Nitroglobus Roof Gallery, February 2024: Mihailsk – Lost
‘Tis better to have loved and lost
Than never to have loved at all.
– In Memoriam A.H.H (1850) Alfred, Lord Tennyson
The above words, written in the 27th Cantos of Tennyson’s elegy to his friend (and lover?) Arthur Henry Hallam- who died at the tender age of 22 -, have become something of a modern proverb since they first appeared in that poem. They are often offered in consolation to someone who has lost – through death or other departure – a person who has meant so much to them.
Nitroglobus Roof Gallery, February 2024: Mihailsk – Lost
The words, whilst generally sincerely meant, likely don’t come as much comfort for anyone in the throes of loss; rather they likely sound like a hollow consolation, such is the hurt, the loneliness, the sense of desolation which tend to overwhelm us at such times. However, the poem is more than a trite 2-liner; through its cantos, Tennyson expresses a range of feelings and reflections on the passing of his friend and a poetic essay on the cruelty of nature.
As such, it has much in common with Mihailsk’s latest exhibition, which opened within the Nitroglobus Roof Gallery operated and curated by Dido Haas (and which served to introduce Mihailsk’s art to the world of SL art exhibitions back in 2021 – see: Mihailsk’s Baptism of Fire in Second Life). Like that exhibition, this latest, entitled Lost is a highly personal selection of art, dealing as it does with his coming to terms with the lost – or rather, disappearance – of his Second Life partner.
Within it, and like Tennyson’s poem, Mihailsk explores the rawness of emotions as the loss is felt and the resilience of the heart which allows us to (perhaps) eventually accept and move forward in life. However, where Tennyson used 2,916 lines of iambic tetrametre, Mihailsk uses his marvellous, minimalist monochrome style (his lingua franca, if you will) across a dozen images to convey a similar depth of emotions, feelings, prayers and wandering thoughts as found in Tennyson’s poem. Each image is a poignant canto in its own right, elegantly conveying its feeling and sentiment even without recourse to skilling out its name via the Edit floater.
Nitroglobus Roof Gallery, February 2024: Mihailsk – Lost
These are pieces which, so artfully created as they are, in places enfold a heartfelt sense of the artist’s inner emotions and sense of self whilst also reflecting his outward feelings and sentiments. Elsewhere, they reveal the wellspring of hurt and loss only one who has loved deeply can perhaps feel – and the resilience born of that love which can, in time, allow that person to look back on what has been lost and accept the proverb of Tennyson’s words as true.
Just take, for example, Take Care, and Be Well. Both offer kind sentiments to the one who has vanished, each with its butterfly symbolising taking flight to a new life / escape; at the same time, they both evoke a sense of loneliness and loss through the shadowed figure, standing either with hands thrust dejectedly into pockets or leaning against a bicycle with its promise of travels – but with nowhere to go. Then there is Wish, evocatively capturing those shadowed moments of hurt and want; when the one wish is to have all back as it was – whilst knowing it can never be so; or Mute Pain, perhaps the rawest of the images in terms of its emotional tone and impact.
And just as Tennyson’s In Memoriam A.H.H carries broader themes within it, so too does Lost bear witness to the wider truth that whilst Second Life might well be a fleeting realm of digital “make believe”, the emotions and feelings we bring to it, or which are stirred within us as a result of our interaction here are as genuine, lasting and impactful as any we might experience within the physical world. Indeed, they may well be worse, in that this world is unique in the way people can simply vanish, leaving those who remain without any knowledge of why or where they went – or how they might be, physically and mentally. Thus loss here can be shrouded in the additional hurt of just not knowing.
Nitroglobus Roof Gallery, February 2024: Mihailsk – Lost
Powerful, emotive and with a beating heart of love, strength and resilience, Lost is a stunning collection of images wrapped within very personal feelings which should not only be seen, but absorbed like the words of an elegy. When visiting, do be sure to view Adwehe’s sculpture Revival of Psyche, made especially for this exhibition and which helps underscore its emotional content.
The following notes were taken from the Tuesday, February 13th, 2024 Simulator User Group (SUG) meeting. They form a summary of the items discussed, and are not intended to be a full transcript. A video of the meeting is embedded at the end of this summary, my thanks as always to Pantera for recording the meeting and providing it.
Meeting Overview
The Simulator User Group (also referred to by its older name of Server User Group) exists to provide an opportunity for discussion about simulator technology, bugs, and feature ideas.
They are open to anyone with a concern / interest in the above topics, and form one of a series of regular / semi-regular User Group meetings conducted by Linden Lab.
Dates and times of all current meetings can be found on the Second Life Public Calendar, and descriptions of meetings are defined on the SL wiki.
Simulator Deployments
No SLS Main channel deployment on Tuesday, February 13th, but the simhosts were restarted.
The simulator update that will be following Gingerbread will be Hearts & Flowers (probably named for the time of year!). This mostly comprises internal (non-user visible) updates, together with two notably user-visible additions:
llSetLinkSitFlags/llGetLinkSitFlags – allow you to adjust the sit flags for a prim. It supports the existing two SIT_FLAG_ALLOW_UNSIT and SCRIPT_ONLY.
At some future point, SIT_FLAG_HIDE_AVATAR should also be added, so you don’t need to play an animation that squishes the avatar so they aren’t visible in something like a very small vehicle.
A feature for estate managers that will allow them to schedule automatic region restarts.
A new constant in llSPP PRIM_SIT_FLAGS it will contain all the sit flag information, (including ALLOW_UNSIT and SCRIPTED_ONLY (the two older constants will still be available).
Viewer Updates
The Maintenance Y RC viewer (My Outfits folder improvements; ability to remove entries from landmark history) updated to version 6.6.17.6935642049 on February 9th.
The rest of the official viewers in the pipeline remain as:
Release viewer: version 7.1.2.7215179142, formerly the glTF PBR Materials Maintenance RC, issued December 15, promoted January 8, 2024 – numerous bug fixes and improvements – No Change.
glTF PBR Materials Maintenance-2 RC viewer, version 7.1.3.7467259489, issued January 12, 2024.
Maintenance X RC, version 7.1.1.7088410646, December 7 – usability improvements.
Project viewers:
Puppetry project viewer, version 6.6.12.579958, May 11.
Reminders
Jira End-of-Road
Linden Lab is ending its use of Atlassian Jira for the filing of bug reports and feature request, and is instead moving to Github / Canny. For specifics, please refer to the following:
The new means of filing bug reports / feature requests is via the Canny feedback portal.
LUA Viewer-Side Scripting
On Friday, February 9th, Linden Lab announced an upcoming capability: viewer-side scripting using the Lua scripting language – see Coming soon: client-side scripting with Lua!. Possible areas of use for this capability are test automation, mods/plugins, and potentially supporting things like HUDs.
There is a pre-release viewer with the Lua support available on github, but there is little more that the team responsible for Lua is willing to say for the present.
Game Controller Update
Leviathan Linden has tweaked the game_control capability so that negated the forward/back directions of the stick axes to align more correctly with local-frame coordinates in SL. Pushing forward is now positive rather than negative.
He has also disabled game controller support through the old system (Me Menu –> Preferences Option –> Move & View tab –> Other Devices Button –>) – however, this does not impact 3D SpaceNavigator devices.
An updated version of the viewer with the game controller capabilities is now available on Github.
In Brief
The meeting quickly turned in part to a further discussion on combat, some of which has already been covered in my summary of the first Combat (Committee) User Group in relation to damage, plus a discussion on cheating using offset, etc. – see that summary for the former and the video below for the latter.
The above morphed into a general discussion on making water in SL (Linden and user-defined) as “properly” swimmable (e.g. with natural floating / not zooming into the sky and flying when reaching the water / air boundary, etc.) without the need for scripting / HUDs, etc.
A discussion about raycast results, and making it possible for them to get the texture cords for the area where the ray hit the surface of a face, with the result given in a similar manner to detectedtouchST. A canny feature request was asked for, so that LL can look at the idea.
There are reports from some of an uptick in HTTP 499 errors with in-world services communication with external services. Those with specific details of these errors are asked to contact Monty Linden.
† The header images included in these summaries are not intended to represent anything discussed at the meetings; they are simply here to avoid a repeated image of a rooftop of people every week. They are taken from my list of region visits, with a link to the post for those interested.
Soulstone, February 2024 – click any image for full size
I’m going to start by saying that by the time some read this, Soulstone will have taken on a new guise compared to what is seen here. The fault for this is mine entirely; this Full private region – held and designed by Valayra Asher (Valayra) – has been in its winter guise for some time, but things being what they are with life in general at the moment, it has taken me a while to get from taking photos and jotting down notes to actually getting something half-way decent written up.
So, my apologies for that!
Soulstone, February 2024
In its winter cloak, the region has presented an engaging mix of art, fantasy and a soupçon of science fiction. The landscape is split in two, thanks to a dogleg channel running through it, the sides of which suggest it may be artificial in nature, the walls formed by parallel lines of great basalt columns, one arm of which marches resolutely out to sea, leaving the land behind, to form a kind of breakwater.
Both of the islands are flat-topped, their remaining sides forms by natural rocky cliffs and slopes falling to the sea, with water flowing outwards from fissures here and there to cascade of the rocks below. Each island is home to a number of structures, but be aware that the small island with its well-appointed house and older lighthouse, appears to be a private residence, so please restrict explorations to the larger, L-shaped landscape.
Soulstone, February 2024
The landing point is located in a gazebo of cathedral-like proportions; and like a cathedral, it sits head and shoulders above the rest of the landscape thanks to the shoulder of rock on which it has been built. Within it might be found a cosy hideaway and a series of teleport boards which can carry visitors to the major points of interest around the island. However, I’d recommend to those who read this article and make it to Soulstone before it temporarily closes on February 15th for redressing in readiness for spring, that initial explorations are carried out on foot.
The landing point shares the island with a warehouse-like building either still under construction or lacking in repair (you decide!) and a number of other structures which should pique curiosity. The incomplete warehouse helps to set the artistic elements to be found within the setting, being home to sculptures by Bryn Oh and Rogue Falconer, with further statues outside by DRD with other by Mistero Hifeng awaiting discovery.
Soulstone, February 2024
The twists of sci-fi are humorously offered – H.R. Giger alien is collecting its order of cookies and hot chocolate from the café, pot-bellied “greys” have turned their flying saucer into a DJ hangout or are heading the local (and novel) swimming pool for a dip. There’s also a slight Orwellian slant in places as well, thanks to piles of television screens here and there keeping what seems to be a Big Brotherish watch on things.
There are several waterfront locations to be discovered as well. Some might require exclusive use of the teleport boards to reach, whilst others might be reached by stairways or paths hewn or worn into the rocky outer flanks of the island. One of the former passes through a most unique gorge: natural rock cliffs rising above the flat top of the island, the inner walls of side either bearing the façades of buildings as they escort the path down to the beach
Soulstone, February 2024
Throughout all of this are multiple places to sit – and also the remaining locations to be discovered by the teleport boards (which you should return to and try after an initial exploration of the large island, in order to ensure you get to see everything). There are also numerous little touches of detail scattered throughout, some quite unexpected – such as the owls or the bicycles neatly parked in their rack; others add to the mysterious air of the setting – but I’ll leave you to hope across and find them for yourselves.
Quietly unique and eminently artistic and photogenic, this iteration of Soulstone will be vanishing from Second Life come February 15th, as noted – so do please again accept my apologies for the lateness of this article and, of you are a keen SL explorer and have not see it already, be sure to make the most of the remaining 36-ish house before Valayra and her partner close it for the aforementioned redressing.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, Febuary 11th, 2024
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 7.1.2.7215179142, formerly the glTF PBR Materials Maintenance RC, issued December 15, promoted January 8th, 2024 – numerous bug fixes and improvements – NEW.
Maintenance-Y RC viewer (My Outfits folder improvements; ability to remove entries from landmark history) updated to version 7.1.3.7790341084, February 9, 2024.
IMAGOLand Galleries, February 2024: Mareea Farrasco: Les Colchiques
Wilhelm Albert Włodzimierz Apolinary Kostrowicki is unlikely to be a name familiar to many. Born in Rome in August 1880, he was of mixed Polish-Lithuanian and (it is thought, as his father was never positively identified) Italian heritage. However, he is exceptionally well-known under the name he adopted following his emigration to France whilst a teenager: Guillaume Apollinaire.
Regarded as one of the foremost poets of the early 20th century, Apollinaire was an impassioned defender of the emerging art movements of the first decades of the 20th, century – particularly cubism and surrealism, both of which he is responsible for naming as such (the latter in the preface to his play The Breasts of Tiresias, itself regarded as one of the first pieces of surrealist literature.
As a poet, Apollinaire was influenced by the Symbolist movement, and it was from this that he developed a style of poetry which eschewed punctuation and sought to reflect modern times and life in form. In doing so, he would express the view that art – visual or written – should not be rooted in any particular theory, but should be born of intuition and imagination, so as to be as close as possible to life, nature and the world around us.
IMAGOLand Galleries, February 2024: Mareea Farrasco: Les Colchiques
Both the influence of the symbolist movement and his own emerging style are perhaps best reflected in his 1913 volume of poems, Alcools. Within that volume is what is regarded as one of the most poignant poems written in his too-short life (Apollinaire died at the age of 38 due to complications from a wound received in 1916 whilst he was serving in the French infantry, and which left him weakened and vulnerable to the ravages of the 1918 Great Influenza Epidemic – aka the “Spanish flu” pandemic). That poem is Les Colchiques, which is the subject of an exhibition of digital art by Mareea Farrasco, which opened in February at her IMAGOLand Galleries in Second Life.
The poem presents a bucolic setting: cows grazing within a field as children come to play, before the cowherds come to take the cows home. It sounds idyllic – and can be taken as such. However, the overall framing of this three-stanza poem is also deeply layered, exploring ideas of the cyclic nature of life, mortality, beauty, and the passage of time. The opening stanza starts by referencing the fact that in their grazing, the cows are poisoning themselves as they are eating colchiques – aka Colchicum autumnale, the very toxic autumn crocus (although not a true crocus) – growing wild in the meadow. It then goes on to compare the colour of the flowers within the field with the eyes of the poet’s love, enfolding the idea that just as the poisonous nature of the plants lay hidden in their rich and lovely lilac colour, so too has the captivating beauty of the poet’s love come to poison his life by captivating and enthralling him.
IMAGOLand Galleries, February 2024: Mareea Farrasco: Les Colchiques
In the second and third stanzas we have the children coming to play in the field, and within the poet’s observations of them lie the idea that the girls within the group will one day be mothers, and their daughters will one day come to play in the fields, just as their mothers did before them, thus introducing the idea of life’s cyclical nature and the passage of time; at the same time, the fleeting nature of beauty is folded into the comparison of fluttering eyelids with flower petals being lost on the wind. Finally, the cows are drawn from the field by the singing of the herdsmen, the children having also departed, leaving only the deadly flowers – a subtle commentary on mortality and the transient nature of life.
Within her exhibition, Mareea presents images that travel through the literal forms present within the poem, perhaps emphasising the themes of love and childhood innocence within the stanzas a little more than their deeper interpretations. However, the richness of the poem’s metaphors are present within many of the pictures for those who seek them . Note how, for example, Les enfants de l’ecole viennent avec fracas focuses on young girls, thus reflecting the poem’s second stanza’s observation concerning mothers and daughters; similarly, whilst Et ma vie pour tes yeux lentement s’empoisonne might be drawn from the final line of the first stanza, the lowered eyelids of the parasol-carrying young woman perhaps reflects the second stanza’s views on time and the fleeting nature of beauty.
IMAGOLand Galleries, February 2024: Mareea Farrasco: Les Colchiques
Thus, and like the poem itself, these images, set within an environment designed to further reflect the more innocent and pastoral nature of the poem’s beauty, offer a simplicity and complexity of interpretation Apollinaire himself would have both recognised and appreciated.
An artist’s rendering of the PACE Earth observation platform in orbit. Credit: NASA
On Thursday, February 10th, 2024, NASA launched a critical Earth observation satellite intended to study the world’s oceans and atmosphere in the face of increasing climate change.
PACE – the Plankton, Aerosol, Cloud, ocean Ecosystem remote sensing platform – is designed to operate in a geocentric, near-polar Sun-synchronous orbit, allowing it to observe all of Earth’s atmosphere and oceans over time. In doing so, it will study how the ocean and atmosphere exchange carbon dioxide and how microscopic particles (aerosols) in our atmosphere might fuel phytoplankton growth in the ocean. The data it accumulates will be used to identify the extent and duration of harmful algae blooms and extend NASA’s long-term observations of our changing climate.
Referred to as autotrophic (self-feeding), phytoplankton are present in both oceanic and freshwater ecosystems and play a key role in sustaining them – and in managing the planet’s carbon dioxide absorption and oxygen production. With the former, phytoplankton absorb carbon dioxide from the atmosphere and convert it into their cellular material, serving as the base of the global aquatic food web, a critical resource for countless species – including humans. In terms of the latter, phytoplankton are responsible for around half the planet’s natural oxygen production despite being around just 1% of the global plant biomass.
Phytoplankton can be imaged in a range of wavelengths (visible light, infra-red, ultraviolet, etc.), allowing colours to be used to assess their bloom size, drift, health, etc. In this 2016 image captured by the Visible Infrared Imaging Radiometer Suite (VIIRS) on the Suomi NPP satellite, the Southern Ocean phytoplankton bloom extending outwards from either side of the South American continent and down to the Antarctic Peninsula is clearly visible. Credit: NASA
Occupying the photic zone of oceans, where photosynthesis is possible, phytoplankton are crucially dependent on large quantities of nutrients, including nitrate, phosphate or silicic acid, iron, and also large amount of vitamin B. The availability of these nutrients is governed by a range of factors: the so-called ocean carbon biological pump; nutrients delivered into the photic zone via freshwater sources emptying into the oceans, natural organic decay, etc.
Both anthropogenic global warming and pollution are particularly harmful to phytoplankton; the former can lead to both changes in the vertical stratification of the water column and the supply of nutrients vital to phytoplankton. Similarly, increased acidity within ocean waters and currents can also adversely affect phytoplankton, up to an including causing biochemical and physical changes. In this, the colour changes exhibited by phytoplankton are considered important indicators of estuarine and coastal ecological condition and health.
Thus, the study of the global distribution and health of phytoplankton communities could profoundly advance our knowledge of the ocean’s role in the climate cycle, whilst at the same time providing real-time data on the negative effects of coastal and deep-water pollution and the impact of climate change and increasing temperatures on the world’s aquatic ecosystem.
A SpaceX Falcon 9 rocket lifts-off from Cape Canaveral Space Force Station, Florida, carrying NASA’ PACE platform up to orbit. Credit: SpaceX
In this, PACE will operate in unison with the French-American Surface Water and Ocean Topography (SWOT) mission. Launched in 2022, SWOT is designed to make the first global survey of the Earth’s surface water, to observe the fine details of the ocean surface topography, and to measure how terrestrial surface water bodies change over time to allow a more complete picture of the impact of anthropogenic global warming and pollution on the planet’s aquatic biodiversity and life-giving water cycle.
“Death Star” Moon’s Underground Ocean
We’re becoming increasingly familiar with the solar system being potentially full of so-called “water worlds” – bodies that may be home to vast subsurface oceans. Jupiter’s Europa and Saturn’s Enceladus are perhaps the most well-known, with both showing visible signs of water vapour escaping in geyser plumes through cracks in their surfaces. However, there are other bodies scattered around the solar system where water could be present beneath their surfaces, if not in liquid form, then at least in either a semi-liquid icy slush or solid ice.
Now a team of French-led scientists believe they have another candidate for holding a sub-surface ocean: Saturn’s moon Mimas.
Mimas, moon of Saturn, compared roughly to scale to the original Death Star and from a similar viewing angle, helping to show why it is often compared to the fictional battle station. Credit: Jason Major
This tiny moon – officially designated Saturn I – is the smallest astronomical body yet found in our solar system known to be roughly rounded in shape due to its own gravity. However, Mimas – with a mean diameter of 396.4 km – is perhaps most famous for resembling the fictional Death Stars of the Star Wars franchise. This is because one face of the moon is dominated by a huge, shallow impact crater 139 kilometres across, which has an almost sinister resemblance to the depression housing the primary weapon found on the fictional doomsday space vehicle.
Discovered in 1789 by William Herschel – after whom the distinctive crater is named – Mimas is responsible for one of the largest gaps in Saturn’s complex ring system, the Cassini Division, and had long be thought to be primarily made up of water ice rather than rock, simply because of its relatively low density (1.15 g/cm³).
However, the research team, using data gathered by the NASA / ESA Cassini mission which studied Saturn and its complex system of moons and rings between July 1st, 2004 and September 15th, 2017 (Space Sunday: Cassini – a journey’s end), believe that Mimas most likely has a watery ocean which exists at around the freezing point of water where it is closest to the moon’s surface, whilst potentially being several degrees warmer at the sea floor.
“That’s no moon… No, wait – yes it is!” – Mimas (lower left) shown to scale with the Moon (upper left) and Earth. Credit: unknown.
Building models to account for the moon’s mass and motion, and which also incorporate data on potential core warming and tidal flexing due to the influence of Saturn and other bodies orbiting the planet, the research team concluded that it is likely the ocean on Mimas accounts for around 50% of its total volume, and reach up to around 30 or 20 km below the moon’s crust. This would put the total amount of water within the moon at around 1.2%-1.4% that of all the Earth’s oceans; a not inconsiderable volume, given Mimas’ tiny size.
What has excited planetary astronomers the most, though, is the suggestion that this ocean might only be around 15 million years old – too young to have influenced the moon’s surface, but old enough that – assuming the conditions within it were right – it might actually be home to basic life still in the earliest stages of development; not that actually studying that life would be in any way easy (if at all possible). Even so, Mimas has possibly revealed that even the tiniest bodies in our solar system, if given the right circumstances, could be home to bodies of liquid water and perhaps to the basics of life.
Second CLPS Lunar Mission Set for Valentine’s Day Launch
The second private mission to fly to the Moon under NASA’s Commercial Lunar Payload Services (CLPS) programme is set to launch on February 14th, 2024.
The 675 kg IM-1 lander, also known as a Nova-C lander and christened Odysseus by its makers, has been built by Intuitive Machines, a Texas-based start-up. It had originally been scheduled to be the first lunar lander to be launched under the CLPS programme, in October 2021. However, a series of slippages – one of which one of the losing parties (Deep Space Systems) for the CLPS contract unsuccessfully challenging the US $77 million award – led to the mission being pushed back several times, enabling the recent Astrobotic Peregrine Mission One to claim the title of the first successful CLPS mission launch (January 8th, 2024 and the maiden flight of the ULA Vulcan Centaur rocket).
Intuitive Machines’ IM-1 lunar lander Odysseus undergoing testing. The vehicle is due to launch on February 14t, 2024. Credit: Intuitive Machines
Intuitive machines, who will be using a SpaceX Falcon 9 rocket as their launch vehicle, are hoping for a better result than that of Astrobotic – as I reported at the time, whilst the launch of the latter mission was successful, the lander suffered a malfunction and never reached the Moon, instead eventually re-entering Earth’s atmosphere and burning up.
Odysseus will be carrying 12 payloads to the Moon – six provided by NASA and 6 privately-funded. Included in the latter are sculptures by artist Jeff Koons entitled Moon Phases, and are tied to his first foray into the rabbit hole of NFTs (and in the process potentially furthering his critics’ view that his work could be considered little more than cynical self-merchandising). However, its sculptures will form the first set of sculptures to reach the Moon since 1971, when Apollo 15 astronaut David Scott placed the 9-cm tall Fallen Astronaut by Belgian artist Paul Van Hoeydonck on the Moon alongside a plaque commemorating the astronauts and cosmonauts who have lost their lives in space missions up until that time.
Also aboard the lander is a system called EagleCAM, a camera system designed to gain the first ever “third-person” images of a vehicle landing on the Moon. It will attempt to achieve this by being ejected from the lander when it is 30 metres above the lunar surface. Falling ahead of the lander, it is hoped EagleCAM will arrive on the Moon in such a way that one of his lens will be pointing at the landing site, allowing it to record Odysseus’ arrival. Any images it does capture will be transmitted to the lander via a wi-fi connection for transfer to Earth.
Thew utterly unassuming EagleCAM by Embry-Riddle University. Credit: ERU
The NASA instruments include a laser retro-reflector array (LRA), designed to provide precise measurements of the distance between the Earth and the Moon using lasers fired from Earth. Six LRAs were left on the Moon by the Apollo missions, and three more have been placed by the two Soviet Lunokhod rover missions of the 1970s, and one by the Indian Vikram lander in 2023.
The lander also carries the Lunar Node-1 (LN-1) prototype for a radio navigation system NASA hopes to utilise on the Moon for precise geolocation (or should that be selenolocation?) and navigation. The idea is that every unit on the Moon – base camps, rovers, astronauts, landers – and incoming vehicles – will have such beacons, and will be able to use the signals from multiple beacons to precisely confirm their position relative to one another. In theory, such a system would allow an automated lander make a precise landing wherever it was required, or allow two rovers to rendezvous with one another without the need for mission controller Earthside to direct them. LN-1 would therefore provide a local radio navigation system, one of several options for surface vehicle and lander navigation being investigated by NASA.
Following its launch at 05:57 UTC on February 14th, Odysseus will make a 5-day cruise to the Moon and has a provisional landing date of February 19th, 2024. It is due to land at Malapert A, an impact crater near the southern limb of the Moon and once on the surface, it is expected to operate for some 14 days – as long as the Sun is above the horizon to provide it with energy.
The total cost of the mission to NASA has been US $118 million, including some US $40 million towards launch and operation costs associated with the Falcon 9 rocket.
Welcome to Volcano Central: A Stunning View of Io
On December 30th, 2023, the NASA Juno spacecraft (of the mission of the same name), which has been orbiting Jupiter since July 2016, returning a huge amount of data and images of the solar system’s largest planet and its retinue of moons, made its closest approach to Io, the most volcanically active place in the solar system.
At that time, the orbiter passed over the north hemisphere of Io at a distance of 1,500 km. In February 2024, the spacecraft made a second pass over Io, this time over the moon’s southern hemisphere, and these two passes have allowed the production of the sharpest images of the moon ever seen to date.
At the innermost of the four large Galilean Moons of Jupiter, Io is very slightly larger than our Moon, and has the highest density of any moon in the solar system. With some 400 active volcanoes being recorded on its surface, it is not only the most volcanically active place in the solar system – it is the most geologically active, courtesy of its surface being almost constantly re-shaped by volcanic outflows.
The cause on all this volcanism is primarily because Io is constantly being tidally flexed: on the one side, it has massive Jupiter pulling away at it and its molten core. On the other, it has the three other Galilean moons, each of which exerts its own pull on Io, and all of which periodically combine their forces to counter Jupiter. In addition, Io sits well inside Jupiter’s immensely powerful magnetic field, which also imposes tidal forces on the moon’s core, further causing it to flex and generate heat and energy.
Jupiter’s moon Io, its night side (left) illuminated by reflected sunlight from Jupiter, or “Jupitershine.” Credits: original image data via NASA/JPL / MSSS. Image processing and image production: Emma Wälimäki
The images from the two recent passes over Io by Juno have been combined into a single true-colour mosaic, with the moon almost equally lit on two sides by direct sunlight and sunlight reflected onto it by Jupiter’s nearby bulk. The result is an image stunning in its clarity and depth of detail.
Many of Io’s volcanoes are visible, with at least one puffing out a plume of ejecta. On the sunward side of the moon (to the right) the light of the Sun is sufficient to reveal the moon’s hazy, mineral-rich atmosphere, whilst large parts of the surface appear bland and smooth due to the outflow of lava from multiple eruptions, and upon which volcanic island appear to be dotted.
A further impressive aspect of this image is that it was not created by NASA or anyone at Malin Space Science Systems (MSSS), who made and manage the mission’s JunoCAM imager. Instead, it was pieced together and processed by citizen-scientist Emma Wälimäki, using raw Juno images presented by NASA for public consumption, as a part of her involvement in the NASA citizen-science programme.