2024 SL viewer release summaries week #39

Logos representative only and should not be seen as an endorsement / preference / recommendation

Updates from the week through to Sunday, September 29th, 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 7.1.10.10800445603, formerly the DeltaFPS RC, dated September 11, promoted September 17promoted August 26.
    • Performance boosts. Memory management has been optimized and users will experience a higher FPS across various systems. A comprehensive range of bug fixes are also provided. This includes better PBR material handling and resolving frequent crashes. See the release notes for more.
    • UI for scheduling region restarts now available via a new button located in the Region/Estate floater. (Note: there is currently an issue with scheduled region restarts working correctly and a fix is due to come in the next server release).
  • Release Candidate(s):
    • None.

LL Viewer Resources

Third-party Viewers

V6-style

  • Kokua: 7.1.10.56202 (no RLV) and 7.1.10.59775 (RLV variants)  (DeltaFPS), Sept 27/29 – release notes.

V1-style

  • Cool VL Viewer Stable: 1.32.2.16, September 28 – release notes.

Mobile / Other Clients

Additional TPV Resources

Related Links

Coffee and a Salty C in Second Life

Les Bean at the Salty C, September 2024 – click any image for full size

As can be seen by flicking through my Exploring Second Life series, one of the things I enjoy is seeking out coffee house style hang-outs, as well as places that are photogenically pleasing and interesting to explore. Within Les Bean at the Salty C, I found a place that combines all three – hardly surprising given the region’s designers: Emm (Emm Evergarden) of The Nature Collective fame (among other things) and Teagan Cerulean.

The smell of salt in the air, the crash of waves, and distant harbor ferry welcomes you. Set sail to a place where the ocean whispers tales of a magical island. Whether seeking solace, adventure, or inspiration, the Cerulean offers a storybook escape.

– Les Bean at the Salty C About Land Description

Les Bean at the Salty C, September 2024

Occupying a Full private region leveraging the Lab’s Land Capacity bonus, the setting is very much multiple-part in nature whilst forming a fairly continuous set of landscapes. By this I mean that within the region there is a mix of private occupancy homes, public spaces and private rentals, all of which are split across the three islands into which the region has been split, with the islands themselves offering landscapes that flow one to the next.

Of these islands, the triangular one sitting in the region’s south-east corner appears to be entirely private in nature, existing within its own parcel and entirely separated from the rest of the region by the intervening stretches of water. As such, it plays no further role in this article. Of the other two, both offer a mix of public and private areas, but with a clear delineation between the two, reducing the risk of trespass.

Les Bean at the Salty C, September 2024

The main island, oriented north-to-south along the western side of the region, is home to the main Landing Point for the setting. Separated from the other two islands by a central channel of water, this island comprises a central public area forming a small town-style element, bracketed to the south and north by private residences, those to the north being available for rent at the time of my visit. The Landing Point sits on a cobbled plaza overlooking the waterfront of the central channel and backed by the coffee house, which shares the space with an ice cream parlour and a record store.

It is here that I must underscore the need for careful exploration and camming here; not only is the region packed with detail throughout, there is also some super little touches of humour to be found around the town in the form of signs and chalkboards; some of which I perhaps identified with a little too much (e.g. “I tried starting a day without coffee once – My court date is pending”). The town itself has a curiously mixed feel which is equally charming to take in; by turn offering touches of rural France, the Mediterranean, hints of Tuscany – and even flavours of Mexico and North America (the latter in the form of the stream train halted at the local station). Life to the setting is added by the presence of a range of vehicles, washing hanging on lines, place settings at the restaurant, a town market, and an engaging soundscape (I particularly liked the train service announcements!).

Les Bean at the Salty C, September 2024

At the northern end of the little town is a flight of steps descending into the residential rentals area of the island, headed by a map of the region highlighting the available properties. Trespass here can be avoided by keeping to the boardwalks laid over the grass here, and one of these does actually lead to a public seating area on a deck up towards the north-west corner of the island.

The waterfront below the little town is a busy little area, offering some mooring space for small boats running directly below the sea wall, and a wharf pointing out into the channel. The latter is home to a little rough-and-ready bar and docking for the local ferry. The latter is Analyse Dean’s excellent Bandit vehicular ferry, which chugs its way back and forth between this pier and the one on the west coast of the island occupying the north-east quarter of the region, which is home to the rest of the public spaces within the setting.

Les Bean at the Salty C, September 2024

This triangular island has – to me – more of a feel of North America. Heavily wooded, it also has a private residence within it, so some caution is required when exploring, particularly as the path winding away from the ferry dock eventually arrives at said private residence, climbing up to it by way of steps cut into a hill slope. However, as there is plenty of humorous warning the house in question is a private residence (“No Trespassing. We’re tired of hiding the bodies”), visitors can avoid it and simply carry on to the tumbledown and strange house sitting further up the hill.

The latter is one of two places on the island offering a sense of the haunted as brooms magically sweep floors. I’ll leave you to find the other such place on the island, and say only that it also has an item of clothing that seems to be knitting itself to add to the slightly haunted feel, and that the location itself is again charming in its general presentation, even if the cabin is itself is oddly overgrown.

Les Bean at the Salty C, September 2024

As noted, this is a highly photogenic setting with a lot to see – more than I’ve covered here (the sense of ghostly mystery is enhanced to the southern end of the main water channel and close to the lighthouse, for example, where ghostly singing might be heard)  -, so again, care in exploring is well worthwhile. Given the soundscape available through the region, do make sure local sounds are enabled, and use of the region’s shared environment is also recommended, as it gives a suitably autumnal feel in keeping with the rest of the region.

In all, and enjoyable place to visit.

Les Bean at the Salty C, September 2024

SLurl Details

Space Sunday: of launches and Earth’s Moon(s)

A Falcon 9 rocket carrying Crew Dragon Freedom and the two members of the Crew 9 / Expedition 72 mission to the ISS lifts-off from SLC-40, Canaveral Space Force Centre, September 282th, 2024. Credit: SpaceX

The long-awaiting NASA Expedition 72 / SpaceX Crew 9 mission launched for the International Space Station (ISS) on the 28th September, 2024, with some media still quite wrongly calling the launch a “rescue” mission.

The mission continues to be dubbed as such most likely because it is an attention-getting headline, after the recent farrago with the Crew flight Test (CFT) mission involving Boeing’s CST-100 Starliner. While the latter made a safe uncrewed return to Earth – albeit it with some additional thrusters issues and an unexpected software reboot – on September 9th (See: Space Sunday: Starliner home; New Glenn update), the vehicle’s crew of Barry “Butch” Wilmore and Sunita “Suni” Williams remained aboard the space station, allowing the media to continue to play the “astronauts stranded in space!” tune.

The Titan IVB/Centaur (Model 401) carrying the NASA/ESA Cassini/Huygens mission, on the pad at Launch Complex 40 within the (then) Cape Canaveral Air Station, October 13th, 1997, shortly before the mission’s launch Credit: NASA

Leaving aside the sensationalism of reporting, the Expedition 72 / Crew 9 mission is still something of a landmark mission for SpaceX, being the first time a crewed launch has ever taken place from Space launch Complex 40 at Canaveral Space Force Station, adjoining the Kennedy Space Centre. Referred to as SLC-40 (or “slick-40”) in US Air Force parlance when it was used by the military, from 1965 through 2007 been the launch point for payload missions using the Titan launch vehicle family.

In 2007 SpaceX leased the facility, and it has since become the highest-volume launch facility for the company’s Falcon 9 vehicles, hosting over 200 launches (the majority of these being non-direct revenue generating Starlink launches). Since 2023, SpaceX has been upgrading SLC-40 for launches of the Dragon capsule system, with the emphasis on cargo launches to the ISS, but also crewed launches once the necessary access, support and emergency escape systems, etc., had been integrated into the launch facility.

Crew 9 had originally been due to launch from Kennedy Space Centre’s Launch Complex 39A (LC-39A), until now the only facility available to SpaceX for launching crewed missions, and also the Falcon Heavy launch system. However, as the launch date for Crew 9 continued to be pushed back from mid-August through September, it risked conflicting with the launch of NASA’s Europa Clipper mission using Falcon Heavy, and which has to take place in October. So, to avoid scheduling issues, NASA and SpaceX agreed to move the Crew 9 launch over to SLC-40.

Crew 9, carrying NASA astronaut Nick Hague and cosmonaut Aleksandr Gorbunov lifted-off at 17:17 on September 28th, the launch having been delayed from this target date by Hurricane Helene. The flight proceeded smoothly, with the first stage of the rocket making a safe boost-back and landing some 8 minutes after launch, and the upper stage correctly delivering the Crew Dragon capsule Freedom to its initial orbit and the start of a 28-hour “chase” to rendezvous with the ISS, that latter being due at approximately 21:30 UTC on Sunday, September 29th.

However, whilst all has proceeded smoothly with the Crew Dragon vehicle, an anomaly with the Falcon 9’s  upper stage de-orbit burn meant it splashed down outside of its designated target area in the Pacific Ocean, prompting SpaceX to suspend Falcon 9 launches until the reason for the deviation to be investigating, per Federal Aviation Authority (FAA) requirements.

A shot from a camera on the upper stage of the Falcon 9 used to launch the Crew 9 mission, showing the Crew Dragon Freedom moving away following vehicle separation on reaching orbit. Credit: SpaceX via NASA TV

As to why Crew 9 is not a “rescue mission”, the explanation is simple: the mission is a part of NASA’s schedule of ISS crew rotations and not any specifically result of the issues pertaining to Boeing’s Starliner or the fact that Williams and Wilmore being “stranded in space”.  In fact, the two astronauts have always had the means to return to Earth, either using the Starliner vehicle or the SpaceX Crew 8 Dragon vehicle.

One of the temporary seats the ISS crew rigged within Crew Dragon Endeavour for use by Williams and Wilmore, had it been necessary for any evacuation of the ISS. Credit: NASA / Michael Barratt

The former was demonstrated in June 2024, when Wilmore and Williams and the rest of the ISS crew were ordered into their respective vehicles in readiness for a possible emergency Earth return due to the risk of the ISS being hit by debris from the break-up of a Russian satellite in an orbit which intersected that of the space station (see:  Space Sunday: of samples and sheltering).

The latter was shown following the return of the Crew 8 mission aboard Crew Dragon Endeavour, when the additional seated rigged within the vehicle’s pressurised cargo area for use by Williams and Wilmore, had a return to Earth been required prior to the arrival of the Crew 9 mission.

Which is not to say either option was either optimal or entirely safe; ergo, the need for an abundance of caution on NASA’s part, coupled with the need to disrupt crew rotations to the ISS as little as possible, the decision to fly Crew 9 with only 2 on board and thus “reserve” the remaining two seats for Wilmore and Williams made the most sense, both ensuring they had an assured flight home, and could complete the planned Expedition 72 crew rotation on ISS in place for astronauts Stephanie Wilson and Zena Cardman.

SpaceX and FAA

In the meantime, SpaceX has entered into an aggressive head-to-head with the Federal Aviation Authority over both launches of Falcon 9 and Falcon Heavy earlier in the year and overall SpaceX’s Starship operations out of Texas.

In short, the FAA is seeking to impose fines on SpaceX to the tune of US $633,009 due to SpaceX having failed to comply with the requirements of licenses issued for the launches of both Falcon 9 and Falcon Heavy, which the FAA states violated the launch licenses it granted for the them on the basis of changes SpaceX made to the launch operations. The changes, relating to a new control centre and propellant farm, were subject to license modifications for the respective launches, but the FAA state SpaceX submitted the requests for modifications too late for them to be properly processed.

In response to this, SpaceX claims it sought to have the licenses modified for the launches in question, but the FAA is at fault for failing to process the modifications in time for the launches to proceed as scheduled, and that as SpaceX judged the changes to not be safety issues, decided to go ahead with them nevertheless.

The Starship issues are equally complicated, with the FAA stating the license for to carry out any further Starship launches is being held-up on two main counts.

The first is that SpaceX is in violation of Texas state and federal requirements relating to the water deluge system used during Starship / Super Heavy launches out of Boca Chica. SpaceX dispute this – although they are also fighting US $148,378 in fines levied by the US Environmental Impact Agency for violations in the use of said system. The second is that SpaceX has failed to carry out required sonic boom analysis relating to its plans to return the Super Heavy booster to the launch facility for “capture” during the next Starship flight. Both of these are viewed by the FAA as “safety” issues SpaceX must address prior to any license being granted.

For its part, SpaceX and its CEO have aggressively hit back at the FAA, claiming the agency’s senior management is “lying”, and that FAA Administrator Mike Whitaker should be fired by Congress. In particular, with the SpaceX CEO stating the FAA is targeting SpaceX over “petty issues” relating to safety whilst “neglecting real safety issues at Boeing”. Whilst uncalled for, these comments came at a time when FAA Administrator Mike Whittaker was testifying to the House Transportation Committee in relation to Boeing’s ongoing aviation issues; as a result, Rep Kevin Kiley (R-Calif.) used the aviation-related hearing to accuse the FAA of “undue scrutiny” where SpaceX is concerned, and questioning whether the FAA treat SpaceX “equally” with Boeing.

Addressing the House Transportation Committee, FAA Administrator Mike Whitaker noted that the best way for SpaceX to “speed up” the launch licensing process would be to properly comply with the regulations. Credit: House Transportation Committee webcast

In reply, Whittaker agreed that companies should be held to the same standards of safety – and pointed out that in this respect, Boeing has both a safety management system (SMS) programme in place and (however unwillingly) operates a whistleblower programme as a part of their SMS. By contrast, and despite 20+ years of operations, SpaceX has consistently failed to implement either.

The comments around Boeing have also prompted some SpaceX fans to question why the FAA is so quick to “ground” SpaceX but has not done the same with Boeing’s Starliner. The answer to this is simple: the FAA has jurisdiction over all commercial launches from US soil, but is not responsible for licensing or overseeing US government launches or the spacecraft craft carried on these missions. As Starliner’s issues were purely spacecraft related, decisions relating to the vehicle’s safety fall under the remit of NASA, not the FAA.

How Many Natural Moons does Earth Have?

The above should be a simple question to answer – “one”. However, between now and November 27th, 2024 one could argue the answer should be “two”, thanks to the arrival of a tiny asteroid called 2024 PT5.

Measuring roughly 10 or 11 metres across, the asteroid is technically referred to as a near-Earth object (NEO) – an asteroid in an elliptical orbit close to the Sun and on a path that frequently cross Earth’s as we move around the Sun. Officially “discovered” (observed for the first time) on August 7th, 2024, it passes around the Sun just over once a terrestrial year, but at a low relative velocity when compared to Earth’s.

Thus, at 19:54 UTC on September 29th, it will pass just outside of Earth’s Hill Sphere at a velocity low enough for it to temporarily pass into a short-order orbit around Earth. However, because the asteroid will be just beyond the Hill Sphere at the time of “capture”, it will resume its passage around the Sun on November 25th, 2024, after 57 days passing around Earth and the Moon, not quite completing a full orbit. Sadly, during the encounter, it will be too small to observe with anything but the largest of optical telescopes.

This is actually not the first time our planet has – at least briefly – has had a “mini-Moon” – and such events might actually be relatively frequent; the last recorded event like this was in 2020, and that as more and more attention is focused on NEOs, it is possible that more and more might be found to make similar temporary orbits around Earth. One of the more interesting questions around 2024 PT5 is whether it started life as an asteroid or whether it might have originated on the Moon and was blasted out into space as part of a significant impact at some point in the Moon’s history. After this little loop, orbital calculations show that the next time it comes close enough to enter a temporary orbit in this manner will be in 2055.

And where did the Moon Come From?

For the last 40 years, the going theory for the origin of the Moon has been that it was formed from material resulting from a very large collision between Earth and another large body some 60 million years after the solar system formed.

The theory was a consensus decision reached by planetary scientists at a 1984 conference called to discuss findings from studies of the rocks returned by the Apollo mission and held in Hawai’i. The basis for the consensus was that chemical and isotopic analysis of the returned material showed that it was similar to the rock and soil on Earth: calcium-rich and basaltic in nature and was of a near-identical age to similar rocks found on Earth.

Professor Darren Williams, Penn State Behrend College, one of the co-authors of a new paper suggesting on the origins Earth’s Moon. Credit: Penn State Behrend / Penn State

However, according to planetary scientists from Penn State Behrend College, this might not be the whole story: there is a possibility the Moon might actually have actually formed elsewhere and was captured during a close encounter between the young Earth and a terrestrial binary.

In this theory, there were two objects in a binary orbit and orbiting the Sun in an orbit very similar to Earth, and most likely formed at around the same time (thus meaning their composition would be similar). Over time as the respective obits of the binary system and Earth came into proximity to one another, Earth’s gravity separated the binary, snagging one of the objects, which became our Moon.

As evidence of this, the researchers point to the Moon being more in line with the Sun than with Earth’s equator, suggesting it originated in solar orbit. They also note that such situations are not uncommon in the solar system – Neptune’s moon Triton, for example, is most likely a captured Kuiper Belt object. In addition, the team’s modelling show that a binary-exchange object of the Moon’s size and mass interacting with the Earth’s gravity would likely start in an elongated elliptical orbit as it is initially captured by the Earth, which overtime would become increasingly circularised to a point where it became tidally locked with Earth: always keeping the same face towards the planet. After this, tidal evolution would be reversed, causing the object to slowly start to move away from Earth once more.

Much of this matches the behaviour of the Moon, which is now roughly 382,400 kilometres from Earth and moving away at the rate of 3 centimetres a year. This might not sound like a lot, but it is far enough for the Moon to be entering what will, in the centuries ahead, become an increasing tug of war between Earth and the Sun for control of the Moon – one which the Sun will eventually win.

Even so, and as the researchers note, their work is not conclusive whilst raising new questions:

No one knows how the moon was formed. For the last four decades, we have had one possibility for how it got there. Now, we have two. This opens a treasure trove of new questions and opportunities for further study.

Professor Darren Williams, Penn State Behrend College

China Unveils Lunar Spacesuits

China has unveiled the new generation of its space suit intended for use in their upcoming lunar exploration programme.

The suit appears to be a further Feitian space suit developed for extravehicular activities aboard the Chinese space station; however it remains unnamed, with the China Manned Space Agency (CMSA) launching a competition to name the new suit.

An artist’s renderings of China’s new lunar spacesuit. Credit: CMSA

Unveiled at the third Spacesuit Technology Forum hosted by the China Astronaut Research and Training Centre, with the press release highlighting the red strips on the suits, stating they are inspired by the famous “flying apsaras” of Dunhuang art (upper arms), and rocket launch flames (legs). It is said to be equipped with a multifunctional integrated control panel that is easy to operate, cameras for recording close-up and long-distance scenes and made from protective materials that can effectively shield astronauts from the lunar thermal environment and lunar dust.

Alongside the presentation of the new suit, CMSA released a video promoting the new suit and featuring taikonauts Zhai Zhigang and Wang Yaping. Zhai made history in the Shenzhou-7 mission as China’s first person to conduct a spacewalk; he also flew Shenzhou-13 with Wang, who became China’s first female taikonaut to complete a tour of duty aboard the Tiangong space station. Their use as models for the new suit has spurred speculation that they might be part of China’s first crewed lunar landing  – although given the first landing will be before 2030, this is purely an assumption.

2024 week #39: SL TPVD meeting summary: WebRTC

New Deer Isle, August 2024 – – blog post

The following notes were taken from my audio recording + the video recording by Pantera (embedded at the end of this summary) of the Third-Party Developer meeting (TPVD) held on Friday, September 27th, 2024. My thanks to Pantera as always for providing it.

Meeting Purpose

  • The TPV Developer meeting provides an opportunity for discussion about the development of, and features for, the Second Life viewer, and for Linden Lab viewer developers and third-party viewer (TPV) / open-source code contributors to discuss general viewer development. This meeting is held once a month on a Friday, at 13:00 SLT at the Hippotropolis Theatre.
  • Dates and times are recorded in the SL Public Calendar, and they re conducted in a mix of Voice and text chat.
  • The notes herein are a summary of topics discussed and are not intended to be a full transcript of the meeting.

Official Viewers Status

[Video: 0:00-2:11]

  • Release viewer: version 7.1.10.10800445603, formerly the DeltaFPS RC (multiple performance fixes, etc), dated September 11th, promoted September 17th.
  • Release Candidate(s):
    • None at present.

Upcoming Viewers

  • The next RC viewer due to appear is the ExtraFPS viewer. There are some bugs still to be resolved before this viewer can see the light of day on the Alternate Viewers page; like DeltaFPS, it is primarily focused on performance improvements.
  • Further performance improvements will be made to the viewer following ExtraFPS, but work will also be transitioning to other viewer work. This next viewer after ExtraFPS will likely be the Maintenance B viewer. Details on it contents are still TBC, but it will hopefully include some of the work being put into getting Linux builds back up and running.
  • After this, maintenance viewer updates will follow in the usual alphabetical patten (C, D, E, etc.), with viewer being given a suitable name in accordance with the current dinosaurs naming convention.

WebRTC

[Video 2:31-7:55]

Summary

  • The replacement of the Vivox Voice service and plug-in, with the WebRTC communications protocol (RTC=”real-time communication”). Roxie Linden is leading this work.
  • Key benefits:
    • WebRTC supports a wide range of real-time communications tools in common use (e.g. Google Meet), supporting audio, video and data communications, and is thus something of a “standard” approach.
    • Offers a good range of features: automatic echo cancellation, better noise cancellation and automatic gain control, much improved audio sampling rates for improved audio quality.
    • Opens the door to features and capabilities to voice services which could not be implemented whilst using Vivox.

Status

  • Under the latest schedule, simulator deployment of WebRTC support is now set to commence during the week commencing Monday, October 7th. This means if all goes well, it could be fully deployed across the grid during the week commencing October 21st.
  • The delay has been to allow LL to make further adjustments to the service.
  • In the meantime, peer-to-peer and ad-hoc WebRTC can be tested on the WebRTC regions of WebRTC Voice 1, WebRTC Voice 2, WebRTC Voice 3 and WebRTC Voice 4. However, there is no bridging between WebRTC peer-to-peer  / ad-hoc and Vivox.
  • During the transitional period when there will be a split between regions running Vivox and region running WebRTC, so:
    • General spatial audio should work through the viewer, regardless as to whether a region is running WebRTC or Vivox.
    • However, peer-to-peer, conference calls and group chat sessions might be subject to various disruptions (e.g. if you attempt to make a peer-to-peer call from a WebRTC region to some on a Vivox region (or vice-versa), the call will not go through; if you commence a call with both parties on a WebRTC region and one subsequently moves to the Vivox region during the chat, the call will be dropped, etc.).
  • [12:42-14:00 and 24:04-27:45 – chat only] It was noted that Voice roll-off on WebRTC regions does not appear to be as effective as with Vivox, with people much further away still being heard.
    • This was apparently an intentional decision, but can be further adjusted.
    • It was noted that perhaps the roll-off for WebRTC should be adjusted, as it was felt the distance over which voice conversations can now be heard could discourage active conversations in Voice regions, due to potential problems of conversations overlapping one another.

Additional Changes

  • There have been issues with the overhead Voice visualiser (the white do that displays “sound waves” when someone is speaking) always being red on viewers with WebRTC, and in muting and unmuting – both of these issues should be fixed in the upcoming ExtraFPS viewer.
  • ExtraFPS also introduces a new Preference option for users to turn off the overhead Voice visualiser in their view if they wish.
    • The switch is located within Preference → Sound & Media.
    • The inference is that the option will likely be OFF by default (i.e. no visualiser shown), as the introduction of the toggle option is to “reduce screen clutter” – although this may be revised, subject to feedback.
    • A further inference is that having the option off will not alter the Voice visualisers in the Conversation / People floaters.

In Brief

Please refer to the video below.

  • [Video:  9:31-10:25] Graphics work:
    • The focus remains on performance fixes.
    • As per my previous TPVD Meeting summary and my week #38 CCUG summary, Geenz Linden is working with Rye Cogtail on the visual improvements  (improved tone mapping, alpha blending, etc.) , with work also continuing on the anti-aliasing improvements.
  • [Video: 10:26-11:39] The above led to a reminder  updates to improve linear alpha blending for objects using Blinn-Phong materials; again, please refer to my week #38 CCUG summary for specifics.
    • This work is being targeted at the Maint B viewer, and are said to be pending some simulator-side work (which itself should be in the Barbecue / BBQ simulator code update that will follow behind the WebRTC deployment.
  • [Video: 16:51-18:33] A question was asked on the state of the pose tool developed by NiranV Dean.
    • This was originally developed for Black Dragon and has been ported to Alchemy. It was also contributed to LL several years ago.
    • It give the ability to pose an avatar (in your local view), such as for photography.
    • The code has never been integrated into the SL viewer, and part of the reason seems to be the old chestnut of “shared experience”.
    • However, LL are interested in developing it, and in receiving code contributions which may help overcome their reservations.
  • [Video 29:14-32:46] There have been a number attachment issues making themselves felt (e.g. attachments vanishing on teleport arrival; attachments adding and then seeming to remove “after a few seconds”, etc.).
    • LL are aware of a number of such issues and are investigating them.
    • The fix for the attachments being lost following a TP will be deployed as a part of the WebRTC simulator update (which, as noted, is now due to start deployment during the week commencing Monday, October 7th).
    • Those encountering attachment issues should check the feedback portal, and if they have a specific issue that does not appear to have been reported, file a report.
  • [Video: 40:03-44:09 with extended chat discussion through to near the end of the meeting] Future viewer work:
    • Brad Linden has been looking at native Apple / ARM support for the viewer, and considered this more of a “next year” project as the number of ARM users increases as opposed to those on Intel-based Apple systems.
    • He also noted that he has been working on some of the 3rd party libraries required to build the viewer to make them more “universal” for use in different OS versions of the viewer. This should ease the viewer build process when working on multiple platforms, and he noted that contributions from TPVs who may have done similar would be welcome.
    • It was reiterated that where Mac systems are concerned, LL is unlikely to implement Metal as n OpenGL replacement, but could look to a middleware layer to implement Metal compatibility for the viewer via Vulkan (or whatever is finally chosen to replace OpenGL for Windows).
    • In terms of performance improvements beyond the current work, the Lab is looking to better profile hardware and then seek targets of opportunity where improvements might be made to general viewer performance.
  • [Video: 50:03-50:28] RLVa contributions from Kitty Barnett: one pull request has been taken and is expected to make its way into the viewer Develop branch soon (if it is not there already), with more to follow.
  • [Video: 50-29-End]  A discussion on have the avatar selection process within the viewer point to the Senra avatars rather than the older “classic” basic avatars to help new users (there is currently a strong disconnect with the on-boarding process which utilises Senra with no real pointers for new users to understand the different avatar selection processes, Senra being entirely inventory-based).

Next Meeting

† 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 gathering of people every week. They are taken from my list of region visits, with a link to the post for those interested.

Returning to Subcutan art Gallery in Second Life

Subcutan Art Gallery, September 2024

In November 2023, I wrote about the redevelopment of Subcutan Art Gallery, both an art hub for the work of Sophie de Saint Phalle (Perpetua1010) and a mix of public spaces designed by Sophie and her SL partner, Dex (Dexter Kharg). It was a location I’d been watching as it developed for several months before blogging about it, simply because of the mix of spaces it provided and the care being put into the overall design.

Well, a year is a long time in Second Life, and since then, Subcutan has relocated and altered somewhat in nature and size. Now occupying just shy of one quarter of a Full private region (one leveraging the Land Capacity bonus), it now forms home for Sophie’s gallery spaces and the Japanese Garden from the previous iteration, but with the loss of some of the other public spaces; instead, the ground-level gallery with its Landing Point and adjoining gardens are now bracketed by private / rental space to either side. However, given the latter are well separated from the public spaces, there is no risk of accidental invasion of privacy.

Subcutan Art Gallery, September 2024

The gallery itself comprises the ground-level hall, currently displaying Atramentum, with a number of sky halls featuring further installations by Sophie, all of which are reached via the teleport board just outside the ground-level gallery and alongside the Landing Point. Note also that this teleporter also provides access to Sophie’s Ninfa and Inspiration Ice installations, both of which are being hosted by other gallery spaces.

Atramentum presents a series of inks studies of the nude female body by Sophie. Rendered as fine mesh forms using identifiable poses and gestures intended to visualise the sensitivity, tension and longing of the psyche, with Sophie noting:

The resolution of the upper half of the head and that of the extremities speak to freedom, imagination and mobility – while dark areas conceal or hint at discretion, secrets and deep subconscious impulses [and] The torso, with its hard, torn edges, shows confrontation with brutal reality. Here the net is usually darker and wants to embody breathing in the tank.

– Sophie e Saint Phalle on Atramentum

It is a fascinating display of the human form, both physically and emotively, the individual pieces beautiful drawn with Sophie’s usual skill.

Subcutan Art Gallery, September 2024: Sophie de Saint Phalle – Atramentum

Within the sky areas, Sophie presents two somewhat “related” exhibitions in terms of their use of a primary colour – Red Impressions and Yellow Impressions. The latter is a further marvellous collection of studies of the female form, whilst Red Impressions is a rich mix of pieces, both studies and abstract.

Meanwhile, Escape bridges the virtual world of art with the physical and demonstrate Sophie’s work as a experimentalist artist. It presents a collection of intense black-and-white photographs taken during a physical work art performance. Again, to let Sophie explain:

I put a big canvas (4×12 metres) on a stage and painted it in front of the visitors. Behind the canvas 10 professional dancers were waiting to cut the canvas and force their bodies through the openings to symbolize the escape from suppression, humiliation, brutality, disrespect and most of all the escape from indifference. At the end of the performance the canvas was cut into strips and sold.

– Sophie e Saint Phalle on Escape

The performance piece and the resulting photographs offer a visual essay on the human condition in a stark form, the environment in which Escape is presented serving to emphasis this in a manner that draws the visitor into the exhibition.

Subcutan Art Gallery, September 2024: Sophie de Saint Phalle – Escape

Within the Light, Gold and Water galleries visitor can find broader selections of Sophie’s portfolio, further demonstrating the richness of her work. What is additionally engaging with these galleries is how Sophie again uses the form and presentation of the the physical spaces – style, colour, openness, etc., to compliment her art.

Within Genesis, Sophie offers another “colour” themed collections, this focusing on gold, with Sophie noting:

Gold gives me the opportunity to use a form of expression that lives in warmth and light, shines and has a high value. My great respect for creation, its ethics and aesthetics, its diversity and perfection always fascinates me. I would love to dip the whole universe in gold and decorate it with ornaments. Symbolic, of course, so to speak, a grateful homage, a mythical act. With my gold I am just trying to show the high value of life and to convey a positive world of thought.

– Sophie e Saint Phalle on Genesis

Subcutan Art Gallery, September 2024: Sophie de Saint Phalle – Genesis

All of these are, I believe semi-permanent exhibitions, having been present that the iteration of Subcutan I visited in November 2023 – but it possible some may change / be replaced as Sophie makes way for her more recent exhibitions such as Ninfa, and Inspiration Ice.

Inspiration Ice (which, at the time of writing was also available at both Frank Atisso’s Artsville art hub, and at @Back Music Club and Galleries) features nude drawings set against icy backgrounds and within an ice-like environment,. Through the use of a sense of ice and cold within the images and the icy environment in which the exhibition with its broken surface indicate of the dangers of ice breaking underfoot, all symbolise the hardness and coldness that be be present in multiple aspects of life, and our vulnerability to being hurt by them.  At the same time the poses used to represent the nudes suggest resilience and strength, representing our ability to face such hostility and move beyond it.

Subcutan Art Gallery, September 2024: Sophie de Saint Phalle – Inspiration Ice

Ninfa offers something of a physical journey through several alienesque levels and featuring an expansion of her Gold work; however the emphasis within it is not the images per se; it is about making the journey.

When visiting Sophie’s art at Subcutan Art Gallery or her hosted exhibitions, I do recommend using the shared EEP environment at each location and – if you are using a non-PBR viewer – to have Advanced Lighting Model enabled. And be assured that, whether visiting any of Sophie’s exhibitions, you’re assured an engaging and highly visual time.

SLurl Details

Return to a Silent Melody in Second Life

Silent Melody, September 2024 – click any image for full size

In March 2020 I first visited a Full private region called Silent Melody held by Celtic McDaniels (Celtic3147), and found it to be an engaging visit and enjoyed my time exploring (see: Attuned to a Silent Melody in Second Life). I’m not sure if, during the intervening period, the region went away and has now returned, or whether it simply relocated; however, an entry in the Destination Guide I came across drew my attention to the fact that the setting is now re-opening, and so I hopped across to have a look to see what may have changed.

The answer proved to be rather a lot – hardly surprising, even the passage of time since my last visit, even without any absence or relocation! For this iteration the region design is by Semina (Semiiina), rather than Celtic, as was the case with my original visit. However, whilst a completely new design, this iteration of silent Melody shares much of the spirit of the iteration I visited back in 2020.

Silent Melody, September 2024
In the heart of the whispering ocean lies Silent Melody. A picturesque island where each corner reveals a hidden nook, a tranquil spot to sit and savour the peace to silent melodies, as the world outside fades into a distant murmur.

– Silent Melody About Land

By the above statement, I mean that this iteration brings with it a rich mix of rugged landscape, a small built-up centre, and plenty of walks and opportunities to explore, spend time and take photographs. However, it very much has an identity all its own.

Silent Melody, September 2024

The Landing Point sits towards the north-east of the setting, and at the time of my visit this confirmed that the setting would be formally opening on September 29th, 2024, with music by Semina and Sky Galaxy, starting at 11:00 SLT. It also offers information on the photo contest with a prize of L$4,000 for the winner.

Directly behind the Landing Point, steps rise up to the impressive bulk of a French-style mansion sitting behind an autumnal courtyard with hints of the Halloween season in the form of pumpkins encircling the fountain. This structure is actually the home of a large café, the wings of the building providing comfortable lounge spaces enclosed within massive framed windows overlooking the grounds – including the meadow behind, the home of roaming horses.

Silent Melody, September 2024

This meadow overlooks a stretch of beach to the south-east and an inland body of water to the south. Fed by waters tumbling from the highlands to and along the southern edge of the region, these waters also mark the end, rather than the head, of a stream as it flows inland from the west side of the region, where it faces one of the setting’s two smaller islands.

This island is home to the ruins of an ancient chapel, the flock of which is now sheep in the literal sense, and which is connected to the mainland be a short rocky causeway reaching out to it from a grove of trees surrounding a little open-air seating area. Stone steps climb away from the little camp site on its far side, relative to the island, climbing up to a little town square which – for me at least – harkened back to the little town square present in the version of the setting I visited back in 2020, thus presenting that little touch of continuity between the two.

Silent Melody, September 2024

Overlooking moorings and waterside decks to the north, this little square and its building in turn connects by way of grassy paths to both the courtyard of the café and to the Landing Point whilst also providing access to the region’s rocky northern coastal are. Watched over by the tall figure of a lighthouse , the northern coast is dominated by a broad deck which appears to offer an outdoor events area. With steps climbing back up to the Landing Point, and with a rocky shoulder separating intervening, this section of coast swings around to the east where a large rotunda of a glass house looks out to sea, providing another retreat people might take to and sit – just be careful about getting wet feet inside!

The second island sits to the south-west of the rest of the region, and is entirely separated from the rest of the setting by water. Given this and the fact that it is located within its own parcel, and it sits behind a gated wall, I assumed the house occupying it is potentially a private residence and so did not venture across the water so as not to invade privacy / trespass.

Silent Melody, September 2024

As might be gathered from the above, there is a lot to take in with this iteration of Silent Melody – and I’ve not covered everything awaiting discovery (such as the cavern with its pools and view out over the open sea, but I’ll let you find that 🙂 ). There is also considerable attention to detail throughout the setting, so careful exploration is recommended. There are numerous places to sit throughout, and the local wildlife is all friendly, while the little hints of Halloween add a nice touch even as the shared environment in the region gives it a nicely autumnal feel (and the setting works will with multiple other EEP settings).

With paths and trails winding through it to link the various locations, all of which flow together naturally, from beaches to woods to buildings and from lowland to uplands, Silent Melody is rounded-out by a gentle soundscape and has the sense of being a lot larger than the single region upon which it stands. As noted, those who wish can participate in the local photo competition (maximum of two entries each) opening on September 29th and running through until late October, and the official opening party for the setting commences at 11:00 SLT on Sunday, September 29th. So – enjoy!

Silent Melody, September 2024

SLurl Details