Space Sunday: ancient oceans, comets from beyond, and exoplanet hunting

Dawn mission patch. NASA/JPL

Studies of Ceres, the largest dwarf planet within the orbit of Neptune, and the focus of the joint NASA / ESA Dawn mission for the last 30 months, are beginning to be published at a high rate of knots. In my previous Space Sunday I covered the report that the water ice discovered around Ernutet crater was likely of local origin. Now, two further studies point to Ceres once having a liquid water ocean.

The first study used gravity measurements to characterise Ceres’ interior, the second sought to determine its interior structure by studying its topography. Both came to similar conclusions.

The NASA team conducting the gravity measurements used data gathered by the spacecraft, together with an analysis of gravity-induced variations in the vehicle’s orbit around the dwarf planet as tracked by NASA’s Deep Space Network (DSN) and an analysis of the gravity anomalies associated with four of Ceres’ most notable surface features: the craters Occator (famous for having bright deposits in its basin which caused excitement in the early months of the spacecraft’s time at Ceres), Kerwan and Yalode, and Ceres one significant mountain, Ahuna Mons. This allowed them to draw a number of conclusions, the most notable being Ceres was once very geologically active, and that its surface crust has an overall density closer to that of ice than rock.

The second study focused on investigating the strength and composition of Ceres’ crust and deeper interior by studying the dwarf planet’s topography. By modelling Ceres’ crustal flow, the researchers determined that it is a mixture of ice, salts, rock, and clathrate hydrates, crystalline water-based solids resembling water ice but with up to 1,000 time its strength.

Diagram showing a possible internal structure for Ceres. Credit: NASA/ESA/STScI

The researchers further determined this high-strength crust probably rests on a softer layer that contains some liquid, allowing Ceres’ topography to deform over time, smoothing down features that were once more pronounced and producing the surface environment we see today.

Taken together, these studies suggest that Ceres once had a sub-surface ocean, likely kept liquid by internal heating (which has been suggested by other studies). This ocean may have been similar to the liquid water oceans thought to exist under the surfaces of Europa and Enceladus today. However, in the case of Ceres, much of it has long since frozen out into the dwarf planet’s crust. Most, but not all. The studies, together with the visual evidence of cryovolcanism on Ceres suggest that beneath the frozen crust there is a “soft” layer, possibly a slushy, semi-frozen layer of liquid.

It’s not clear how liquid this residual ocean might be, but as Julie Castillo-Rogez, the Dawn project scientist at JPL and a co-author on both studies, explained, “More and more, we are learning that Ceres is a complex, dynamic world that may have hosted a lot of liquid water in the past, and may still have some underground.” It is also further evidence that many of the smaller bodies in the solar system from Pluto to the asteroid belt, have histories every bit as complex as the major planets in the solar system.

Have We Just Witnessed an Extra-Solar Visitor?

We’re familiar with the concept of comets. They generally originate from one of two points in the outer solar system. The Kuiper Belt,  extending from the orbit of Neptune (at 30 AU) to approximately 50 AU from the Sun, gives rise to what we call “short period” comets which follow a predictable orbit that swings them past the Sun on a regular basis. Halley’s Comet, with its 76-year period, is perhaps the most famous of these.

Then there is the Oort Cloud, predominantly comprising icy planetesimals believed to surround the Sun to as far as somewhere between 50,000 and 200,000 AU (0.8 and 3.2 light years), and thought to be the origin for “long period” comets with orbits around the Sun measured in the hundreds of years.

However, some astronomers believe the solar system might currently be being visited by an altogether rarer type of comet: one that originated in another star system.

A fast-moving object, designated A/2017 U1, was initially spotted on October 18th in Hawaii by the Pan-STARRS 1 telescope. Since then it has been closely tracked by astronomer around the world.  What is particularly interesting about it is that Sun-orbiting eccentricity of between 0 (a circular orbit), and 1 (a parabolic orbit). Anything above 1 would tend to point to an object being entirely extra-solar in origin. A/2017 U1 has an orbital eccentricity of 1.2.

Because of this high eccentricity, the Minor Planets Centre put out a call for more observations on the object in attempts to confirm it is likely extra-solar in nature. It passed around the Sun on September 9th, and was detected as it crossed back over Earth’s orbit on its way back out into space. At the time it was spotted, the comet was about 30 million km (19 million mi) from Earth, and travelling at a velocity of 26 km/s (16 mi/s) –  much faster than the velocity required to escape the Sun, but within ~5 km/s of other stars within the Sun’s stellar neighbourhood, further indicating an interstellar origin.

A simulation of A/2017 U1’s flight through the solar system. At the centre is the Sun and the inner planets, including Earth. The purple item in Jupiter, and the yellow object just beyond it is Saturn. The three pale green items are comets originating within the solar system, and the outermost bright green item represents the orbit of Uranus. A/2017 U1 is indicated by the yellow high inclination parabola, which has swung the object around the Sun. Travelling at 26 km/s, it will escape the Sun’s influence and head back out into interstellar space. Credit: Tony Dunn.

The object’s trajectory is also unusual, approaching the Sun from high above the plane of the ecliptic, and observations made from the Pan-STARRS 1 telescope in Hawaii, the William Herschel Telescope in the Canary Islands and the Very Large Telescope in Chile suggest the comet is a rocky / ice object roughly 160 metres along at least one of its axes.

Tony Dunn, an undergraduate physics and astronomy teacher at San Francisco State University has been running a series of computer simulations using tracking data on the comet, which he has been publishing on his Twitter feed. These suggest the comet may have originated as a body orbiting the star Vega, some 25 light years from the Sun; however, the likely point of origin is still being hotly debated and may never be accurately known.

Another simulation of the object’s passage through the inner solar system. Credit: NASA/JPL

If the object did originate in another star system, then it would suggest the other stars have rings or clouds or material surrounding them at great distances in a manner similar to the Oort cloud. It would also be confirmation of the idea that other stars passing within a few light-years of the Sun disturb the Oort cloud, causing objects there to be disrupted in their orbits, some of which fall towards the Sun and become long-period comets. Presumably, the Sun and other stars can influence rocky clouds around their neighbours in the same way – and that as well as falling towards their local star as comets, the disturbed objects can be kicked out of their local system to become interstellar wanderers.

“We have been waiting for this day for decades,” said Paul Chodas, responsible for NASA’s Centre for Near-Earth Object Studies (CNEOS), which has also been observing the object. “It’s long been theorised that such objects exist — asteroids or comets moving around between the stars and occasionally passing through our solar system — but this is the first such detection.”

“We have long suspected that these objects should exist, because during the process of planet formation a lot of material should be ejected from planetary systems,” Karen Meech, an astronomer at the Institute for Astronomy, Hawaii which operates the Pan-STARRs telescope, added. “What’s most surprising is that we’ve never seen interstellar objects pass through before.”

Continue reading “Space Sunday: ancient oceans, comets from beyond, and exoplanet hunting”

A Dissected Soul in Second Life

Split Screen: Dissected Soul

I don’t know how many souls I have.
I’ve changed at every moment.
I always feel like a stranger.
I’ve never seen or found myself.
From being so much, I have only soul.

This is the opening stanza of Fernando Pessoa’s lament about our relationship with self, I don’t know how many souls I have, the first two lines of which serve as an introduction to Theda Tammas’ Dissected Soul, now on display at Split Screen, curated by Dividni Shostakovich.

The poem examines the idea that throughout our lives, we never really know precisely who we are. Are we ever really just one person? Or are we an amalgam of experience and reaction – reaction to what we’re feeling, the environment around us, the situation we are in – and the way in which those around us perceive us at that point in time? And how are we affected by the masks we willingly wear according the circumstance – the parent, the lover, the work colleague, the confidante, et al? How do they affect our perception of who we might be – or who we think we are? Is it possible that throughout our lives, the only one who knows the mystery of who we are is God?

Split Screen: Dissected Soul

Against this backdrop, Theda presents an intriguing series of sculptures reflecting this idea of multiple selves. They are fractured, dissected, even presenting one face whilst holding aloft another. Through them wind red lines – heart lines perhaps, a reflection of the time we are given in life. Curling around these lines are strings of barbed wire; a metaphor, possibly, for the blades and sharpness of life which can so easily cause us to change our perception of self and step further away from really knowing ourselves. Central to all of this is a shattered heart, seat of the soul, further echoing the idea of dissected self, broken by our confusion over who we really are.

Given that Second Life is a place which allows us to wear whatever mask we choose and express ourselves in so many different ways, the lament perhaps has special significance; just how many of those masks we use within Second Life, the identities we adopt, further distance us from our core self – or soul?

Split Screen: Dissected Soul

Dissected Soul, is a fascinating, thought-provoking piece, both questioning who we are and presenting a new facet on the discussion of Second Life and identity.

SLurl Details

Tales for Halloween in Second Life

Haunted Holly Kai Park: The Great Boo

It’s time to kick-off another week of storytelling in Voice by the staff and volunteers at the Seanchai Library. As always, all times SLT, and events are held at the Library’s home at Holly Kai Park, unless otherwise indicated.

Sunday, October 29th

12:00 Noon: Haunted Holly Kai

It’s that time of year when ghosts and ghouls arise, when demons and vampires and more walk abroad; it’s a time for spooky stories and terrifying tales to be told by moonlight or in darkened rooms. And if you’re someone who enjoys spine-tingling yarns, we have just the thing for you at Holly Kai Park – The Great Boo!

Join us on Sunday, October 29th from 12:00 noon SLT, as Seanchai Library presents an afternoon of Halloween stories live in voice, followed by devilish music and dancing.

Then at 2:00pm SLT DJ Joy Canadeo rocks the terrestrial plain, and the “beyond” with great tunes among the spirits.  Grab a ghostly friend and join in the dance!

The event is in support of Feed A Smile, Holly Kai Park’s adopted charity, and will take place at  a suitably spooky setting courtesy of Pandemonium Haunted Holly Kai – can also be reached via any of the teleport mirrors located at the landing points around the park.

18:00: Magicland Storytime

Caledonia with Selections from Neil Gaiman’s The Graveyard Book live at the Golden Horseshoe in Magicland Park.

Monday, October 30th 19:00: Reckoning Infinity

Gyro Muggins reads John E. Stith’s alien first contact story, once described as “Rendezvous with Rama meets James and the Giant Peach“!

Lieutenant Commander Alis Mary Nussem, her body partially bionic, isn’t to happy about finding herself aboard the same space vessel as the man she deems responsible for the accident which robbed her of a part of her natural body. However, she must put aside her differences with scientist Karl Stanton when a massive object enters the solar system, apparently on course to be swallowed by the Sun – but not before it will collide with a space station in Earth orbit.

Ordered to investigate the object, which is as large as a moon and quickly given the name “Cantaloupe,” Nussem, Stanton and the crew of their ship rendezvous with it, only to find they are not the first: the wreck of another vessel lies on the surface, a hole drilled into the object close by. The only means of entry to the Cantaloupe, Nussem and Stanton lead a team down through it – to make a stunning discovery.

Like Nussem, Cantaloupe is an bio-mechanical entity. It is alive, but it’s interior also have pipes, elevators chambers and more within. But it is also a place of danger – as Nussem and her also companions quickly discover – some to their cost. It’s also a place of unexpected surprises, as the crew’s biggest discovery proves…

Also presented in Kitely  hop://grid.kitely.com:8002/Seanchai/108/609/1528.

Tuesday, October 31st

19:00 Halloween At Hogwarts

With Caledonia Skytower.

20:30 Halloween Late Night

Spooky tales with Shandon Loring and Kayden OConnel, including a special presentation of The Fall of the House of Usher.

Wednesday, November 1st, 19:00 Dia De Los Muertos

Tales of celebration and family with Caledonia Skytower. Also presented in Kitely hop://grid.kitely.com:8002/Seanchai/108/609/1528.

Thursday, November 2nd

19:00 Ellen Glasgow’s The Shadowy Third

With Shandon Loring. Also presented in Kitely  hop://grid.kitely.com:8002/Seanchai/108/609/1528.

21:00 Seanchai Late Night

Contemporary science fiction with Finn Zeddmore.

 


Please check with the Seanchai Library’s blog for updates and for additions or changes to the week’s schedule.

The featured charity for October – December 2017 is Habitat for Humanity, with a vision of a world where everyone has a decent place to live – a safe and clean place to call home.

A Darkwood Forest in Sansar

Darkwood Forest

Darkwood Forest, by C3rb3rus offers an atmospheric and interactive environment which offers a touch of elven-like fantasy and a little whimsy.

As the name might suggest, the setting is a forest, perhaps caught in the dimming light of twilight as the light angles down through the branches of huge trees surrounding a body of dark water. Beyond the ring of trees sits a rugged, denuded landscape, almost lunar in its appearance, which offers an otherworldly feeling to the setting.

Darkwood Forest

A wooden board walk runs around the water, winding under the roots of the trees and along the shoreline. Ornate lanterns illuminate this path, with giant mushrooms, the undersides of their cups glowing softly, adding a little more colour to the scene. The lanterns tend to put one in mind of elven lamps, although the boats – one of which gently tracks its way in a never-ending loop around the water – are perhaps more sampan in style and have tyres as fenders, again revealing this is not necessarily a purely fantasy realm.

Similarly, while the huge trees might be mistaken for Mallorn right out of Tolkien, with their platforms and wooden walkways running around and between the great trunks, a closer look reveals the platforms aren’t typical elven structures. Electric-like lights are strung around some, all have corrugated tin roofs, and one is emblazoned with a sign: BAR. So if these are the property of elves, then they are a most unusual bunch.

Darkwood Forest

Follow the board walk and you’ll sooner or later come to a wooden elevator gently rising and falling between the board walk and the platforms above. The ride, when you step into it, is extremely smooth, and once on the platforms, you can walk to where steps wind further up the trunk of a tree to one of the buildings.

“You can’t enter the building yet.” C3rb3rus told me. “Eventually they will be, but I have some other things to do first.” Instead, follow the suspended walkway in the other direction from the elevator and you can catch a ride aboard the airship which gently circles through the trees. A simple dirigible with a boat-like gondola slung beneath it, this also has a fantasy feel to it. Boarding it is simply a matter of stepping onto the deck as it comes to a brief halt alongside the platform.

Darkwood Forest

The ride, like that of the elevator, is very smooth and offers an excellent view of the landscape below. There is a brief stop before the airship returns to the tree platform, but getting off there isn’t recommended. As you do look down from the airship, you might spot a track cutting its way through the landscape just beyond the ring of trees. Starting near the spawn point, the path leads – by way of a water crossing – to another little touch of fantasy.

Darkwood Forest is a beautifully defined setting, restful, a little haunting in style – but not in a bad way – and richly atmospheric. The airship, the boat (which can be boarded via SHIFT-click teleport) and elevator are all very smoothly done, and the vertical nature of the setting, with the tree platforms and buildings, make it something of a unique setting.

Experience URL

Once more down The Well in Second Life

The Well: Ultimum

After a two-year absence, Loki Eliot’s The Well has returned to Second Life for the Haunted Season. This is the fourth instalment of hat had been intended to be a 3-part series, as Loki explains, ” I thought that, with The Well Infirmos, that was it with regards to The Well. But here we are again with a 4th and this time (I promise) final chapter!”

The Well The Well first appeared in 2012, offering a horror themed mystery adventure centred on attempts to rescue a little boy who had fallen down an old well and into the labyrinth of tunnels and caverns which lay beneath it. In 2013, he followed this with The Well: Sollicitus (see here for more). There then followed a two-year break before the aforementioned The Well Infirmos appeared in 2015 (see here for more).

The Well: Ultimum

With each iteration, Loki has expanded The Well to incorporate various capabilities which were, at the time, either new to Second life (such as materials and Experience Keys), or new to Loki. The latest instalment continues this tradition, Loki having used  photogrammetry to help him develop the build:

I went out into real woods and took photo surveys of muddy pathways. These were then used to create 3D models of the woods which I then used in The Wells woodland scenes in the hope of adding realism to the spooky atmosphere.

Having spent well over an hour within the latest instalment in the series, I can say the Loki’s efforts in modelling this way were well worth it. His woodlands look and feel “real”, and are about as confusing as walking at night through a dense woodland can be.

The Well: Ultimum

So, what is The Well: Ultimum all about? To start with, it is something of a prequel to the other instalments, the story focusing on a young boy (the one from the original 2012 instalment?). He perhaps doesn’t live in the happiest of households, as we learn through his diary. It’s a place where strange activities take place, and even the youngster himself seems to be drawn to the dark things that may be creeping through the woods – and to the mysterious well of the title, which he sees as a maw waiting to devour people, spurring him to wonder what it might be like to be eaten alive…

Those who have played previous instalments of The Well will recognise the basic format: read the information regarding viewer settings, join the game experience (if you’ve previously played The Well Infirmos and have not revoked permissions, you’ll already have the Experience permissions enabled), pay a fee (L$200) to gain the game HUD (which will attach to the bottom of your screen and needs to remain attached through your visit), then read the instructions which are initially displayed on your screen once the HUD is attached.

The Well: Ultimum

I don’t want to give too much away as to what you’ll find / encounter along the way. Suffice it to say, the game is interactive – there are items scattered around  the various locations you must stand near – or avoid.

Those you must stand near are located in the first two locations in the game  – the boy’s bedroom and the woodlands outside his home. They are signified by rising orange particles, and when close to them, an orange-on-black information icon is display on the game HUD – clicking it will display instructions or a page from the boy’s diary. Returning to any of these information points will display the Information icon as yellow-on-black, indicating you have previously read it.

There is one piece of information you must obtain before you can leave the boy’s bedroom, while the woodlands have multiple information points scattered through it, although the goal is to reach the titular well. It’s worth spending a little time in the woods to make sure find most or all of the information points. There are also additional interactive points in both the bedroom and woods, which give insight into the boy’s interests.

The Well: Ultimum

The well itself drops you into a labyrinth of tunnels. It is here that the SANITY bar in the HUD comes into play, as you are warned on arrival Do Not Touch The Shadows. These are blood-red apparitions which will appear and attempt to touch you (so don’t stand still for too long!). If they do, you’ll find your sanity slipping away. There are other things in the tunnels which can drain your sanity – but oddly, they can also give rewards!

As with the woods, the aim is to find your way through the tunnels to where another portal lies. This leads you on to – well, I’ll let you find that out on your own.

The Well: Ultimum – for those from England, there are some Easter eggs to be found: poetry by Robert Duncan and an appearance by Michael Parkinson (above). “He’s a throw back to when I was a kid watching Ghost Watch,” Loki said. “It was one of the first ever reality TV shows. The fact Parkinson was presenting it convinced many it was all true.”

The Well: Ultimum is as enjoyable as the previous instalments of The Well, and well worth the L$200 HUD price to play – although I’d recommend giving yourself at least an hour to do so, particularly as this really is the last instalment in the series.

“Next year will be even more terrifying with Animesh!” Loki informed me as we chatted about the adventure. “But I think I’ve done enough with wells. It will be something new!”

SLurl Details

SL project updates 43/2: Content Creation User Group

A rally of (Animesh) raptors on Aditi!

The following notes are taken from the Content Creation User Group meeting, held on  Thursday, October 26th, 2017 at 13:00 SLT. For the purposes of Animesh testing, the meetings have relocated to the Animesh4 region on Aditi, the beta grid – look for the seating area towards the middle of the region. The meeting is chaired by Vir Linden, and agenda notes, etc, are usually available on the Content Creation User Group wiki page.

Audio extracts are provided to provide additional content. Note that some of the audio extracts have been gathered from various points in the meeting and presented here as a concatenated whole by subject heading for ease of reference.

Animesh (Animated Mesh)

“I like the name ‘animated objects’ because I think it’s unambiguous, but it takes a long time to type!” – Vir Linden joking about the name “Animesh”.

Project Summary

The goal of this project is to provide a means of animating rigged mesh objects using the avatar skeleton, in whole or in part, to provide things like independently moveable pets / creatures, and animated scenery features via scripted animation. It involves both viewer and server-side changes.

In short, an Animesh object:

  • Can be any object (generally rigged / skinned mesh) which and contains the necessary animations and controlling scripts in its own inventory  (Contents tab of the Build floater) required for it to animate itself.
  • Can be a single mesh object or a linkset of objects (link them first, then set them to Animated Mesh via the Build floater > Features).
  • Has been flagged as and Animesh object in the project viewer, and so has an avatar skeleton associated with it.
  • Can use many existing animations.

However Animated objects will not (initially):

  • Have an avatar shape associated with them
  • Make use of an avatar-like inventory (although individual parts can contain their own inventory such as animations and scripts)
  • Make use of the server-side locomotion graph for walking, etc., and so will not use an AO
  • Use the avatar baking service
  • Will not support its own attachments in the initial release.

These are considered options for follow-on work, possibly starting with the notion of a body shape (to help with more fully-formed NPCs).

General Status

  • The project viewer is now available, and testing can be carried out on  5 regions (4 Moderate + 1 Adult) on Aditi: Animesh1, Animesh2, Animesh3, Animesh4 and Animesh Adult.
  • Feedback can be offered through the Animesh forum thread, while specific issues, bugs, and / or feature requests related to the project should be made via JIRA.
  • A filter for raised JIRA reports is available.

Root Prim Object

There have been a number of requests to allow Animesh objects to have a non-rigged mesh (e.g. a prim) as the root object. Vir has been working to make this possible. He’s also looking at the issue of non-rigged mesh links in an Animesh object becoming invisible when the Animesh flag is set.

Limits

As has been mentioned numerous times in these updates, Animesh will have some constraints / limits placed upon it in the interests of the capability not unduly impacting performance. For the purposes of test, these have been set at 200LI and a maximum of 20K tri maximum per Animesh object, and only one Animesh can be attached to an avatar at a time. As data is gathered on performance, etc., it is hoped these can be relaxed; however, some creators are requesting limits such as the tri count be raised sooner rather than later. Vir, understandably, would rather wait until more data has been gathered, rather than randomly changing constraints.

There has been a proposal for an alternative method of account put forward with regards to Animesh – BUG-139203.  Vir also reiterated the likelihood that the Animesh limits, once finalised, will have a smaller emphasis on constants such as land impact or the cost of having one attached, and a greater emphasis on the complexity of the Animesh itself (tri count).

Linksets / Permissions Issues

See also Piscine Mackenzie’s forum post on this.

As currently defined, Animesh does not allow for any avatar-like attachment  / detachment of objects (e.g., allowing a pet cat to wear a hat sometimes); the approach is more along the lines that everything that is intended to form the Animesh is attached as the time to object (/linkset) is flagged as Animesh.

This is because adding an avatar-like means of supporting attaching / detaching objects was seen as too high an overhead in terms of development time frames and complexity – although it is not entirely ruled out as a possible future capability.

In the meantime, scripted means to attach / detach items from an Animesh object is possible, but this requires the base Animesh to be modifiable. As detailed in Piscine’s post, and highlighted in the following post from Medhue Simoni, this opens the door to potential exploits / threat vectors (e.g. compromising a supporting ecosystem for pets / breedables to the potential for launching DDOS attacks against the external servers managing pets and breedables).

Vir recognises the issue, and has stated he’ll look into the in more detail. One possible solution has been suggested via feature request BUG-139168, and a possible scripted workaround has also been suggested – although it potentially has its own problems.

An offshoot of this is that it could lead to people including multiple accessories within the Animesh linkset. The problems here being a) doing so would immediately require much higher tri counts per object even after the current 20K limit is raised; b) it will require alpha swapping to hide / reveal different accessories, creating performance hits; c) it will limit the ability for new accessories to be easily added to creations.

Sitting Animesh Objects

Will it be easy to have Animesh sit on other objects (e.g. to have Animesh “mannequins” which could be used with demos of furniture so couples poses could be checked by just one person, etc)? Short answer: not easily. Sitting on objects is avatar-specific, which, among other things, involves re-parenting the avatar to the object it is sitting on, and there is no means to replicate this when trying to “sit” an Animesh (which the server sees and just another in-world object) on another object.

In Brief

  • Lack of Shadows with Animesh objects: this is a know bug, thought to reside within the rendering pipeline, which has yet to be tracked down.
  • Dropping mesh: as noted in my previous CCUG update, by default, mesh attachments cannot be dropped in-world. This means that the only way to currently “pick up” and “put down” an Animesh pet which can roam in-world / be held, is via inventory. Vir has been looking at this, and it is not any easy fix, requiring server-side work (including with physics handling to ensure things land correctly – such as pet on its feet rather than on its side / head) which may preclude it being dealt within the immediate future.


Medhue examines Animesh. Via Medhue Simoni

Bakes on Mesh

Project Summary

Extending the current avatar baking service to allow wearable textures (skins, tattoos, clothing) to be applied directly to mesh bodies as well as system avatars. This involves server-side changes, including updating the baking service to support 1024×1024 textures, and may in time lead to a reduction in the complexity of mesh avatar bodies and heads. The project is in two phases:

  • The current work to update the baking service to support 1024×1024 textures.
  • An intended follow-on project to actually support baking textures onto mesh surfaces. This has yet to fully defined in terms of implementation and when it might be slotted into SL development time frames.

This work does not include normal or specular map support, as these are not part of the existing baking service.

Current Progress

Load testing with the updated server using 1024×1024 textures is in progress. The next phase is liable to be comparing the load test data with that of an existing baking server using 512×512 textures.

Bakes on Mesh and Animesh

Because of the complexities involved with Bakes on Mesh, it is not seen as a dependency for Animesh, as doing so would greatly extended the time frame for delivering Animesh. The Lab would rather implement both incrementally, rather than try to run everything into one huge project.

Environment Enhancement Project (EEP)

Project Summary

A set of environmental enhancements, including the ability to define the environment (sky, sun, moon, clouds) at the parcel level; a new environment asset type that can be stored in inventory and traded through the Marketplace / exchanged with others; scripted, experience-based environment functions, an extended day cycle and extended environmental parameters. This work involves both a viewer updates (with a project viewer coming soon) and server-side updates.

Current Status

No major change from my previous work. Rider has been working on a simhost issue unrelated to EEP for much of the time.

Final Notes

  • Those requiring access to the JIRA to comment on files issues / request, can send an e-mail request to LetMeIn-at-LindenLab.com.
  • There is no CCUG meeting on Thursday, November 2nd, 2017. The next meeting will be Thursday, November 9th.