In keeping Zuma’s previous designs I’ve written about, this (fae forest) maintains the fantasy element with its touch of whimsy, but it also has something of a darker tone as well. This latter aspect is somewhat apparent on arrival: the default windlight casts a hazy blanket across the region, causing distant trees to look a little ghost-like, an effect enhanced by the stardust that in places drifts on the wind.
Sitting as a humped island rising from the sea, the region has a distinct north-west to south-east orientation. Towards its centre there rises a vertically-walled table of rock, its broad plateau, complete with taller pillars and curtains of rock that in places rise above it, resembles a great, natural fortress; its castle-like look further enhanced by the ring of water that surrounds it like a natural moat.
The land spreading to the west and east around this great plateau undulates gently and carries with it a feeling of being windswept and exposed. It is largely home to scrub grass, some of if providing grazing for sheep, while a few trees sit further around its eastward arc, the horizon of which is broken by the blocky form of a stone-built chapel. The grassland also sweeps around to the west and south, where it washes against the dark shadow of woodland – but more of that anon.
The great plateau is accessed through a set of stone-cut steps that face the landing point across the grasslands. Like the plateau, the steps are on a massive scale – each of them practically needs a staircase of its own to climb it. They provide the single point of entry to the table-top of rock from the lands below, as if again suggesting this is a place of natural fortification.
However, the top of the plateau is not in any way given over to ideas of war or defence. Instead, it offers the clearest reflection of previous iterations of (fae forest). Richly wooded, it offers a lot to discover in what is a glorious garden sitting beneath boughs draped in lights and between which shafts of sunlight fall around a central giant gazebo. Nevertheless, the echoes of castles persist: on the south side of the gazebo more huge steps cut their way up through another great up-thrust of rock that rises like a giant natural motte to the lower plateau’s bailey, albeit one lacking defensive walls around its top.
Beyond the plateau’s bulk the landscape takes a different turn. Great columns of rock cover the south-eastern side of the region, looking for all the world like some giant’s hammer has been used to randomly pound each of them into the ground. Just to west the of these great stone blocks stands the dark woodland mentioned above, a place where rain falls and mist creeps between shadowy tree trunks.
Here the region takes on something of a darker tone, not only because of the mist and rain and dark hue to the trees, but because of what lies amidst the tall trees. A ramshackle cabin raised on stout wooden legs and looking for all the world like it should be sitting within some dank, dark corner of a bayou crouches on one side of the path. Beneath it, and somewhat ominously, baby dolls have been strung up, while facing it from the other side of the path is a strange oversized display cabinet in which hang more dolls, these ones perhaps best described as Chucky’s distance cousins, watched over by a distinctly nervous-looking cat (one of Cica Ghost’s creations).
The wood with its strange tableaux can come as an odd turn for the region to take, standing as it does in opposition to the more fairy-tale heights of the plateau above and behind it. However, it also adds to the overall atmosphere of the setting, adding to its uniqueness.
This uniqueness is further increased by the oddities scattered across the region: an aero engine here, offshore ring of standing stones there, sculptures rising in unexpected places, high and low, and more – there’s even a troll hiding within the arms of denuded trees.
Atmospheric, slightly haunting, but definitely photogenic, this version of (fae forest) perhaps offers a slightly different face to the world than previous builds, but it remains evocative and utterly worthwhile in visiting.
For their fourth anniversary, Kultivate presents a 2D and 3D art exhibition in a steampunk-themed setting. Some 27 artists are participating in the event, which also features a week of entertainment as well.
Obviously, with so many artists participating, the range of art on display is broad, with avatar studies, landscapes, colour images, monochrome, physical world paintings, mixed media, and more. All of the art is displayed in the open air, with the region’s default windlight providing a strong neutral background light to fully appreciate the pieces on display.
I admit to inevitably being drawn to some of my favourite artists – Cybele Moon with her fabulous fable-like images; VictorSavior, who again offers a wonderful mix of art: hand-drawn avatar studies, paintings of historical figures, landscape paintings and the most engaging series of oriental-style wall hanging featuring ink-drawn images and words; Jamee Sandalwood’s wonderful landscape and region studies; and so on. However, all of the art makes this a more than engaging visit.
Entertainment for the week through to July 20th comprises (all times SLT):
Monday, July 15, 2019 16:00-17:00: Dimivan Ludwig.
Tuesday, July 16, 2019 16:00-17:00: Mavenn.
Wednesday, July 17, 2019 16:00-17:00: Wolfie Starfire.
Thursday, July 18, 2019 16:00-17:00: TBD.
Friday, July 19, 2019 16:00-17:00: Erika Ordinary.
Saturday, July 20, 2019 13:00-14:00: Closing parting.
There are also special raffle giveaways for those attending the entertainment events with prizes including two LumiPro lighting systems, a Serenade Photo Studio Pro, Tillie’s Pose Stand, Fotoscope FotoFrame Publisher, the Beachyhead House from DAD Designs and the Camden Photo Studio from Maven Homes.
This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:
It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy. This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.
Official LL Viewers
Current Release version 22.214.171.1247758, formerly the Rainbow RC viewer dated June 5, promoted June 18 – No change.
Release channel cohorts:
Bakes on Mesh RC viewer updated to version 126.96.36.1999185 on July 11th.
Love Me Render viewer updated to version 188.8.131.529065 on July 9th.
This week sees the 50th anniversary of the Apollo 11 lunar landing. To mark the event, this Space Sunday article and the next will look at that mission, and the three men who flew it.
Part 1: “Lift-of We Have Lift-off!”
On Wednesday, July 16th, 1969, at 13:31:51 UTC (9:31:51 EDT) five Rocketdyne F-1 at the base of Saturn V SA-506 came to life. Starting with the centre motor, then the opposing outboard pairs, the entire ignition sequence took 600 milliseconds. Held on the pad by four massive clamps, called hold-down arms, the five engines gradually built up thrust to 35,100 kN (7,891,000 lbf).
At precisely 13:32:00 UTC) (9:32:00 EDT) the huge hold-down-arms rocked back in a “soft release”, allowing the rocket, weighing almost 3,274 tons, to start its ascent, its acceleration slowed for the first half-second by a series of 8 pins connecting it to the pad to “reduce transient stresses resulting from abrupt disengagement of a vehicle from its launch stand”. When these pins dropped free from the base of the rocket, Apollo 11 was on its in a historic mission that would seen humans land on the Moon for the first time.
The two men destined to be the first to set foot on Earth’s natural satellite were Neil Alden Armstrong, just shy of his 39th birthday, and Edwin Eugene “Buzz” Aldrin Jr., who had turned 39 in January 1969, sat atop of the massive Saturn V rocket along with Command Module Pilot, Michael Collins, the youngest of the three (if only by a couple of months). Together, they formed only the second Apollo flight crew where all three men had previously flown in space (the first having been Apollo 10, the “dress rehearsal” mission for the Moon landing).
Armstrong, Aldrin and Collins were also perhaps the most technically competent trio on NASA’s astronaut roster at the time. All had served in the military – Armstrong in the US Navy, Aldrin and Collins in the US Air Force. Both Armstrong and Collins had also built up impressive résumés as test pilots, Armstrong as a civilian and Collins in the US Air Force.
In particular, Armstrong flew with the National Advisory Council for Aeronautics (NACA), NASA’s forebear, prior to being selected for the USAF/ NASA high-altitude X-15 research programme, (he flew the X-15 seven times between late 1960 and mid-1962) whilst simultaneously engaged by the USAF in their X-20 Dyna-Soar space plane project. Collins, meanwhile, took part in high-altitude flights, taking F-104 Starfighter jets to 27.7 km (90,000 ft) in order to experience the “weightless” environment of free-fall at the top of their parabolic flight arcs, helping him to achieve 3,000 hours in the cockpit.
As well as being aviators, Armstrong and Aldrin were also academics. Armstrong held a BSc in aeronautical engineering and an MSc in aerospace engineering, and Aldrin has a doctorate in astronautics. Aldrin particularly specialised in on-orbit rendezvous, which allowed him to work on Project Gemini as an engineer (and also earned him the nickname “Dr. Rendezvous” , not always meant kindly, by other astronauts).
Despite their qualifications, both Armstrong and Aldrin almost didn’t get selected for NASA’s astronaut programme: neither had the requisite military test pilot qualifications that were initially required. However, in 1962, NASA dropped the “military” element from the test pilot requirement, enabling Armstrong to apply for the Group 2 intake – although he almost missed the cut. his application arrived after the closing date, but fortunately Dick Day, a simulations engineer at NASA who have previously worked with Armstrong saw the application and made sure it was included.
Aldrin’s break came in 1963, when NASA further revised the requirements to test pilot OR 1,000 hours flying jets. This allowed he to re-apply (his first application having been turned-down due to his lack of test pilot experience), and he was invited to join the Group 3 intake alongside Michael Collins.
A Saturn V launch is perhaps one of the most stunning sights to witness – and Apollo 11 was witnessed by around 1 million people in and around the Kennedy Space Centre. However, for the first part of their flight, the three men were pretty much passengers as the Saturn V rose into the sky.
For all their power, the five F-1 engines took 12 seconds to overcome the 100.6 m tall rocket’s mass and inertia and push it clear of the 120m tall Launch Umbilical Tower (LUT), angling it very slightly away from the tower in the process so to avoid the risk of any wind-driven contact between the two.
Immediately after clearing the tower, the rocket commenced its “roll”, a necessary manoeuvre in which the vehicle rolls around its vertical axis, allowing it to point itself along the line of flight it needs to achieve the required orbit. After that, things started to move quickly.
A minute after launch, the Saturn V was around 6.5 km (3.5 nautical miles) altitude and passing through the sound barrier. Twenty seconds later, it entered “Max Q”, the period of maximum dynamic pressure, placed on this frame as a result of it literally punching its way through the atmosphere.
At this point, the F-1 engines throttled back a little to prevent the vehicle shaking itself apart, but once through “Max Q” – a period of only a handful of seconds, they returned to full thrust, pushing the vehicle up to 62 km (42 mi) above the Earth, and taking only 2 minutes 41 second from launch to do so. At this point, and travelling at 9,960 km/h (6,164 mph), the huge first stage separated, the upper stages of the Saturn 5 pushed clear by a set of four separation motors.
From here, the four motors of the second stage took over. While the massive first stage coasted upwards behind it and then fell back to crash into the Atlantic ocean, the Second stage ran for 6 minutes, accelerating the rocket to 25,000 km/h (15,647 mph) and lifting it to an altitude of 175 km (109 mi).
With its fuel spent, the second stage separated, also to fall back to the Atlantic, while the single, re-usable engines of the all-important S-IVB stage took over. This stage initially ran for about 2.5 minutes, during which time it pushed Apollo 11 to a velocity of 27,900 km/h (17,432 mph), allowing it to assuming a near-circular orbit around the Earth averaging 184 km 98.9 na mi) before shutting down for the first time.
It was at this point that the three crew took a more pro-active role in the flight. For the next couple of hours, as they completed 1.5 orbits of the Earth, and in tandem with mission control, they confirmed their vehicles were ready to be committed for the flight to the Moon.
Interestingly, while mission commander, Armstrong had actually clocked less time in space than either Collins or Aldrin. However, he had the greatest experience in handling in-flight emergencies, having dealt with the first in-flight failure of a critical system during a US space mission.
This occurred during his flight flight into space on the Gemini 8 mission, alongside David R. Scott. This mission was intended to be the first test of an orbital docking between two vehicles – Gemini 8 and an automated Agena target vehicle. In all, Armstrong and Scott were expected to complete four such docking as a part of the mission objectives.
However, shortly after docking, the Gemini’s Orbit Attitude and Manoeuvring System (OAMS) has suffered a serious failure, and Armstrong ordered Scott to release the docking mechanism before before vehicle broke up. Once free of the Agena (which was later stabilised by ground control allowing it to be used by Gemini 10 with Michael Collins), Armstrong took the took the unorthodox step of shutting down the OAMS and using the Re-entry Control System (RCS) to regain control. While this worked, undoubtedly saving his and Scott’s lives, under mission regulations, they no option but to immediately perform and emergency return to Earth, curtailing the mission.
Back aboard Apollo 11, their checks complete, the crew received the all clear for the critical trans-lunar injection (TLI) burn. This started mid-way through the second orbit of Earth, as the S-IVB motor was restarted and fired for 5 minutes and 47 seconds, accelerating the vehicle to around 40,085 km/h (25,053 mph), and pushing it away from Earth and into an energy-efficient trajectory towards the Moon.
As Michael Collins carried out the transposition, docking and extraction manoeuvre, either Aldrin or Armstrong took this image of the Lunar Module (LM) sitting in the top of the Saturn V S-IVB stage, awaiting the Command and Service Module (CSM) to dock with it and gently pull it free of the upper stage. Credit: NASA