Space Sunday: propulsion, planets and pictures

An artist’s impression of a lunar base using the micro nuclear reactor (NMR) currently being developed by Rolls Royce. Three of the reactors can be seen in the right foreground, casting palm tree like shadows (the “palm frond” shadows are actually the reactors’ radiator panels). Three more of the reactors can be seen in the centre of the image. See below for more. Credit: Rolls Royce Aerospace

In my previous Space Sunday, I covered some of the renewed interest in nuclear propulsion for space missions – and it certainly is a hot topic (no pun intended). Just 24 hours after that article was published, NASA and the US Defense Advanced Research Projects Agency (DARPA) announced they had signed an interagency agreement to develop a nuclear-thermal propulsion (NTP) concept.

Referred to as the Demonstration Rocket for Agile Cislunar Operations (DRACO), the three-phase programme will look to develop and enhance an NTP propulsion system capable of operating between Earth and the Moon and eventually Earth and Mars, potentially enabling fast transit times to the latter measured in weeks rather than months. Nor is this simply a computer modelling exercise: the agencies plan to fly a demonstrator of the propulsion unit in early 2027.

As I noted in my previous piece, NTP uses a nuclear reactor to heat liquid hydrogen (LH2) propellant, turning it into ionized hydrogen gas (plasma) channelled through engine bells similar to those seen in chemical rockets to generate thrust. As I also noted, NTP for space vehicle propulsion is not new; both the US and the former Soviet Union both pursued NTP projects in the early days of the space race – most notably for the US with the Nuclear Engine for Rocket Vehicle Application (NERVA) project, successfully tested on the ground in 1963/64.

A conceptual rendering the DARPA-NASA nuclear thermal propulsion (NTP) test vehicle the agencies hope to fly in 2027. Credit: DARPA

Per the agreement, NASA’s Space Technology Mission Directorate (STMD) will lead the technical development of the nuclear thermal engine, which will be integrated into a vehicle built by DARPA, with that agency leading the overall programme as the contracting authority. Both agencies will collaborate on the overall design of the engine.

DARPA and NASA have a long history of fruitful collaboration in advancing technologies for our respective goals, from the Saturn V rocket that took humans to the Moon for the first time to robotic servicing and refuelling of satellites. The space domain is critical to modern commerce, scientific discovery, and national security. The ability to accomplish leap-ahead advances in space technology through the DRACO nuclear thermal rocket program will be essential for more efficiently and quickly transporting material to the Moon and eventually, people to Mars.

– DARPA director Dr. Stefanie Tompkins

Meanwhile, on January 27th, 2023, the UK’s famed Rolls Royce teased details of its own foray into the space-based nuclear power / propulsion systems: the micro-nuclear reactor (MNR), an extremely robust, self-contained nuclear fission plant which could be used to supply power to bases on the Moon or Mars, or used as a core element in vehicle propulsion systems either individually or as multiple units to provide both thrust and system redundancy, if required.

Images suggest the Rolls Royce MNR is roughly 3 metres in length (excluding the heat radiators). Credit: Rolls Royce

Development of the MNR started as a result of a 2021 agreement between the United Kingdom Space Agency (UKSA) and Rolls Royce (RR) to study future nuclear power options in space exploration. However, the design for the unit builds on RR’s decades-long expertise in developing power plants for the Royal Navy’s nuclear submarine squadrons and, more particularly a project the company has been developing since 2015 to develop and build small modular reactor (SNRs) to meet the UK’s energy needs (SNRs are self-contained, less complex and lower cost alternative to current nuclear reactors).

Precise details of the size of the unit and its output have not been revealed, although images released by RR suggest a single MNR is around 3 metres in length. In discussing the system, the company indicated its designs have reached a point where it plans to have a full-scale demonstrator / prototype running by 2028.

The MNR forms a part of a broader space strategy from Rolls Royce, which also includes systems for high Mach propulsion systems (e.g. ramjets) which could be combined with rocket propulsion to reach orbit, and a new generation of radioisotope thermal generators (RTGs) for power generation on robotic explorer craft and surface system on the Moon and Mars. The overall aim of the strategy is to offer space agencies and the private sector the ability to easily integrate selected elements of RR’s product offerings into their space projects and programmes.

A rendering of a crew-carrying vehicle entering Mars orbit and using a series of Rolls Royce MNRs (outlined in blue) as a part of its propulsion and power system. Credit: Rolls Royce

Returning to NASA, as well as considering the nuclear option, the US agency has been researching the next generation of rocket engines – the rotating detonation rocket engine (RDRE) – and on January 24th, carried out a series of sustained ground tests of a prototype unit.

In a conventional rocket motor, fuel is expended by deflagration combustion – fuel and oxidiser are burnt to produce an energetic gas flow which is then directed through exhaust bells to generate subsonic thrust. With rotating detonation, fuel and oxidiser are injected into a circular channel (annulus). An igniter within the annulus then detonates the initial incoming mix, generating a shockwave which travels around the channel, returning to the point of injection.

At this point, more fuel is injected into the channel to be detonated by the existing shockwave. This increases the shockwave’s speed and force, and the cycle repeats over and over, the shockwave accelerating to supersonic speed, generating high pressures which can be constantly be directed out of the channel to form thrust through an exhaust system even as the shockwave maintains its momentum within the channel.

Whilst this may sound complicated, the upshot is that rotating detonation engines (RDREs) theoretically generate around 25% more thrust than conventional rocket motors, which directly translates to greater delta-V being imparted to vehicles departing Earth, so reducing flight times to the Moon and Mars and elsewhere in the solar system. RDEs could also be inherently less complex than subsonic brethren, reducing the mass of a launch vehicle’s propulsion system.

However, there are drawbacks; for example, the very nature of containing the growing force of the shockwave puts an RDRE under tremendous stress and they have been known to explode. They are also incredibly noisy when built at scale.

Both Russia and Japan have experimented with RDRE technology; in 2018, former Roscosmos chief Dmitry Rogozin claimed Russia had successfully developed the first phase of a 2-tonne class of liquid-fuelled RDRE, although this has yet to be substantiated. In 2021, Japan successfully tested a small-scale (112.4 lbf) RDRE in space, using it to propel the upper stage of a sounding rocket.

The NASA test, carried out at the Marshall Space Flight Centre, Alabama, is the first verified test of a full-scale RDRE. The demonstrator motor operated for a total of 10 minutes, reaching peak thrusts of some 4,000 lbf. This is fairly lightweight by rocket standards, but the aim of the test was not just to generate thrust, but to test the engine’s ability to withstand multiple firings and confirm that a copper alloy referred to as GRCop-42 developed by NASA specifically for use in RDRE engines, was up to the task of reducing the stress on the motor by more efficiently carrying the heat generated by the shockwave away from the annulus structure.

While tests with this motor will continue, NASA is now also moving to the construction of a large unit capable of a sustained 10,000 lbf – the same as mid-range rocket motors – to better understand the potential for RDREs to out-perform “traditional” rocket motors. If successful, it could pave the way for RDRE motors capable of match the output of large-scale engines like the RS-25 used by the Space Launch System (SLS) rocket (418,000 lbf).

Continue reading “Space Sunday: propulsion, planets and pictures”

Maddy’s artistic Reflections in Second Life

Onceagain Art Gallery: Maddy – Reflections

Now open at Onceagain Art Gallery, curated by onceagain (Manoji Yachvili) is a new exhibition of work by Maddy (Magda Schmidtzau). Entitled Reflections, it is a further selection of art combining elements of art drawn from Second Life and the Midjourney AI art programme.

I’ve been fascinated by Midjourney since first encountering it in later 2022, and have tracked how it has been leveraged by a number of artists and artist-photographers in Second Life. However, I have to admit that my enthusiasm for the application itself has cooled somewhat since Midjourney founder and CEO David Holz openly admittedly in an interview with Forbes magazine that the company has trained its AI tool by essentially plundering digital image datasets – including Flickr, which is popular with SL photographers – without regard for copyright or consent, which has understandably upset a lot of professional  and amateur artists and photographers alike.

Which is not to say work by Maddy or others in SL utilise copyrighted material; it’s just that appreciation of work produced purely through Midjourney should be balanced against this knowledge, and we should be forewarned in how we use it.

Onceagain Art Gallery: Maddy – Reflections

With Reflections, Maddy has used Midjourney to enhance her own Second Life avatar compositions, creating a series of  original pieces intended to evoke a sense of mood and melancholy intended to convey the the essence of the subjects presented within each piece.

The result is a selection of atmospheric portraits offered within an equally atmospheric setting which sets the mood perfectly for viewing and appreciating each piece in turn.

The pictures themselves are presented in monochrome and / or soft, minimalist tones which gives each or an extraordinary depth and emotive power. Within each there is a lightness of post-processing touch on Maddy’s part that further breathes life into each image, further encouraging us to view them as reflections of the essence of people, rather than digital doppelgängers, so to speak.

Onceagain Art Gallery: Maddy – Reflections

A superb selection, well worth visiting and appreciating.

SLurl Details

Sunday February 5th: Mole Day 2023 in Second Life

The great beacon tower of Pharos, on the east coast of Nautilus. built by Garden Mole, it is one of several builds within Nautilus designed to add to the mythology of the continent and its discovery by Magellan Linden

Sunday, February 5th, 2023, marks the annual Mole Day celebrations in Second Life, and all SL residents are invited to attend festivities at the Bay City Fairgrounds, North Channel.

First held in 2010, Mole Day honours the members of the Linden Department of Public Works (LDPW), affectionately known as the “Moles”, resident builders and scripters contracted by Linden Lab to work on a wide range of (predominantly) in-world projects.

Since their inception, the Moles have have been responsible for many of the larger mainland development projects – most notably Bellisseria and the Linden Homes, although they created many of the more famous sights in Nautilus as well as undertaking initial development of Zindra, the Adult continent, the futuristic-themed Horizons.

Within the Mainland, they also maintain all of the Linden infrastructure etc., and beyond that they also produce Premium membership and have built all of the games and other places accessible via the Portal Parks.

However, their very first project was developing Bay City itself – hence the City’s annual celebration honouring them.

Normally held on the same day as Groundhog Day in the United States, the event is now in its 12th year, and will take place at the Bay City Fairgrounds on February 5th commencing at 11:00 SLT. The event will feature DJ GoSpeed Racer of KONA stream followed by a live performance from Wolfie Starfire at 12:00 noon SLT.

About Bay City and the Bay City Alliance

Bay City is a mainland community, developed by Linden Lab and home to the Bay City Alliance. The Bay City Alliance was founded in 2008 to promote the Bay City regions of Second Life and provide a venue for Bay City Residents and other interested parties to socialize and network. It is now the largest group for Residents of Bay City.

Related Links

A Red Beach in Second Life

Panjin, February 2023 – click any image for full size

Jade Koltai is back with another region design which continues the work she began with the late Serene Footman: delivering to Second Life a setting reflective of one of the more intriguing and/or unusual locations to be found in the physical world.

Located in the biggest wetland and reed marsh in the world, some 40 kilometres from Panjin City, Liaoning Province, northeast China, is Bohai Bay. It sits at the mouth of the Panjin Shuangtaizi River, and it is home to the Panjin Honghaitan Scenic Area. Composed of shallow seas and tide-lands, the location is also home to an extensive growth of Suaeda salsa, one of the few species of plant that can live in highly alkaline soil to which it has given the region its more well-known name: the Red Beach.

Panjin, February 2023

This is because the Suaeda – also known as seepweed – turns the river-mouth red between the months of mid-summer and September and October every year, when the colour of the plant reaches its deepest, richest crimson ahead of the onset of winter. From a distance, it causes an 18 kilometre long stretch of the river and bay to look like it has a beach of red sand, although there is no actual sand between the plants.

An obvious tourist attraction, the area is mixed with paddy fields and hosts one of the most complete ecosystems that can be found: more than 260 kinds of birds, including the endangered black beaked gulls and crown cranes (thus giving it another name – “home of the cranes”), and 399 species of wild animal. In 1988, the area was awarded state-level nature protection, and has also been nominated to join the International person and biosphere protectorate network.

Panjin, February 2023

Cut through with river channels, much of the landscape is off-limits to Chinese nationals and tourists alike, although there are a number of vantage point people can go to – locations such as Yishui Yunzhou and Langqiao Aimeng – where wooden boardwalks have been built out over the seepweed, allowing visitors to see the plant without actually interfering with its growth. For those who would like a closer look, there are also boat rides along the river channels, which may offer a better way to see some of the local wildlife.

All of this has been marvellously captured – as one would expect – by Jade in Panjin, a stunning Homestead region design. Caught in the arms of an off-region surround, the region offers an estuary-like setting, open waters to the west and the shallows with the year’s growth of seepweed protected by the arms of the bay.

Panjin, February 2023

From the landing point on the west side, wooden walkways point eastwards, vying with the splayed fingers of water channels which appear to reach inwards over the red plant from the coast, rather than reaching outwards from the river towards the sea.

Steps descend to the red spray of plant growth, allowing visitors the wade through them, whilst open-sided pavilions might be found on the boardwalks or surrounded by the static tide of seepweed, offering places for visitors to sit and pass the time.  Further seating is to be found along the banks of some of the water channels, places which are also home to red-crown crane, a frequent visitor to the actual Red Beach.

Panjin, February 2023

This is a genuinely elegant region design, of which elegantly captures many different aspect of the both the Red Beach and the Panjin Honghaitan Scenic Area., with the flat aspect to the region, the extensive use of canola flower cut through with water channels and dotted her with hints of green to suggest rice growths and presided over by the odd tree and the outstretched boardwalks, gives the impression the region is a lot bigger than first appears.

As always, this is definitely a location in Second Life worth visiting, given most of us likely wont get to witness it first-hand in the physical world.

Panjin, February 2023

SLurl Details

  • Panjin (Overland Hills, rated Moderate)

2023 week 5: SL CCUG meeting summary

Jitters Coffee Shop, Heterocera – December 2022 – blog post
The following notes were taken from my audio recording and chat log transcript of the Content Creation User Group (CCUG) meeting held on Thursday, January 19th 2023 at 13:00 SLT. These meetings are for discussion of work related to content creation in Second Life, including current work, upcoming work, and requests or comments from the community, and are chaired by Vir Linden. Dates and times can be obtained from the SL Public Calendar. Notes:
  • These meetings are conducted in mixed voice and text chat. Participants can use either to make comments / ask or respond to comments, but note that you will need Voice to be enabled to hear responses and comments from the Linden reps and other using it. If you have issues with hearing or following the voice discussions, please inform the Lindens at the meeting.
  • The following is a summary of the key topics discussed in the meeting, and is not intended to be a full transcript of all points raised.

Official Viewers Summary

Available Viewers

  • On Thursday, February 2nd, 2023:
    • The Maintenance Q(uality) viewer, version 6.6.9.577968 was promoted to de facto release status.
    • The PBR Materials project viewer updated to version 7.0.0.577997.
  • On Friday, February 3rd, 2023 the Maintenace R RC viewer updated to version 6.6.10.578087 – translation updates and the return of slam bits.
The remaining official viewer pipelines are unchanged, as follows:
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself).
    • Performance Floater / Auto-FPS RC viewer, version 6.6.9.577251, January 4, 2023.
  • Project viewers:
    • 7.0.0.577780, January 25, 2023 – This viewer will only function on the following Aditi (beta grid) regions: Materials1; Materials Adult and Rumpus Room 1 through 4.
    • Puppetry project viewer, version 6.6.8.576972, December 8, 2022.

General Viewer Notes

  • It is believed the next viewer due for promotion will be the Performance Floater / Auto FPS viewer, at which point all viewer releases will officially all be based on VS 2022 for Windows, as this is the first RC viewer merged with the VS 2022 release process (previously a separate viewer build fork).

glTF Materials and Reflection Probes

Project Summary

  • To provide support for PBR materials using the core glTF 2.0 specification Section 3.9 and using mikkTSpace tangents, including the ability to have PBR Materials assets which can be applied to surfaces and also traded / sold.
  • To provide support for reflection probes and cubemap reflections.
  • The overall goal is to provide as much support for the glTF 2.0 specification as possible.
  • In the near-term, glTF materials assets are materials scenes that don’t have any nodes / geometry, they only have the materials array, and there is only one material in that array.
    • It is currently to early to state how this might change when glTF support is expanded to include entire objects.
  • The project viewer is available via the Alternate Viewers page, but will only work on the following regions on Aditi (the Beta grid):  Materials1; Materials Adult and Rumpus Room 1 through 4.
  • Please also see previous CCUG meeting summaries for further background on this project.

Status

  • Viewer:
    • The latest update to the viewer includes improvements to probe light blending (e.g. between overlapping manually-placed probes), additional work on radiance and irradiance, and the resolution quality of reflections set back up to 256×256 per face (but will downgrade to 128×128 if the viewer has less than 2 GB of available VRAM). All of this should leave the visual quality of reflection probes “pretty close” to what will be seen in the RC / release version of the viewer.
    • However, there is still a hard transition line between line between overlapping automatic probes and manually place probes, and LL want to encourage those using probes to use full scene manually-placed probes to ensure a much better quality of reflections.
    • Automatically-placed probes have had parallax correction removed, this should prevent the issue of people seeing the ray traced sphere of the probe rather than the reflection of the environment. Parallax correction is now only available with manually-placed probes.
    • Screen Space Reflections (SSR) have also been integrated with the reflection probes so that when the viewer does a look-up on a reflection probe and SSR in enabled, if there is an available SSR that gives a better result than the (generally automatic) reflection probe’s sample, it will be used instead.
    • In addition, there has been further work on optimisation and frame rate smoothing.
    • Still to be addressed in the viewer:
      • Some general artefacts still requiring clean-up, notably water reflections / light speckling, objects being rotated in reflections, and some remaining issues with colour curves on HUD attachments.
      • Further UI work.
      • There are some glTF materials caching issues which have yet to be addressed.
  • LL is in the process of finalising compliance with the glTF standards. This does not impact viewer and glTF testing on Aditi (the beta grid), but will require updates to the viewer which are likely to come into force during RC / beta testing, meaning that only the updated viewer should be used from that point forward. However, it should not impact / alter overall functionality within the viewer.
    • This is the result of an incorrect assumption being made about some of the data required by the glTF specification would “always be there”, when in fact the filtering process LL uses to ensure glTF files uploaded do not contain anything malicious was dropping some of that data (so the visuals were correct, but the data was “wrong” compared to the standard).
  • In an effort to have media on a prim work on glTF materials in a similar manner to the current SL materials (where setting a face to media on an object overwrites the diffuse (texture) map), setting media on a PBR materials face will overwrite both the diffuse and emissive maps, whilst sill allowing media to be viewed on a shiny surface, et., as per the current behaviour.
  • There is concern about the impact of allowing “double-sided” materials as a part of glTF PBR (e.g. the risk of over-use, potential performance impacts, etc.).
    • LL acknowledged that a lot of samples they’ve tested from Sketchfab do contain a a lot of “unnecessary” double-sided surfaces, and so are considering implementing a check and warning on import where this occurs.
    • There is currently a checkbox for enabling / disabling double-sided materials in the PBR viewer’s materials editor, but LL’s view is that allowing double-sided content is not going to “ruin SL forever” – a view not necessarily shared by some creators.

Vulkan

  • It is possible that 2023 will see the resumption of work to add support for the Vulkan / MoltenVK (for OS X) API alongside of OpenGL, as the latter is both growing increasingly long in the tooth and is gradually being deprecated / no longer used / supported on a number of fronts.
  • Within LL, it is believed that implementing this support will not only get SL past the issue of OpenGL’s status, but also offer performance improvements within the viewer (e.g. allowing SL to be less CPU-bound and make more use of the GPU, reducing the volume of draw calls, etc.).

In Brief

  • LL have been experimenting with pulling purchased content using glTF materials from Sketchfab and importing it to SL. The process is not easy, and it is acknowledge more work needs to be done to smooth this out at some point in the future – it will not be improved before the current project moves to a release status.
    • This raised the question of licensing, rights, mesh uploads to SL and the Terms of Service, with a not from LL that this likely needs to be reviewed as a whole, and guidelines provided to specify requirements for uploading content purchased by / built via 3rd party sites and things like license compliance (together the the need for LL to determine the means of gatekeeping things like license compliance).
    • Routes to upload from the likes of Sketchfab would be beneficial, as it would mean creators used to building for those platforms could pull their content into SL without having to learn a further (esoteric) set of content creation requirements.
  • There was a general discussion on texture compression with glTF (which remains in place for all maps other than normal map, where compressed lossless is viewed as important), and on glTF allowing backward-facing normal maps (unsupported with the current SL materials system), and possible problems / benefits these might lead to.
  • In terms of which parts of the glTF specification SL is supporting, LL will likely produce a living document that will detail the initial support, and which will be updated when further support is added / certified by Khronos.
  • For future work, it appears at present that supporting glTF mesh imports would take priority over implementing glTF materials extensions from the specification.
  • Related to the above point, discussions are in progress within LL on how to continue to support COLLADA (.DAE) mesh imports into SL without actively supporting COLLADA format.
    • Reasons for sunsetting direct COLLADA import to SL include:  there are still a lot of traps creators can fall into with the SL implementation of COLLADA support which can be a barrier to entry for those wishing to engage in SL as creators (similar traps do not exist within the glTF standard); maintaining the COLLADA importer adds cost and overheads, as every importer update has to be tested against it and adjustments made where they break COLLADA uploads.
    • One option under consideration is the use of the Open Asset Import Library (Assimp). This acts an an intermediary (so .DAE files get converted to the glTF mesh format), allowing a route of upload for COLLADA file to SL without LL having to maintain the COLLADA import mechanism directly, reducing the overheads of having to both test against it and maintain COOLADA import support.
    • This route would also allow other mesh formats (e.g. .FBX) to be “supported”, with the glTF specification support document mentioned above, available for creators to check which elements within the glTF specification they may need to add in order to get a like-for-like between their build format (.DAE. .FBX, etc.), and glTF.
    • Concern was raised about what the removal of direct COLLADA import might do the the market for full permission .DAE files which can be purchased through the SL Marketplace for upload to SL (although it is not clear how big this market is).
    • It is hoped that any approach taken would offer at least a robust a means of importing COLLDA meshes as the current importer.
  • Also under internal discussion is how to support hierarchies in the context of glTF assets and what that means (e.g. import an asset with a node graph hierarchy, attach it to a mesh, and then manipulate the hierarchy via the edit tools or LSL).

Next Meeting

  • Thursday, February 16th, 2023.

Tayren Theas at Elven Falls in Second Life

Elven Falls: Tayren Theas

My attention was drawn back to Elven Falls, the art collective operated by Ant (AntoineMambazo) and Ares Hax, with the announcement of an exhibition by Tayren Theas within one of the the collective’s main galleries (Gallery 3). The visit to the exhibition also gave me the opportunity to drop into her boutique gallery, also found within the collective (just on the right as you walk down the main thoroughfare from the landing point towards the three main galleries at the far end).

Tayren has been a Second Life resident for over 15 years, and is both an artist and business owner. As a life-long fan of the fantasy genre, Tayren’s early years in Second Life were marked by establishing her business with designing fantasy clothing. Doing so introduced her to photography in Second Life through the act of modelling her designs, and this allowed her to gradually fold her love of art and drawing held since childhood.

Elven Falls: Tayren Theas
Through her photography – which comprises images captured in Second Life and then post-processed via photoshop and other tools – often presents fantasy women of all types: mermaids, fairies, witches, queens, gypsies and more besides. She also offers landscape images, abstract art pieces, wildlife images and more.

The exhibition within the collective’s Gallery 3 has something of a Valentine’s feel to it, celebrating love and expressions of loving feelings, while presenting a range of images which are engaging in both their richness and in their reflections of the work of classical artists such as Austrian symbolist painter Gustav Klimit and Czech painter Alphonse Mucha, among others.

Elven Falls: Tayren Theas

Stating with a glorious series of portraits in the foyer of the gallery, the exhibition proceeds to either side (I would recommend turning to the left first), the collection takes you through a journey encompasses the magic of matrimony, the mischief of naughty undies and the marvel of a kiss in its ability to communicate so much between two people.

Within Tayren’s boutique gallery are samples of her broader art, in which can be found the aforementioned landscape, abstract and wildlife art  – and more.

Elven Falls: Tayren Theas

This is the first time I’ve witnessed the broadness of Tayren’s work, and believe she offer a unique and rich well of art that is well worth taking the time to visit.

SLurl Details