Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, September 4th, 2022
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
Release viewer: version 6.6.3.574158 – formerly the Profiles RC viewer, dated August 18, promoted August 30 – NEW.
Release channel cohorts::
Izarra Maintenance RC, version 6.6.4.574724, September 1.
Maintenance 3 RC viewer, version 6.6.4.574727, September 1.
Project viewers:
Puppetry project viewer, version 6.6.3.574545, issued on August 30.
Anyone with a reasonable interest in astronomy will recognise the above image as containing the Drake Equation, sometimes referred to as “the second most famous equation after E=Mc2
It was first proposed in 1961 by American astronomer and astronomer and astrophysicist Dr. Frank Drake as a probabilistic argument to estimate the number of active, communicative extraterrestrial civilisations in the Milky Way Galaxy. Its values are defined as:
N = the number of civilisations in our galaxy with which communication might be possible (i.e. which are on our current past light cone);
And:
R∗ = the average rate of star formation in our Galaxy.
fp = the fraction of those stars that have planets.
ne = the average number of planets that can potentially support life per star that has planets.
fl = the fraction of planets that could support life that actually develop life at some point.
fi = the fraction of planets with life that actually go on to develop intelligent life (civilisations).
fc = the fraction of civilisations that develop a technology that releases detectable signs of their existence into space.
L = the length of time for which such civilizations release detectable signals into space.
In the decades since its initial publication, the Drake Equation has been widely critiqued by astronomers and mathematicians because the estimated values for several of its factors are highly conjectural such being that the uncertainty associated with any of them so large, the equation cannot be used to draw firm conclusions.
However, these critiques actually miss the point behind Drake formulating the equation in the first place, because he was not attempting to quantify the number of extra-solar civilisations which might exist, but rather as a way to stimulate scientific dialogue about what had been very much looked upon as an outlier of research, and to help formulate constructive discussion on what is regarded on the first formalised discussion on the search for extra-terrestrial intelligence (SETI), as he noted in his memoirs:
As I planned the meeting, I realised a few day[s] ahead of time we needed an agenda. And so I wrote down all the things you needed to know to predict how hard it’s going to be to detect extra-terrestrial life. And looking at them it became pretty evident that if you multiplied all these together, you got a number, N, which is the number of detectable civilizations in our galaxy. This was aimed at the radio search, and not to search for primordial or primitive life forms.
– Frank Drake
Frank Drake not only hosted the first US meeting to discuss the potential for seeking signs of possible extra-terrestrial civilisations, he pioneered several of the earliest attempts to seek any such signals as demonstrating methods that might be used as a means to intentionally communicate our existence to other civilisations within the galaxy. As such, his work did much to put our speculative thinking about intelligences elsewhere in the galaxy on a solid foundation of scientific research, as will as being responsible for some for the foremost research in the field of modern radio astronomy.
This is his story.
Born in Chicago on May 28th, 1930, Frank Drake was drawn to the sciences and to electronics from an early age, and in order to further his education in both, he enlisted in the US Navy Reserve Officer Training Corps (ROTC). This allowed him to obtain a scholarship at the prestigious Cornell University, ostensibly to obtain qualifications in electronics, but also study astronomy.
While at Cornell, Drake’s astronomy class were able to attend a lecture by astrophysicist Otto Struve. While his name may not be instantly recognised, Struve was one of the most distinguished astronomers of the mid-20th century, a member of a generational family of astronomers stretching by to the 18th century and Friedrich Georg Wilhelm von Struve. He was also one of the first astronomers to openly promote radio astronomy as a key to determining whether there might be other intelligences living in our galaxy – an idea his contemporaries tolerated, rather than embraced.
Struve’s presentation positively affected Drake, and following his required 1-year military service following graduation in 1951 (served as the Electronics Officer aboard the cruiser USS Albany), Drake enrolled at Harvard University, where gained his doctorate in astronomy, with a focus on radio astronomy.
Frank Drake in one of his official portraits at Green Bank observatory (1962). Credit: Green Bank
In 1956 Otto Struve was appointed as the first director of the National Radio Astronomy Observatory (NRAO)), and he started overseeing the establishment of a number of national radio astronomy centres across the United States. One of these was at Green Bank, Virginia, a facility Drake joined as a researcher in 1958. His initial work here started with the static arrays at Green Bank, carrying out the first ever mapping of the centre of the Milky Way galaxy, and the discovering that Jupiter has both an ionosphere and magnetosphere.
However, Struve was keen to enhance the facilities with steerable radio dishes, and to this end purchased an “off-the-shelf” 26 m dish and had engineer Edward Tatel (for whom it was later named) design a motorised mount for it so it could be pointed around the sky. This work was completed in 1959, and Struve turned to Drake to formulate the telescope’s first science mission.
At the time, Drake had just read an intriguing article in Nature magazine entitled Searching for Interstellar Communications. Within it, physicists Giuseppe Cocconi and Philip Morrison proposed using a large radio dish to monitor “incoming” radiation from stars along the 21-cm / 1,420.4 MHz wavelength – the radio frequency used by neutral hydrogen. Given this is the most common element in the universe, Cocconi and Morrison speculated it would be logical landmark in the radio spectrum to manipulate as a message carrier.
Taking this idea, Drake developed Project Ozma, a three-month programme run at the start of 1960 to listen for any signals coming from the vicinity of either Tau Ceti or Epsilon Eridani. At the time, no-one knew if either star fielded planets (although both were found have at least one planet orbiting them almost 50 years after Drake’s experiment).
Frank Drake in front of the 85-1 (Tatel) Telescope. the first steerable telescope built at NRO Green Bank (and now one of 3 such telescopes, collectively referred to as the Green Bank Interferometer), used in Drake’s first SETI experiment, Project Ozma. Credit: NRAO Green Bank
Following Ozma, Drake was encouraged to formalise SETI research into a more co-ordinated effort (various programmes, such as Ohio State University’s work using the Big Ear telescope, were already in existence but without any real coordination). To this end, he helped put together the first small-scale meeting / conference on the subject in 1961 – the event at which he used his equation to stimulate the discussion.
Among those attending were Otto Struve (now retired), Phillip Morrison, astronomers Carl Sagan and Su-Shu Huang, chemist Melvin Calvin, neuroscientist John C. Lilly, and inventor Barney Oliver. Together they called themselves The Order of the Dolphin (due to Lilly’s work on dolphin communications), and together they laid the groundwork for a systematic approach to SETI research, which over the coming years would in turn give birth to numerous programmes, and more fully legitimise such research within scientific circles.
In the mid-1960s, and still based at Green Bank, Drake was nominated to spearhead converting the massive Arecibo Ionosphere Observatory – originally built as a project to study the Earth’s ionosphere as a means of detecting nuclear warheads inbound towards the United States – into what would become more famously known as the Arecibo Observatory, for several decades the largest radio telescope in the world.
This work finished in 1969 when the National Science Foundation formally took over the Arecibo faculties, and two years later Drake was approached by Carl Sagan with another intriguing proposal. Sagan had himself been approached English journalist Eric Burgess – who at the time was writing about the upcoming NASAPioneer 10 and Pioneer 11 missions – about the idea of sending a physical message out to the stars.
It’s time to highlight another week of storytelling in Voice by the staff and volunteers at the Seanchai Library – and this week previews the launch of a very special event.
As always, all times SLT, and events are held at the Library’s home in Nowhereville, unless otherwise indicated. Note that the schedule below may be subject to change during the week, please refer to the Seanchai Library website for the latest information through the week.
The are times when even Belgian ex-pat detective Hercule Poirot needs a break from his chosen vocation; so when the opportunity arises for him to enjoy a holiday in Devon at the Jolly Roger Hotel (inspired by the Burgh Island Hotel) located on a tidal island just off the south Devonshire coast, he looks forward to the chance of a little R&R.
Evil Under the Sun – a Seanchai Library special event
Whilst at the hotel, he encounters the other guests, notably Arlena Marshall who, desire being at the hotel with her husband Kenneth and step-daughter Linda, spends a lot of her time flirting with Patrick Redfern – much to the anger of Redfern’s wife, Christine and the disgust of her step-daughter. Also among the guests is Rosamund Darnley, who was once sweethearts with Kenneth Marshall.
Trying to keep himself apart from the intrigue, Poirot finds himself drawn into the middle of things and in need of his most particular deductive skills when Arlena Marshall is found dead on the sand of a secluded cove across the little island far from the hotel; a place where she apparently had a secret assignation…
Evil Under the Sun – a Seanchai Library special event
Join David Abbott, Corwyn Allen, Gloriana Maertens, Elrik Merlin, Kayden Oconnell, and Caledonia Skytower as they commence a reading of the 23rd adventure for Agatha’s Christie’s hero, first published in 1941, within the setting of the Jolly Roger Hotel. Should you wish, you can also enjoy the hotel’s grounds and facilities, partake of a little fun – and visit the cove which proved fatal for Arlena Marshall.
Monday, September 5th, 19:00: Two Stories by Mercedes Lackey
With Gyro Muggins, reading Werehunter and Wet Wings.
Sophie has the great misfortune of being the eldest of three daughters, destined to fail miserably should she ever leave home to seek her fate. But when she unwittingly attracts the ire of the Witch of the Waste, Sophie finds herself under a horrid spell that transforms her into an old lady. Her only chance at breaking it lies in the ever-moving castle in the hills: the Wizard Howl’s castle.
To untangle the enchantment, Sophie must handle the heartless Howl, strike a bargain with a fire demon, and meet the Witch of the Waste head-on. Along the way, she discovers that there’s far more to Howl—and herself—than first meets the eye.
Caledonia Skytower reads Diana Wynne Jones novel.
Wednesday, September 7th 19:00: Seanchai Flicks
The Seanchai cinema space plays host to videos and throw popcorn around!
My audio recording and chat log of the Content Creation User Group (CCUG) meeting held on Thursday, September 1st 2022 at 13:00 SLT.
My notes and the video from the Third-Party Viewer Developer (TPVD) meeting held on Friday, September 2nd, 2002 at 13:00 SLT. The video is provided by Pantera – my thanks to her for recording it, and can be found at the end of this article. Times stamps to the video are included where relevant in the following notes.
Both meetings are chaired by Vir Linden, and their dates and times can be obtained from the SL Public Calendar.
This is a summary of the key topics discussed in the meeting and is not intended to be a full transcript.
Overall, the work on the viewer side of things – rendering in support of glTF 2.0 standards (and consistency of results when going from a tool like Substance Painter trough the uploader to displaying in SL) is now “near complete”.
It is hoped that it will “not be long” now before a project viewer is more generally available, although there is still additional back-end work to be completed, together with adding support for things like transparency support, ensuring PDR rendering works under linden Water, and similar.
Again, the focus of this work for the first pass is “core” glTF 2,0 support.
Ratified (under ISO) extensions may be up for inclusion in future enhancements to the capability.
Non-ratified extensions will not be up for inclusion in future updates.
In order for to be compliant with glTF, tangents are going to have to be generated in mikkTSpace, where normal maps are applied. This means that existing normal maps within Second Life / normal maps generated without using MikkTSpace may not look correct when rendered via the PBR pipe.
Runitai Linden noted that this project has been a valuable experiment in real-time collaboration between the LL dev and members of the community through the Discord server.
He expressed thanks to the TPV developers and the creators who have assisted the graphic team both in the development of the PBR rendering path and in helping with the reflections probe development, both in terms of code contributions and in helping to identify and address edge-case issues.
He further noted It is hoped more projects might by run this way.
Also pulled into this work are improvements to the texture handling (previously DRTVWR-559), This involves better core utilisation and VRAM usage.
For Windows, this work includes an API which:
More accurately track texture memory use in the viewer and report it back to the client operating system.
Should ensure all available video memory (i.e. that not being used by other applications) on Windows systems is used by the viewer prior to any texture paging occurring.
Works with both Intel and AMD hardware (the latter is important that the OpenGL extensions commonly used by TPVs to achieve a more efficient use of VRAM apparently no longer work correctly on AMD hardware).
For Mac OSX, the new method is to use internal accounting to attempt to track how much video memory is free and then estimate a value of available memory for textures from that.
This is because the operating will not simply report the amount of free video memory (only how much is installed), ruling out the use of a more scientific approach.
Once available in production viewers, these changes should mean those running systems with more recent video cards with decent amounts of free video memory should see much improved texture fetching and loading and see a reduction of textures being paged out to cache (the blurring / sharpening / blurring of textures) seen when the viewer thinks it is using all available / allowed video memory.
A further change is to specify the maximum amount of system memory the viewer can use for textures (16 GB, if available on 64-bit systems; 4GB on 32-bit systems).
The discussion on puppetry mentioned in the above articles will be the first such meeting, and if there is demand for it, there will be a similar meeting on Aditi on alternate Thursdays from September 8th onwards, to be held in the theatre on Aditi Castelet region.
These meetings will (initially) be very development focused rather than creator / user focused, given the overall status of the project.
It is advisable that attendees use the Puppetry project viewer when attending these meetings (available from the Alternate Viewers page), so that they might see any demonstration which may take place during meetings.
It’s important to notice that what has been made available is a very early stage “alpha” release.
The choice of the LLSD Event API Plug-in (LEAP) system means that it should be fairly easy to write third-party code to support capture devices (e.g. from Leap Motion through to (potentially) full body trackers – something Vru Linden is already tinkering with).
The Thursday meetings are being established to discuss precisely these kinds of opportunities and the potential for things like multi camera support, etc.
[TPV video: 31:09-33:24] Given the success of the real-tome collaboration with PBR / Reflection Probes, it is likely the Puppetry project will also follow a similar approach and utilise a Discord channel for discussion and contributions, etc., over and above the fortnightly meetings on Aditi.
This is something the Lab is considering, and has been looking for feedback from users on possible approaches. – see also the previous CCUG / TPVD meetings summary.
If / when this work goes ahead, it will also involve some general code and other technical tidying-up, including:
Reducing the number of different AIS APIs currently in use.
Removing deprecating (and eventually removing) UDP messaging paths for inventory, together with outdates inventory caps (particularly as the latter are superseded.
Onceagain Art Gallery: B&W Group Exhibit (l-to-r): etamae, Mariza Reifsnider, Madame Reve, Moki Yuitza, Whiskey Monday
Currently open (for a while longer, I hope, given its debut was August 11th, 2022), at Onceagain Art Gallery curated by Onceagain (Manoji Yachvili) is B&W Group Exhibit – the title of which pretty much speaks for itself, being an ensemble exhibition of black and white and monochrome photography featuring both Second Life landscapes and avatar studies.
And when I say ensemble, I really do mean it: a total of 24 artists have submitted at least one image for the collection. Some of those who have done so will doubtless be familiar to patrons of art in Second Life, and others may be less familiar names – although their art is no less engaging.
Onceagain Art Gallery: B&W Group Exhibit (l-to-r) :Manoji Yachvili, Zakk Bifrandt
Together they are: Apple Pippage, BlazeAme, Celestial Demon, Dane Albion, D’cuir, Etamae, Kika Yongho, Kunisaki Izumo, Lika Cameo, Nino Vita, Madame Reve, Manoji Yachvili, Mara Telling, Mariza Reifsnider, Mihalisk, Moki Yuitza, Nekonuko Nakamori, Opie, Terrygold, Scylla Rhiadra, Violette Rembrandt, Whiskey Monday, Yeya Zuta and Zakk Bifrandt.
Given this list, and breadth and depth of the images on display is impressive, with the restriction of having to remain with black and white (as the majority have, although there are a number of more monochrome pieces within the collection) adding to both the appearance and appeal of those where one is more accustomed to seeing the artist’s work in colour.
Onceagain Art Gallery: B&W Group Exhibit (l-to-r): Mara Telling, Ninoo Vita, nekonuko Nakamori
With 24 artists taking part, it is not surprising that the entire main gallery is given over to the exhibition – and in this it is especially well suited to the exhibition’s theme. The tonal quality of the gallery and its various rooms, coupled with the local environment setting leads an almost monochromic feel to the gallery, something further enhanced by the choice of décor placed within the various rooms, which heightens the feeling that the gallery is very much a part of the exhibit, rather than merely hosting it.
A further framing for the exhibition can be found on two of the gallery’s exterior walls, which feature quotes on the power of black and white photography from Ted Grant (1929-2020) – widely regarded as the father of Canadian photojournalism -, and Robert Frank (1924-2019), whilst the layout of the gallery, with its different rooms and levels (with access to the main hall down the stairs from the landing point, or to the upper level rooms via the catwalk, then using the internal stairs to visit the lower level) prevents the exhibition from every feeling “top heavy” from the sheer volume of piece on display.
Onceagain Art Gallery: B&W Group Exhibit (l-to-r): Terrygold, Manoji Yachivli, Violette Rembrandt and Apple pippage
As noted, I have no idea how much longer B&W Group Exhibit will remain open, so I would advise that if you should like to visit, you do so sooner rather than later, just in case!
Lavender Bay, September 2022 – click any image for full size
Shawn Shakespeare recently pointed me towards Lavender Bay, a Homestead region designed by Clifton Howlett, working with Camilla Lupono.
Cliff is formerly one of the creative hands that brought us the likes of Hidden Lake (more here), Hidden Bottle (which I wrote about here and here) and the celebrations of the Zamonia series of books by German comic creator and author, Walter Moers, The Empire of Dreaming Books (see here and here for more). Given this heritage, I was keen to see what might be found at Lavender Bay.
Lavender Bay, September 2022
Perhaps the easiest way to convey the setting is is quote from the About Land description / introductory note card available at the Lavender Bay Landing Point:
Welcome to Lavender Bay.
A SIM inspired by the Italian Tuscany. Make yourself at home and find your new favourite photo spot.
– From the introductory note card for Lavender Bay
Lavender Bay, September 2022
From this, it’s easy to guess that Lavender Bay is a place that is easy on the eye and engaging to the camera lens.
Located on the west side of the region on a small sandy headland, the landing point provides a keen senses of the region’s core theme – as a place of relaxation : several places to sit and takes things easy lay within in a few short paces away. Also close by is a boardwalk that climbs over the rocky south extent of the the headland and the bridge spanning a narrow gorge separating the headland from the rest of the region.
Lavender Bay, September 2022
The main part of the region offers exactly what its name suggests: a richness of lavender; some of which is being cultivated within a large field rolling away from a hilltop farm villa, some of which is growing wild lavender which climbs the remaining hills of the island, mixing its colours with wild flowers.
The easiest way to explore the region is to take the track that winds up to the villa from the bridge, and the path running down the hill from the villa, paralleling the lavender field before climbing the hill to the ruins of what might have once been the original farmhouse, from whence an old, broken cobbled path climbs the tallest hill on the island to the local windmill.
Lavender Bay, September 2022
Throughout all of this there is much to see, all of which is easy on the eye and presents multiple places to sit, relax and appreciate the region’s natural looks and beauty – and one or two places that offer the more unusual ways to sit (keep an eye out for the wooden chair being held aloft just off the coast by a single balloon.
Finished with a subtle soundscape, Lavender Bay is another place that requires little in the way of description and it speaks loudly for itself – so do be sure to hop over and appreciate it first-hand.