Summer 2024 at BOSL in Second Life

BOSL Waterfront Gallery, July / August 2024: Harlo Jamison

My summer 2024 to the Best of Second Life (BOSL) galleries, operated by Regin Congrejo and Jamee Sandalwood allowed me to take in two exhibitions of late – one of which will be closing in mid-August, and the other will run through until the end of August.

The first is another ensemble exhibition held within BOSL’s main gallery and entitled Hello Summer! It features pieces on the theme of summer from Dante Helios (Dantelios), Sheba Blitz, Sabie Mortenwold (Sabine Mortenwold), Evie Ravens (Evelyn Irelund) Broin Ravens (Brian Ravenhurst), and co-host / curator Jamee Sandalwood. With the exception of Sabie Mortenwold, all of the artists present images captured from within Second Life celebrating the passage of the summer months, the majority featuring landscapes, beach scenes, flowers and wildlife.

BOSL Main Gallery, July 2024: Hello Summer! – Dante Helios

In addition, all of the artists excepting Sabie, also participated in the Hello Winter! at the gallery, which I covered in December 2023. For her part, Sabi offers a selection of her mixed-media collages uploaded to SL, all of them very much focused on the blossoming flowers of summertime and offering a nice set of contrast to the in-world images from the other artists.

Together, all of the pieces presented by the artists offer a very easy-going exhibition, the décor within the gallery adding to the summer time feel of the pictures, all of which offer a unique appeal and sense of the season.

BOSL Main Gallery, July 2024: Hello Summer! – Sabie Mortenwold

Down at the Waterfront Café, reached via a walk through the gardens in which the galleries are set, is a small exhibition of work by the ever-excellent Harlo Jamison. Running through until the end of August, this is a collection of just seven images which might also be side to be gathered under the title of “summer”.

Harlo is a multi-faceted; when last I covered her work it was in regards to an avatar-centric, adult-themed exhibition she had put together jointly with Alex Riverstone (see: A Sugarfish Gallery in Second Life). Here she presents what might be consider two sets of landscape pieces which combine as a masterclass of Second Life photography and artistic imagery.

BOSL Waterfront Gallery, July / August 2024: Harlo Jamison

To the left of the gallery space as you enter it, lay four colour pieces, beautifully cropped, framed and present, offering views of Second Life redolent in the colours of summer. From a beautiful shot across an entire region to the single figure of a windmill standing tall before the admiring gaze of visitors, these four pieces are a lesson in the skilled use of the viewer’s camera and of the gentle use of post-processing techniques.

To the right are three pieces sharing the title A Golden Summer. (a forth frame is provided, but at the time of my visit, did not display an image). Once again, they capture scenes richly and evocatively, but the use of post-processing to lend them a sepia tint and sense of deliberate over-exposure results in a trio of pieces that is simply breath-taking.

BOSL Waterfront Gallery, July / August 2024: Harlo Jamison

In all, a thoroughly engaging collection of pieces, and one which nicely balances the ensemble exhibition in the main gallery.

SLurl Details

BOSL Innovation Pavilion is rated Moderate

Space Sunday: of “planet” and planets

Celestial bodies from our solar system and beyond – although technically, only two meet the current IAU definition of the term “planet”. Credit: NASA

What is a “Planet”? This might sound like a catch question, but in fact it has been the cause for debate for almost two decades at least, and its roots go back as far as – wait for it – 1801.

Up until the start of the 21st century, everyone was reasonably comfortable with the idea of what a planet was: we’d discovered a total of nine making their way around our star over the previous centuries, including the somewhat oddball Pluto. The general (and informal) agreement was that a “planet” was that of a large, roundly spheroid / round object moving in an orbit around the Sun.

Then, in 1801 Ceres was discovered. Whilst tiny by comparison to the like of our Moon, it was nevertheless almost circular in shape and bumbling around the Sun in its own orbit. Hence, many argued, it was a planet – that in fact it was the so-called “missing planet” believed to exist between Mars and Jupiter. However, by 1851 the discovery of yet more bodies within this region of space had pushed the total number of “planets” in the solar system to 23; the eight large planets of Mercury through Neptune, and all these “little” planets, many of which weren’t entirely circular in shape (but others, like Juno, Vesta and Pallas) came pretty close. It was also clear the number was liable to keep on growing.

Thus, astronomers started cataloguing these smaller bodies in their own right and, effectively, the idea of the asteroid belt was born, with Ceres becoming the first asteroid within the belt to be discovered. Problem solved; not even Clyde Tombaugh’s discovery of Pluto in 1930 didn’t upset this approach too much, nor the definition of “satellite / moon”. But then in 1978, someone had to go and find Pluto’s Moon Charon, a body so large, it broke the traditional view of a “moon”, coming close to being a twin planet to Pluto. Then, in 2005, Eris was discovered, and the wheels really started coming off the wagon.

Whilst two other relatively large, “planet-like” Kuiper Belt bodies had been discovered orbiting the Sun – Quaoar (2002) and Sedna (2004) – prior to Eris, they were comparatively small and easy to lump into the “asteroid” container alongside Ceres. But Eris turned out to be around the size of Pluto, and more massive; so, either it was a planet (and was actually referenced the “tenth planet” of the solar system immediately following its discovery) – or Pluto wasn’t a planet. Cue astronomical bun fight.

Planets, dwarf planets, satellites, oh my! Credit: M. Özgür Nevres

The fight between classifying Eris as a planet or downgrading Pluto to “not a planet” became quite heated relatively quickly, prompting much debate within the International Astronomical Union (IAU) which wrestled mightily with the question of how all the various celestial bodies in the solar system should be formally classified – starting with was should be meant by “planet”.   In the end, and possibly fearful of the sudden blossoming of planetary bodies within the Kuiper Belt following the discovery of Eris, as had been seen 200 years ago with the asteroid belt following the discovery of Ceres, in 2006 the IAU settled on the side of downgrading Pluto’s status from “planet” to “dwarf” planet.

In doing so, the organisation also sought to ratify the term “planet”, eventually settling on three criteria, published under what id now referred to as Resolution 5B, as found within GA26-5-6. Clause 1 of which holds:

Is it a dwarf planet? A TNO? A Plutoid? An Euler Diagram showing the IAU Executive Committee conception of the types of bodies in the Solar System during the 2006 General Assembly. Credit: Holf Weiher

A planet is a celestial body that:

  • is in orbit around the Sun;
  • has sufficient mass so as to assume hydrostatic equilibrium (aka “a round shape”);
  • has “cleared the neighbourhood” around its orbit.

The decision caused (and still causes) a lot of emotional upset where Pluto is concerned, and this masked a potentially bigger issue with Resolution 5B-1: be defining a planet and a “celestial body orbiting the Sun”, it immediately excluded the term being formally used with regards to planets orbiting other stars.

Oops.

In fairness, while astronomers have been locating exoplanets since 1992, by the time the IAU arrived at their definition in 2006 the number discovered was measured in the handful, so considering them didn’t really factor into the IAU’s thinking. Since then, of course, things have changed dramatically: we’re fast approaching 6,000 planets known to be orbiting other stars.

Again, being fair to the IAU, they did try to address the issue of exoplanets (the term simply means planet outside the solar system, rather than having any meaningful definition) in 2018. However, the effort never got beyond the “working” phase. In fact, the 2018 discussions revealed that even when applied to just the solar system, Resolution 5B-1 was pretty woolly and unquantifiable; something better was needed. Things weren’t much better by the time of the next IAU General Assembly in 2021.

Potentially, the best way to offer a properly unquantifiable definition for planets wherever they might be found, do this is via mathematical modelling, removing any subjectivity from how both the term and planets are defined.

This is precisely what a team from the USA and Canada has attempted to do. AS they note in their study, published in The Planetary Science Journal, they sought to break down the the potential taxonomy of planetary bodies – both solar and extra-solar – in terms of critical physical characteristics: mass, density, etc., local dynamical dominance within their orbits, the bodies they orbit (single stars, brown dwarfs, binary systems, etc.). Using mathematical models to quantify these measures, they have been able to show that celestial bodies tend to fall in to distinct clusters, and this has enabled them to develop a far more quantifiable definition of the term “planet”, thus:

A planet is a celestial body that:
a.       Orbits one or more stars, brown dwarfs or stellar remnants and
b.       Is more massive than 1023 kg and
c.       Is less massive than 13 Jupiter masses (2.5 x 1026 kg)

This definition is due to be presented at the 32nd IAU General Assembly being held in Cape Town, South Africa in August. If adopted, it will establish a meaningful framework by which planets, dwarf planets and natural satellites – wherever they might be found – can be quantitatively defined in  manner that could objectively, rather than subjectively, help shape our understanding of the universe and our place in it.

VIPER Cancelled

On July 17th, NASA announced it has cancelled its Volatiles Investigating Polar Exploration Rover (VIPER) mission due to cost increases and schedule delays.

Roughly the size of a golf cart (1.4m x 1.4m x 2m), VIPER was a relatively lost-cost (in the overall scheme of things) rover charged with an ambitious mission: to carry out extensive prospecting the permanently shadowed areas of the Moon’s South Polar Region, seeking resources and mapping the distribution and concentration of water ice. However, the project has been repeatedly hit by delays and increasing costs, both with the rover (built by NASA) and its Griffin lander vehicle, supplied by commercial space company Astrobotic Technology Inc., and which was due to fly with additional payloads to the rover.

VIPER (Volatiles Investigating Polar Exploration Rover) was to be robotic lunar rover tasked to prospect for natural lunar resources within a permanently shadowed region near the lunar south pole. Rendering credit: NASA

In 2022, these delays resulted in the mission being pushed back to a late 2024 launch date from a planned 2023 date. This was then further pushed back to September 2025. At the time this decision was made, the overall cost for the rover had risen from US $250 million to US $433.5 million and would likely exceed US $450 million by the 2025 launch date. More recently, a review found that whilst the rover is largely completely, it has yet to undergo environmental testing and still lacked proper ground support systems, noting that delays with either of these could quickly eliminate any chance of meeting the 2025 launch date and push the costs up even further.

At the same time, the cost to NASA for the development of the Griffin lander has risen by over 30% (from some US $200 million to US $323 million). These are likely to rise even further as a result of NASA’s requested additional testing of the lander in the wake of the January failure with Astrobiotic’s smaller Peregrine One lunar lander, test which could have also impacted the lander’s readiness for a 2025 launch.

VIPER being assembled in a clean room at NASA’s Johnson Space Centre, Texas. Credit: NASA

The problem here is that the VIPER mission can only be launched at certain times in order to capitalise on favourable lighting conditions in its proposed landing zone; any delay beyond November 2025 for mission launch would therefore mean the mission could not take place until the second half of 2026. As a result, overall costs for the mission could be nudging US $1 billion by the time it is launched. Given NASA’s overall science budget for 2025 has already been tightly constrained by Congress, this was seen as unacceptable by the review board, as it potentially meant putting other missions at risk. Ergo, the decision was made to cancel VIPER.

That said, the Griffin lander flight to the Moon will still go ahead with NASA support, allowing it to fly its planned commercial payloads, together with a payload simulator replacing the rover. In addition, NASA is also seeking to get the rover to the Moon by offering it to any USA company and / or any of NASA’s international partners willing to fly it to the Moon at their own cost. If no such offers are received by August 1st, 2024, then the rover will be dissembled and its science instruments and other components put aside for use with other missions.

NASA Confirms Use of SpaceX for ISS Deorbit Whilst Suspending  Falcon 9 Station  Launches

On July 17th, 2024, NASA supplied further information on the planned use of SpaceX hardware to de-orbit the International Space Station (ISS) when it reached its end of life in 2030, whilst simultaneously effectively suspending SpaceX launches to the space station pending its own review of Falcon 9 following the recent loss of a Falcon 9 upper stage and its payload.

NASA originally awarded the contract for the United States Deorbit Vehicle (USDV) – the vehicle that will physically de-orbit the ISS – was awarded to SpaceX on June 26th, 2024 with little in the way of specifics, other than NASA aimed to obtain the vehicle for no more than US $843 million. In the more recent statement, NASA confirmed that SpaceX will provide NASA with an “enhanced” version of their Dragon vehicle, comprising a standard capsule with a lengthened “trunk” (the service module providing propulsion and power) equipped with a total of 46 Draco motors and 16 tonnes of propellants.

An artist’s impression of the enhanced SpaceX Dragon docked with the Harmony module on the International Space Station and using its Draco engines to de-orbit the station. Credit: SpaceX

Under NASA’s plans, the USDV will be launched prior to the final crew departing. At this point, the station’s orbit will be allowed to naturally decay to around 330 km, at which point the last crew will depart. The station’s orbit will then be allowed to decay for a further six months prior to the USDV being used to orient the ISS for re-entry in a manner that will see much of the station burn-up in the atmosphere, and what survives falling into the south Pacific.

The contract awarded to SpaceX is for the Dragon vehicle only, not for its launch or operation; on completion, the vehicle will be handed over to NASA to operate. However, given the 30-tonne mass of the USDV and the fact it is a Dragon vehicle makes the SpaceX Falcon Heavy a strong contender as a potential launch vehicle (unless superseded by the company’s Starship / Super Heavy combination by the time USDV is ready for launch).

In the meantime, NASA has suspended all Falcon 9 launches to the ISS pending their own reauthorisation review in the wake of the July 11th loss of a Falcon 9 upper stage and its payload of Starlink satellites.

That loss is already under investigation on behalf of the US Federal Aviation Administration, however, on July 17th, NASA confirmed it will carry out its own review once the FAA’s work in concluded, although preparations for upcoming flights – notably a launch of a Cygnus resupply vehicle via Falcon 9 due on August 3rd and the launch of the Crew 9 rotation due later in August – will continue.

Screenshot from the webcast of a SpaceX Starlink launch on July 11th, 2024, showing a build-up of white material on the upper stage of a Falcon 9 rocket. This is thought to be ice from a liquid oxygen propellant leak, and may have led to the loss of the vehicle. Credit: SpaceX

The suspension of operations is normal when a launch vehicle utilised by the space agency is involved, and NASA made it clear that none of the crew currently on the ISS are in danger or at risk of running out of supplies.

SpaceX has sought to limit the impact of the FAA investigation citing that given the fault occurred in the vehicle’s upper stage and when it was entering orbit, it posed no threat to public safety and so other launches should not be discriminated against as a result. However, NASA has indicated that even if the FAA agreed with SpaceX and allowed Falcon 9 launches to continue during the mishap investigation, the NASA suspension of operations would remain in place until such time as its own review has been completed.

Crew safety and mission assurance are top priorities for NASA. SpaceX has kept the agency informed as it works closely with the Federal Aviation Administration throughout the investigation, including the implementation of any corrective actions necessary ahead of future agency missions. NASA and its partners also will implement the standard flight readiness review process to ensure we fly our crew missions as safely as possible.

NASA statement on ISS-related Falcon 9 launches in the wake of the July 11 loss of a Falcon 9 upper stage

Summer at Luane’s World in Second Life

Luane’s World, July 2024 – click any image for full size

Summer has brought with it time for me to make a visit to Luane’s World, the estate held and operated by LuaneMeo and her publicly-accessible Full region – Le Monde Perdu (The Lost World). It’s been a while since my last visit, and the region has been beautifully redressed for the summer, offering a mix of a beachy cove, woodlands, a lake, and open lands cut through by a mix of streams and footpaths.

The landing point sits on a ridge which runs from east to west across the landscape, rising from each coast to form high cliffs overlooking the beach with is deep-cut cove to the south, whilst falling more gently away to the north west to meet the lowlands. The upper reach of this ridge is home to the region’s landing point. This provides information on the estate’s rentals, a teleport board (including the the sky region destination and the store space Luane shares with Méli-Mélo). A further board provides information on the region’s photo contest running through to August 12th, 2024, of which more below.

Luane’s World, July 2024

There are two main ways down from the ridge, again to the east and west. The former descends via a trail and steps cut into the hill slopes before crossing one of the region’s streams to provide access to the east side of the cove and the beach. Along the way it is possible to turn north and access the lowlands, where multiple places to sit and pass the time might be found along the hill slopes.

To the west, the slope proceeds gently down in a gentle curve to the south, eventually meeting with the beach, the foot of the sandy hill sculpted by successive tides. Again there are multiple places to sit along the way – including a cosy summer house – whilst steps cut into the north slope again provide access to the northern lowlands.

Luane’s World, July 2024

Facing off-region islands, the beach and cove are naturally formed, the beach offering a gentle sandy walk under the lee of the cliffs before shelving away sharply under the surf to form a deep water bay that’s home to orca, fish, an ancient wreck and a great white minding its own business. The fact that it is seemingly content to keep to itself will likely be good news to those who wish to take a dip or make use of the lidos, floating seats and rings in the water. For those of a less daring disposition, a RHIB sits in the bay, one of several boats around the region, and offering a place from where the local rays can be watched.

With all these sights and locations the beach and cove are attractive and photogenic and certainly not not be missed. However, given I’m personally not a great beach person, the north side of the region with its lush grassland, trees and flower, is the real attraction. The lake takes up a good portion of the north-west side of the setting, and while it may not have the richness of undersea life within it, it is still the home for swans, geese and turtles, as well as offering the opportunity to take a swan boat out on the water from the dock alongside of the lakeside cottage.

Luane’s World, July 2024

The latter is a cosily-furnished mix of home and studio, a wooden boardwalk winding from its and front door to pass around the edge of the lake, paths here and there offering ways up the slopes behind. Making its way past another deck, the boardwalk eventually climbs steps up to another platform at the eastern extent of the lake, where gates set into a high, ivy-draped wall close by provide access to the lands beyond the lake. Although before passing through them, there is also the opportunity to take a walk around the north shore of the lake, which is again photogenic and relaxing.

For those who don’t fancy walking all around the region, horse rezzers available, although walking perhaps offers the best opportunity to catch sight of all the animals and birds also occupying the setting. for those would would like to the the region as a bird might, then the hot air balloon floating to the north-east might be attractive. As already noted, the region is rich in places to sit throughout, on the beach, around the lake, on the hill slopes, and so on, although I particularly enjoyed the Café de Paris, tucked into a corner of the region and guarding the path leading to / from the familiar bridge connecting le Monde Perdu with the rest of the region.

Luane’s World, July 2024

Photo Contest

Running through until Monday, August 12th, 2024, the Luane’s World / Le Monde Perdu photo contest offers a prize pool of L$ 8,000 plus a  choice of pose packs from Méli-Mélo and Luanes Poses. Full details and rules can be obtained from the contest board at the region’s landing point, but in short:

  • Up to three entries per person may be submitted.
  • Entered photographs must:
    • Be taken within Luane’s World ground-level setting (not Luane’s Magical World, the sky-bound setting) and be clearly recognisable as having been taken within the region.
    • Have a primary focus on the landscape (although avatars can be show in images, they should not be the focus).
    • Not include porn, obscenity, racism, child play, or violence. doing so will result in automatic disqualification.
Luane’s World, July 2024
  • Entries:
    • Are made via the Luanes World – Le Monde Perdu Flickr group.
    • Mist be set to Public viewing.
    • Must be labelled LUANES WORLD – LE MONDE PERDU PHOTO CONTEST Summer 2024, followed by any title you wish to give the image and then 1, 2 or 3 if you submit multiple entries. the SLurl to the region must also be given within the image description.

Good luck to all who enter.

Luane’s World, July 2024

All of Luane’s designs, developed with Gorba McMahon, are eye-catching, highly photogenic and created with keen eyes for detail. Summer 2024 is no exception to this, and I highly recommend a visit.

SLurl Details

Miu’s connections at Nitroglobus in Second Life

The Annex, Nitroglobus Roof Gallery, July 2024: Miu (MuiMira)

In introducing the July / August exhibition at the Annex of her Nitroglobus Roof Gallery, Dido notes that she Established the extension to her gallery with the goal of providing young, talented artists an opportunity to showcase their work, but she feels she have not always succeeded in this goal. I would, with love and respect to Dido, dispute this.

One of the major attractions of Nitroglobus is Dido’s ability to provide an opportunity for new talents in Second Life to display their art. Whether it is via the Annex or within the main galley, Dido has consistently been able to showcase the work of people who have subsequently gone on to be highly regarded within the broader Second Life arts community.  It is this innate ability to recognise talent – and to challenge and stretch the abilities of established artists beyond their comfort zones – that makes Dido one of the most skilled curator / patrons of the ats in SL, and Nitroglobus one of the foremost galleries in-world for hosting consistently engaging and often personal exhibitions.

The Annex, Nitroglobus Roof Gallery, July 2024: Miu (MiuMira)

Such is the case with Connections, which opened on July 19th, 2024 within the Annex. This is a small but utterly engaging collection of pieces offered by Miu (MiuMira) in what is her first public exhibition of her photography in-world, although she has already gathered deserved recognition on Flickr. Her work mixing colour and black-and-white photography, predominantly avatar-centric and showing a highly skilled eye and touch for post-processing.

Connections is very much a themed exhibition both in focus and tone. All of the images are black-and-white, the majority with highly minimalist backgrounds (and those that do have a visible background utilise a considered depth of field to ensure it does remain a backdrop, rather than becoming a distracting focus for the eyes), whilst the overall tone is set by a quote from Margaret Atwood:

In the end, we all become stories.

–  Moral Disorder and Other Stories by Margaret Atwood

First published in 2008, Moral Disorders is an exploration of the interconnectedness of lives and life, the stories within it winding through the lives of parents and children, of siblings and friends, of mentors and enemies from the 1930s through the the present, offering – if you will – an album of photographs written in words, spanning the decades from the 1930s through to the present.

The Annex, Nitroglobus Roof Gallery, July 2024: Miu (MiuMira)

It’s a fitting quote and fitting selection of stories, perfectly reflecting the way Connections offers a visual essay concerning the relationship of the connections between mind, heart and emotions which give the passage of life meaning to each and every one of us. Each image offers an expression of one or all of these aspects of experience, offering a set of images which, as Miu notes herself,  reflect the fact that, “We are the authors of our lives, creating our own beautiful adventures and deciding on the main characters within our book”.

For me, more than this, is the fact that Connections reads as a very personal story: throughout the nine images – and with encouragement from Dido – Miu gently reveals how her avatar is very much the digital embodiment of who she is, and how she embraces her own moods, sensitivities and emotions.

Take, for example, Connections (4); the use of the shawl in both hiding most of Miu’s features, the over-the shoulder revealing just a hint of nose and mouth, suggest a person given to a certain shyness and possible introverted self-reflection. However, the shawl also draws attention to the partially-visible tattoo Never Give Up. Even without the rose which tops it (as seen in other images) being visible, the statement speaks to an inner strength, to embraces the lessons of life and the ups and downs of emotions and use them as a means to learn and grow, and also speaks to an ability to support and love.

The Annex, Nitroglobus Roof Gallery, July 2024: Miu (MiuMira)

In this, Miu’s avatar bears much that reflects her own nature, expressions given form through tattoos and via her mode of dress and choice of looks. They combine to tell a story of a person who is very at ease with herself, her heart and her emotions, and who can freely give expression to her inner self, writing the story of her life with each passing day.

A genuinely impressive and engaging collection, and a superb debut exhibition. Highly recommended, and congratulations to Miu and Dido.

SLurl Details

2024 week #29: SL CCUG summary

Nong Han Kumphawapi, June 2024 – 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, July 18th, 2024.

Meeting Purpose

  • The CCUG meeting is for discussion of work related to content creation in Second Life, including current and upcoming LL projects, and encompasses requests or comments from the community, together with related viewer development work. This meeting is held on alternate Thursdays at Hippotropolis.
  • In regards to meetings:
    • Dates and times are recorded in the SL Public Calendar.
    • Commence at 13:00 SLT on their respective dates.
    • Are conducted in a mix of Voice and text chat.
    • Are open to all with an interest in content creation.
  • The notes herein are a summary of topics discussed and are not intended to be a full transcript of the meeting.

Official Viewers Status

  • Release viewer: version 7.1.8.9375512768, formerly the Graphics Featurettes RC viewer dated June 5 and promoted June 10th.
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself).
    • WebRTC Voice RC, version 7.1.9.9688089989, July 1.
    • Atlasaurus RC (object take options; improved MOAP URL handling), version 7.1.9.9620320242, June 27.
    • Maintenance B RC (usability updates / imposter changes) 7.1.9.9555137545, June 21.
    • Maintenance C RC (reset skeleton in all viewers), version 7.1.9.9469671545, June 14.
  • Project viewers:
    • None.

WebRTC Voice Update

Not strictly a Content Creation tool / subject, but of import to SL as a whole.

Summary

  • A project intended to move Second Life away from reliance on the Vivox voice service and plug-in, and to using 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.
  • In addition:
    • LL are are of some of the security concerns around WebRTC voice (e.g. risk of eavesdropping, exposure of users’ IP addresses, etc), and is actively working to block these through the use of an internal proxy service.
    • LL will be looking to Linux devs to help give feedback on how well WebRTC is working on their Linux viewers
  • Feature requests for WebRTC should be made via the WebRTC board on the SL Feedback Portal.

Status

  • There is a Release Candidate viewer available on the Alternate Viewers page. Thus is expected to be the next viewer to be promoted to de facto release status.
    • This promotion is liable to occur ahead of the planned simulator deployments (see below), allowing time for TPVs to adopt the code.
  • Currently, LL is looking at August for a potential deployment across all of SL on the server-side.
    • This will follow the usual approach of roll-out to the simulator RC channels first, then to the SLS Main channel.
    • As a result, there will be some short-term issues around peer-to-peer, Group and ad-hoc voice connections between those on regions running the two different voice services (Vivox and WebRTC).
    • Depending on how the deployment goes (e.g. first to a single RC, then multiple RCs, then the SLS Main channel), it is hoped that any such issues will only be for around 2 weeks.
  • Viewers adopting the WebRTC code prior to or during this deployment period will be able to process both WebRTC and Vivox voice, so outside of the possible short-term issues during the back-end deployment mentioned above, voice services should not be interrupted for users.

Graphics / glTF

Transmission / IOR

  • Geenz Linden continues to work on Transmission and Index of Reflection (IOR). This will provide:
    • Both refraction and “blurry” refraction suitable for things like frosted glass surfaces.
    • Dispersion, allowing chromatic aberration, allowing the RGB channels to “separate out” based on a certain factor.
    • Volume, allowing an object surface to be tinted at different surface thicknesses.
  • There are still some bugs to be resolved with this work, after which it will be folded into the main viewer development branch, but is currently tied to the work on mesh import, but may be separated out.

PBR Terrain Painting

  • This is the next planned project for Cosmic Linden, and is in the very early stages of planning, so things are subject to potential change.
  • Currently, the thinking is:
    • The four PBR materials currently used for PBR terrain would remain available for use / painting.
    • The painting element would allow a user to define how these materials are mixed (via a paint map), rather than having to rely purely on the the existing height map.
    • The paint map is likely to initially be on the basis of one blended texture at region level (not parcel), although the resolution of the texture is still TBA at the time of writing.
    • The permissions for terrain painting will be based on ability to edit the height map (if you can alter the latter through the Region settings, then you’ll be able to use the terrain painting capability).
  • This effectively means:
    • Users who have terrain editing permissions will be able to use the existing terrain texture system, using the height map (terrain elevation) to define which textures are visible, and the “blending” between them. or – if provided at the region level – access the PBR terrain paint map and use that to define the terrain (e.g. where grass, dirt, rock, etc., appears),  without having to use terrain elevation changes.
    • Use of the paint map will still be based of the X,Y positioning of terrain (as with the current height map), but all allow for actual blending of materials, rather than just creating transitional noise between textures set for different elevations, as with the height map.
  • Terrain painting will be a significant departure in how terrain texturing has been managed, requiring a new entity to be introduced. This is also still being thought through, but it is unlikely it will be a new asset type stored on the asset servers.
  • LL prefer to limit terrain painting to the four available slots at region revel, rather than allowing fully customisable swatches / slots at parcel level, as the latter presents “non-trivial issues” for terrain texture handling /loading.
  • Two further ideas being discussed in relation to terrain but not on the implementation road map are:
    • Implementing a means by which a prim can act as if it is part of the terrain, and inheriting the materials of the terrain on which it is placed, whilst allowing the geometry of the prim to be still be manipulated.
    • Instead of using terrain, provide a means by which “something else” (something created external to SL and then imported) as terrain. However, it idea is described as “more pie in the sky” thinking.

glTF Scene Import

  • No update, as Runitai Linden is out of the office.

(Non-Ambient) Lighting

  • Punctual lights is a glTF extension that has recently been folded into the main specification, defining the use of lighting sources (house light, table lamps, street lights, etc.).
  • Geenz Linden is working to implement punctual lights, but they will be tied to the node hierarchy for glTF scene imports.
  • Longer term, they hope to use the extension to enable punctual lights to render shadows (so, if your table lamp is a punctual light, it will cast shadows).
    • However, the extension is currently ambiguous as to what parameters should be used to define/ constrain such shadows, so this aspect of the work is liable to take longer to achieve, and may be dependent upon how other companies implement punctual lighting shadows.
    • In the meantime, Geenz does have some ideas on handling shadows from point and spotlights, which might leverage the work done on reflection probes.
  • In discussing the adoption of glTF punctual lighting, Geenz further noted:
    • There are some notable differences between glTF lighting and SL’s physically-based lighting model and also with the capabilities of lighting projectors as they are currently in SL.
    • As such, trying to unify punctual lighting with SL’s existing lighting / projectors could lead to content breakage.
    • Because of this, it is likely that as punctual lighting ins introduced, the existing lighting system will cease to be significantly enhanced, and pretty much left as-is, with the focus shifting to enhancing the punctual lighting system.

General Notes

  • Cosmic has also been completing work on support for PBR terrain texture transforms. This is s subset of the texture manipulation options (scale, offset, rotation, etc.), available with texturing prims, and is per material.
  • A request has been received to get planar face alignment to be functional for PBR, and this is defined as something the Lab wants to resolve “soon”.
  • Order-independent transparency is not something on the current road map, as it is seen as “too performance costly” to implement.
  • There is some potential for performance improvements / optimisations for mirrors.
    • Currently, whilst the mirror surface is planar, the reflection probe generates reflections for a full 180º in front of the mirror, not all of which might be required.
    • It might therefore be possible to adjust this to angles more appropriate for such viewers, making them slightly more performant – but the improvement will not be huge.
    • It should be remembered that mirrors can also be turned off (or have the update rate reduced) through Preferences by those feeling a mirror they are closes to and is active is too big a performance hit.
  • There have been multiple calls for Linden Water to be restored to its pre-PBR looks. Geenz noted that while making improvements to the appearance of Linden Water are not out of the question, the fact that Linden Water is not glTF compliant makes what can be done more difficult.

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.

Grauland’s Corsair Island in Second Life

Grauland / Corsair Island, July 2024 – click any image for full size

Update, July 20th: Jim dropped me a line of the lack of soundscape noted below – apparently it was an easily-done oversight, and has now been rectified, so be sure to have local sounds enabled when visiting!

About a couple of weeks ago, if memory serves, I bounced into Jim Garand’s Grauland on one of my periodic visits to see what might have changed since my last visit. At the time, Jim appeared to be smack in the middle of redressing his Homsetead region – also home to his M1 Poses store – and so I pretty rapidly bounced my way back out again to allow him to finish things off, but with my curiosity well and truly piqued. I had intended to return just a few days later, but life had other plans, and so have only just made it back.

Jim has a habit of pulling together settings that are a mix of landscape, art, architecture and narrative. Sometimes they are themed, as with the last edition of the region I blogged about – see: Grauland’s Last Trees in Second Life, or they may be inspired by an actual location; at other times they might be more nuanced in ideas and themes, and at others still, others they are simply offered as opportunities for photography and art. Grauland / Corsair Island appears to fall within the latter two groups, offering hints of a theme here and there whilst in general offered a highly photographic setting with a lean towards artistic expression.

Grauland / Corsair Island, July 2024

The setting’s little  – Corsair Island – might perhaps suggest the idea of pirates, sailing ships, treasure and all that; however, this is not the case. Rather, the name appears to be taken from the World War 2 vintage Vought F4F Corsair single-seat fighter displayed almost as a museum piece towards the south-west corner of the region. Sitting with wheels on its own of concrete apron, a separate square of the same close by hosting a mighty sea anchor which might have hailed from a WW2 battleship of aircraft carrier, the Corsair looks out to sea from flat-topped table of rock with a broad throw of sand curving around its base to form a golden beach.

The local vegetation suggests this is a tropical island, one amidst a small group, with the Corsair itself immediately raising thoughts of the Pacific conflict of WW2. This is perhaps further enhanced by the general layout of the island, which suggest it may have once been an airbase for a land-based contingent of US Navy aviators and their aircraft. The road running north-to-south might have at one time been a runway, and whilst the sound side of the island is now in part excavated and home to free-standing art installations, there is a chance that it may have once been flat and home to a second runway.

Grauland / Corsair Island, July 2024

Of course, the huge concrete bulk of a road tunnel rising from the sea and with its  darkened maw open to either disgorge or swallow road vehicles at the north end of the road tends to suggest that perhaps this is a place much closer to the US mainland, but it does not entirely eliminate the dance of the imagination in thoughts of airbases from past conflicts.

In fact, the placement of some of the buildings alongside the road might also add to the idea, their position suggesting they’ve replaced what may have been an aircraft dispersal area and / or hangers and workshops. But again, in opposition to that, the presence of the gas station and motel with its slab-sided beachfront cabins again give the impression this is a place much closer to the US mainland, and one which sees a degree of vacation traffic passing back and forth through the tunnel; so I’ll leave it to you to form your own backstory for the setting.

Grauland / Corsair Island, July 2024

The southern side of the island is given over to art installations. Three of these are bound the draw attention, possibly at the expense of the fourth. The latter take the form of a series of disks, rings and cylinder elements arranged in a manner that presents a series of spaces that can be walked around and through. The three main installations, meanwhile, are a mix of the familiar and the new.

Many of Jim’s past installation have included the motif of standing blocks, generally in geometric arrangements. These have frequently been in the form of cubes resembling block of cement, but here Jim includes a pyramid to the eastern end of the island with its flanks being climbed by ranks of stone uprights in a design by Alex Bader. Next to this is the excavated area, walled by heavy blocks and its floor tiled. Within it stands a series of walls forming something of a maze-like area, squares of blue tiles mounted on the wall sections like windows. The maze isn’t hard – it’s not intended to be – and has a roofed platform at its centre, served by two stairways.

Grauland / Corsair Island, July 2024

Alongside of this maze, sitting between it and the southern beach is an area suggestive of ancient ruins fronted by a large bust of a female torso. Steps down to a lower area passing under the “ruins” provides access to the beach. To the north of the island, hidden among rock formations, is a formal garden area watched over by Buddha, Psyche and a reproduction of Horatio Greenough’s (1805-1852) Arno the Greyhound as found at Boston’s Museum of Fine Arts.

East of the garden and most directly reached via a winding paved driveway that links it to the main road, is a large warehouse style of building sitting walled-off from the rest of the island, giving the impression it is separate to the rest. It is dressed as a private home and not for public access, but the gates guarding it open on approach and there is no security system in evidence – so I have no idea if it is meant to be public or private, so I remained circumspect.

Grauland / Corsair Island, July 2024

As always, this iteration of Grauland is photogenic and attractive, holding a lot to see (not all of which is mentioned here). It is strangely devoid of any soundscape (either that, or my viewer simply was not registering local sounds during my visit!), but to make up for this (if it is the case), a gift from Jim is available for visitors at the landing point.

SLurl Details