in August 1961. Credit: NASA / Asif A. Siddiqi
Glenn, left, became close friends with John F. Kennedy (centre) and Robert Kennedy,entering US politics in 1964 at Robert Kennedy’s prompting. In this photograph, Glenn and Kennedy are seen with the second man to orbit the Earth, Russian cosmonaut Gherman Titov, who circled the Earth 17 times in August 1961, and who to this day remains the youngest person to fly in space at the time of his flight; he was just 26 years old. Credit: NASA / Asif A. Siddiqi

In 1964, Glenn retired from NASA, still a commissioned officer in the US Marine Corps (from which he retired in 1965 with the rank of colonel). His interest turned to politics, having been solidly befriended by John and Robert the Kennedy – that latter of whom persuaded him to run for office. After two unsuccessful attempts, he was elected to the US Senate representing his home state of Ohio in 1974, and remained so through until 1999. In 1984 he sought nomination as the Democratic Party’s candidate for the US Presidential election that year, losing out to Walter Mondale – who in turn lost to Republican Ronald Reagan in the election.

In 1998, shortly before retiring from the Senate, Glenn returned to orbit aboard the space shuttle Discovery during mission STS-95. He was 77 at the time, making him the oldest person to fly in space – a record he still holds.

The Mercury 7 - NASA's first astronauts. Standing (l-r): Alan B. Shephard Jr. (1st US astronaut to fly in space); Walter B. Schirra Jr; John Glenn (first US astronaut to orbit the Earth). Seated (l-r): Virgil I Grissom (2nd US astronaut in space); M. Scott Carpenter; Donald Slayton and L. Gordon Cooper Jr. Credit: NASA
The Mercury 7 – NASA’s first astronauts. Standing (l-r): Alan B. Shephard Jr. (1st US astronaut to fly in space); Walter B. Schirra Jr; John Glenn (first US astronaut to orbit the Earth). Seated (l-r): Virgil I Grissom (2nd US astronaut in space); M. Scott Carpenter; Donald Slayton and L. Gordon Cooper Jr. Credit: NASA

Continue reading “Space Sunday: “Godspeed, John Glenn”*”

Catznip R11: jelly dolls, Bento, oh my!

catznip logoOn Sunday, December 1tth, Catznip R11 arrived, bringing with it a lot of Lab love and Kitty goodness. With the last update having been back towards the start of 2016, there are quite a few updates and features from Linden Lab, and well as some niceness from the Catznip team themselves.

In particular, this release picks up on the Lab’s Avatar Complexity capability and graphics presets, and also include Bento avatar skeleton support, as well as a raft of Lab changes such as HTTP co-routines, CEF, LibVLC, voice improvements, bug fixes, and more.

This is not intended to be a comprehensive review of Catznip R11; rather, the hope is to provide an overview of the more major updates and changes. Information on all changes can be found in the release notes (when available – link to be added).

Updates Via the Lab

Avatar Complexity, aka Jelly Dolls

There are probably very few in SL who have not heard of Avatar Complexity, be it by that name or its more popular nickname, Jelly Dolls. However, for those who need a quick re-cap and run through, here’s the deal.

As avatars can often be the biggest single rendering load on our computers (and why you can experience a lot of lag in a crowded place) Avatar Complexity is a means by which you can set a “complexity limit” within your viewer. Any avatar (including their attachments) exceeding this limit will be rendered as a solid colour – a “Jelly Doll” – thus putting a lot less load on your computer. It comes with a handful of notable points:

  • Avatar complexity only applies to other avatars in your view; your own avatar will always be rendered fully to you
  • You can also override the setting for individual avatars around you and select how they render in your view
  • You can adjust the limit at any time according to your needs at that time
  • You can use graphic presets (see below) to save different avatar complexity settings for different circumstances (e.g. a very low limit for crowded places, a much higher limit for home use, etc.).

When first installed, a viewer with Avatar Complexity will set a default limit for you based on your current viewer graphics settings. Hence why you might see a lot of solid colour avatars around you when logging-on for the first time with Catznip R11. These default limits are:

  • Low: 35,000
  • Low-Mid: 100,000
  • Mid: 200,000
  • Mid-High: 250,000
  • High: 300,000
  • High-Ultra / Ultra: 350,000

Avatar complexity is controlled via the Avatar Maximum Complexity  slider, which can be found in three locations:

  • In the Preferences > Graphics tab: Avatar Maximum Complexity
  • In the Advanced Graphics Preferences floater (see Revised Graphics Preferences, below, for more on this): Avatar Maximum Complexity
  • The Quick Appearance panel of the new Catznip Quick Preferences floater (see below for more on this): Complexity Limit
The Avatar Complexity slider in Preferences > Graphics
The Avatar Complexity slider in Preferences > Graphics

In all three cases, moving the Maximum Complexity slider to the right increases your threshold, allowing more avatars around you to be fully rendered, while moving it to the left decreases your threshold, increasing the number of avatars liable to be rendered as solid colours. Changes made in one slider will be reflected in the others.

Note that you can set the Maximum Complexity slider to No Limit (all the way to the right). However, this isn’t recommended because it leaves your viewer vulnerable to any graphics crashers some inconsiderates still occasionally try to use. It is far better to set your viewer to a high limit (e.g. 350,000) if you don’t want to be bothered by seeing Jelly Dolls.

To help you understand how complex your own avatar is, every time you change your appearance, a small notice with your new complexity value will appear in the upper right of your viewer window for a few seconds. Your own complexity value is also displayed at the top of the My Appearance floater (Me > Appearance or right-click your avatar and select My Appearance from the menu), and on the Quick Appearance panel of Quick Preferences (“Complexity”), while the Quick Wearing panel will provide a breakdown of the complexity of all your worn attachments (see Catznip Quick Preferences, below for more on Quick Preferences).e

You can find your own maximum complexity via the avatar context menu > Edit Appearance, and a breakdown of your avatar cost via Quick Preferences >Quick Appearance
You can find your own maximum complexity via the avatar context menu > Edit Appearance, and a breakdown of your avatar cost via Quick Preferences > Quick Appearance

You can also display avatar complexity information on yourself and all avatars around you by going to the Advanced menu (CTRL-ALT-D if not visible) > Performance Tools > Avatar Complexity Information (previously Show Render Weight for Avatars). This displays three items of information over the heads of all avatars Including yours):

  • The render complexity for each avatar
  • A ranking of the avatar’s distance from your camera (1=closest)
  • The attachment surface area for an avatar, expressed in square metres.

Other points of note:

  • Setting an individual avatar's rendering in your view
    Setting an individual avatar’s rendering in your view

    The complexity value of your avatar is transmitted to each simulator as you travel around Second Life. In return, you’ll get a brief notice in the upper right of your screen telling you the approximate percentage of avatars around you who are not fully rendering you because of your avatar complexity.

  • If you always wish to fully render certain other avatars, no matter what your Maximum Complexity setting, you can right-click on those individuals and select “Render Fully” from the context menu.
  • Conversely, if there are avatars around you whom you’d rather render as grey imposters, right-click on them and select “Do Not Render” from the context menu.
  • Note that in both cases above, these per-avatar settings do not persist between log-ins. If you re-log, any avatars you have set via these options will revert to being displayed in accordance with your Avatar Complexity setting
  • You can also revert any avatar exceeding your Maximum Complexity setting by right-clicking on them and selecting Render Normally from the context menu. They will become a Jelly Doll once more.

Finally, Avatar Complexity does not replace Avatar Imposters, but rather is intended to work alongside of it, offering another means to reduce avatar rendering load on your computer.

HUD Complexity Warning

If you attach a HUD which makes heavy / excessive use of large textures and which, as a result, can impact your system’s performance, the viewer will display a warning to indicate the problem and which names the HUD. It will naturally fade after a set time has passed.

The new HUD complexity warning
The new HUD complexity warning

Graphics Presets

Graphics Presets allows you to easily save and restore different sets of graphics settings within the viewer, which can then be used according to need. So you might have one with all the performance-hitting options enabled for when you’re taking photos, and another with many of them turned off, as they’re not really needed (e.g. for shopping or clubbing, etc.), for example. You can then swap back and forth between them as needed via a drop-down options list and without any need to relog.

There is no limit to the number of presets you can create, and any you no longer require can be easily deleted.

The Graphic Presets buttons on Preferences > Graphics
The Graphic Presets buttons on Preferences > Graphics

Continue reading “Catznip R11: jelly dolls, Bento, oh my!”

Exploring Mineral Ridge in Second Life

Mineral Ridge; Inara Pey, December 2016, on Flickral Ridge – click any image for full size

Update: January 16th: Mineral Ridge has unfortunately closed.

In the 1930s, Mineral Ridge was once a wealthy, booming mining town, its fortune drawn from the precious secrets hidden within the rocks of the high plateaus on which it sits. But, as the saying goes, nothing lasts forever. Today Mineral Ridge sits as a place well past its heyday, fading and rusting under the sun, a curio for tourists to come and visit, and a place where the dispossessed and – maybe – those on the wrong side of the law – can find a place where they can settle or hide.

Or that’s how you might interpret the back story to this Full region, designed as a group effort principally by Norman Dobler, Aiden Cauldron, and thejunkyard. It’s a relatively new addition to Second Life, but one which is both atmospheric and which makes good use of the available space to create a scenic environment offers plenty of space for exploration as well as reflecting the theme of a once-wealthy mining town now well past its heyday.

Mineral Ridge; Inara Pey, December 2016, on FlickrMineral Ridge

On the highest plateau of this rugged place, sits part of the town: grand houses  – including a villa of distinctly Tuscan looks – doubtless built by those who gained their fortune out of the mines below, but which have all seen better days. Some appear deserted, other still occupied – although whether by the original owners is perhaps open to question.

A road, cracked in places, loops around them, stables sitting between one or two, rough tracks now forming alleys between others. At one end of this road sits a more recent addition to the town – a motel. But even this has the same air of tiredness and age hanging around it as it faces a diner across the street, the offices above that long since abandoned and boarded-up. Only the emergency services building  and the Sheriff’s office around the corner from it, have a feel of upkeep about them.

Mineral Ridge; Inara Pey, December 2016, on Flickr Mineral Ridge

As the road twists a noose around the houses, a wide track drops away from it, winding its way down into a sheer sided canyon by way of an ageing farm before splitting under the gaze of an old radio tower, one part offering access to the west side of the region, the other running down into the canyon floor proper. Follow it down towards the latter, and if you keep your eye on the rocky wall beyond the trees and bushes lining the track, you might spot the hidden entrance to the old mines on which the town built its wealth, while down on the canyon floor sit ruins far older than the town.

The west side of the region can be reached not only via the dirt track, but also over an old trestle bridge. This offers a convenient short-cut to the west ridge of the region, a gap in the wire fence, at some point faced with corrugated iron sheets as if it had been armoured, allowing it to once more join with the dusty track, presenting explorers with the choice of visiting a decrepit shack or making their way up to the the old radio tower.

Mineral Ridge; Inara Pey, December 2016, on Flickr Mineral Ridge

All told, Mineral Ridge is an interesting and considered design, sitting somewhere between a role-play environment and photogenic region with some little mysterious edges. Photographers looking for somewhere just that little different as a backdrop to their work, in particular may enjoy a visit to the town. Once again, many thanks to Shakepeare (SkinnyNilla) for passing over the LM!

SLurl Details

Seanchai Library presents the ghosts of Christmas in Second Life

The Dickens Project SL 2016
The Dickens Project SL 2016

It’s time to kick-off another great week of storytelling live in voice with Seanchai Library – and this week it’s a special week, with the return of a seasonal favourite:  The Dickens Project SL. 

Now in its fifth season, and as I’ve previewed, the project this year is hosted by Kultivate Magazine at their Water Haven headquarters. Every day this coming week, members of the Library and their friends will offers twice daily readings of the story, generally a stave at a time, live in voice, in surroundings created specially to evoke the settings and feeling of Charles Dickens’ most popular story.  Supporting it will be a host of additional activities, with everything culminating on Sunday, December 18th with a marathon reading of the entire novel!

The Dickens Project SL is a unique festival and presentation by Seanchai Library, so take a note of the times below and be sure to hop over to Water Haven and partake of the story, the settings and the fun!

Sunday, December 11th – Stories & Carols

  • 11:00: “Dickens’ Shorts” (Stories that is) with Trolley Trollop
  • 12:30: The Raglan Shire Tiny Carolers – WOOTMAS!
  • 13:00: Any Friend of Nicholas Nickleby’s is a Friend of Mine John Morland reads Ray Bradbury’s short story featuring… “Charles Dickens”
  • 14:00: More from the Pages of Charles Dickens- Short Selections with Dubhna Rhiadra and Caledonia Skytower
  • 15:00: A Pickwick Holiday, Bryn Taleweaver shares a festive selection from The Pickwick Papers

Monday, December 12th – Stave One: “Marley’s Ghost”

  • 13:00: VT Torvalar
  • 19:00: Kayden Oconnell

Tuesday, December 13th  – Stave Two: “The First of Three Spirits”

  • 14:00: Bryn Taleweaver and Caledonia Skytower
  • 19:00: Faerie Maven-Pralou, and Corwyn Allen

Wednesday, December 14th – Stave Three: “The Second of Three Spirits”

  • 13:00: Eleseren Brianna
  • 19:00: Aoife Lorefield

Thursday, December 15th – Stave Four: “The Last of the Spirits”

  • 13:00: Hanna Hoo and Caledonia Skytower
  • 19:00: Shandon Loring (also presenting Stave Five: “The End of It”)

Friday, December 16th 

  • 12:00 noon: MORE DICKENS!  A ghost story and a novel selection with VT Torvalar
  • 15:00: Part of Stave Four, & Stave Five“The End of It” – Dubhna Rhiadra and Caledonia Skytower

Saturday, December 17th 

  • 11:00: Tour of the Resource Centre and the Story Behind A Christmas Carol at the Community Virtual Library
  • TBA: Fezziwig’s Ball

Sunday, December 18th – The Finale: THE BIG READ

  • 11:00: Traditional Dances and Music with Wald Schridde – live in Christmas Present Square.
  • 12:00 noon: A CHRISTMAS CAROL – All the words of every stave presented all at once by a cast of voices, presenting in relay. Est 3.5 hours. Live in Christmas Present Square.

All readings and events take place at Water Haven, and all times are SLT. Note that individual programme items may be subject to change or update, so please check with The Dickens Project SL web page for up-to-date information as the week progresses. Donations offered during the festival will be accepted on behalf of Team diabetes of Second Life, in support of the American Diabetes Association.

2016 OpenSimulator Community Conference December 10th / 11th

Image courtesy of the OpenSimulator Community Conference
Image courtesy of the OpenSimulator Community Conference

The 2016 OpenSimulator Community  Conference is in progress over the weekend of December 10th / 11th. An annual event, the conference focuses on the developer and user community creating the OpenSimulator software.  It is organised as a joint production by Core Developers of OpenSimuator and AvaCon, and this year is sponsored by University of California, Irvine, Institute for Virtual Environments and Computer Games, Rockcliffe University Consortium, and Virtual Outworlding together with a host crowdfunders.

The conference this year once again features business presentations, talks, panel discussions, workshops, social events and hypergrid activities, covering a wide range of subject areas, including education, social VR, using virtual worlds and environments for historical recreations – and much more besides.

You can find the full schedule of events on the OpenSimulator Community Conference website, together with instructions on how to log-in and join and of the sessions.  The latter are also being streamed for those unable to attend via avatar.

Image courtesy of the OpenSimulator Community Conference
Image courtesy of the OpenSimulator Community Conference

Related Links

 

Bryn’s Hand in Second Life

Hand - Bryn Oh
Hand – Bryn Oh

Hand, Bryn Oh’s latest full region installation officially opens in Second Life on Saturday, December 10th at 12:00 noon SLT. It offers visitors an immersive experience which mixes art and storytelling with a touch of mystery and discovery.

On arrival, visitors are asked to accept the experience HUD (which will initially be blank) , and which can be minimised by clicking the dancing figure icon. As there is a lot of text to be read as one progresses through the experience, the HUD can also be further enlarged by clicking the Extra Large Text button on the HUD.

Hand - Bryn Oh
Hand – Bryn Oh

Instructions for viewer settings are also provided at the landing point. These are geared towards Firestorm and specifically the use of Phototools. Those on other v4-style viewers will find the settings under Preferences > Graphics and the Advanced Settings… button (Advanced Graphics Preferences floater). Bryn also uses Firestorm’s client-side windlight by altitude capability, so those on other viewers may need to manually change windlights (listed in About Land) as they move up through the installation.

From the landing point and instructions, a teleport sphere carries visitors to an underground tram station, and their first encounter with the principal character of the piece, Flit – or as she is sometimes known – Flutter. It is her story we are invited to follow, the narrative (and the way through it) indicated by Flit herself, as she stands within certain scenes or points the way along the route we should follow – such as walking a collapsed aerial mast like a tightrope walker, or standing on a stairway as if waiting for us to join her and continue up them.

Hand - Bryn Oh
Hand – Bryn Oh

This journey takes us through a strange, broken urban setting with decaying, collapsing buildings; a place where adults are almost (but not entirely) absent, apparently leaving their children to fend for themselves. Technology is still active – drones  buzz around and project adverts on walls and floors for whoever might watch them – presumably as a form of currency / earning, and lights flicker and play. Walking through the streets and buildings there appears to be nods to dystopian sci-fi: a hint of Soyent Green here, a reference to rampant consumerism there. While Flit and the other children brought to mind shades of And The Children Shall Lead, minus the space alien angle.

Whether any of this was Bryn’s design or simply my over-active imagination, I’ve no idea – but Hand’s narrative naturally invites you to fill in the blanks: what has happened here? Why have the adult withdrawn? Why is the city so ruined? Lack of maintenance because there are no adults  – or something else (there are hints to be found pointing to a fear of nuclear war). Thus, in experiencing Hand, we also extend it, by exploring carefully and letting the hints  – posters, objects, etc. – suggest things to us.

Hand - Bryn Oh
Hand – Bryn Oh

There are also links and hooks into Bryn’s other work to be found here as well. Some are present within the story, others may be harder to find. As Bryn states, don’t be afraid to touch things as you explore. Take the lacewing beetle, for example; touching it will introduce you to Scissors a machinima by Bryn. Elsewhere, a broken cellphone lying on the kerb might lead you skyward to poignant piece of art based on an equally poignant image; and so careful exploration is required.

Byrn produced a trailer machinima for the installation (below), featuring music specially composed by Phemie Alcott. Phemie was due to perform at the opening of Hand, but Bryn reports that as Phemie’s mixer decided to commit suicide, the performance will now not take place until 14:00 SLT on Sunday, December 18th. Bryn isn’t sure how long Hand will remain in place – so be sure to visitor sooner rather than later, and please consider a donation towards Immersiva’s continued existence.

SLurl Details

  • Hand (Immersiva, rated: Moderate)