A Blue Finch Blossoms Hollow in Second Life

Blue Finch Blossoms Hollow, April 2024 – click and image for full size

It was off back to the Full private region held by Dianna Fluffington for me recently, and a visit to her creation of Blue Finch Blossoms Hollow.

This actually marked my third time at the region in the past 12 months, having previously visited in April 2023 and again in November of that year (see: A Blue Finch Spring in Second Life and A Blue Finch Frosty Hollow in Second Life). However, both of those iterations of the region design were collaborative works between Dianna and her former partner Grant Wade (GMi7); so the occasion of this visit marked my first time to an iteration of the region that is solely Dianna’s design – and it remains as eye-catching and photogenic as ever.

Blue Finch Blossoms Hollow, April 2024

As with the two past iterations of the region, this version for Spring 2024 offers a pleasing mix of themes and influences. The subtle touches of fantasy (such as via the elven-like lanterns lighting the many paths through the setting) are present, there is much to appreciate in terms of natural flora and fauna, superb use is made of landscaping elements to give the setting a unique, rugged look and beauty which is softened through the use of grasses, trees, water, shrubs and paths.

Whilst not strictly enforced, the landing point sits to the east of the region, tucked quietly between the north-east and south-east quadrants and within the single paved street of a small gathering of places of businesses, all neatly framed by a mix of walls and water channels, flowerbeds and trees. Within the area, the little shops are open to visitors, whilst outdoor spaces offer plenty of space for sitting down and passing the time.

Blue Finch Blossoms Hollow, April 2024

It is here as well, towards the southern end of the street, that visitors can find information on the region and its in-world Group, an invitation to hop up to a sky platform to visit an art exhibition by Cammie Carver and hosted by The Wanderers Relay for Life team (all donations, etc., to RFL of SL via the team), and directions to a horse rezzer where visitors can take a tour of the region on horseback. Unfortunately, the rezzer refused to work for me, so I’m unable to mention the nature or extent of the tour.

For those opting to explore on foot, there are a variety of paths leading away from the landing point and the little hamlet of shops and on through the region. So many in fact, that I’m not going to even attempt to chart a route for you to follow from here; the best thing to do is just step through the gates or over the little bridges from the town space and start wandering – whichever way you go, you will be richly rewarded with things to see and do.

Blue Finch Blossoms Hollow, April 2024

In terms of the latter, as well as the horse ride, the immediate surrounding to the town offer mini golf to one side and on the other, on the shores of the central lake, the opportunity to rez one or more (if you are in a group) inflatable tubes. These will whisk you around the waterways (at a pretty brisk pace!), complete with your personal supply of beer / drinks. There are also zip lines awaiting discovery and use by the adventurous.

One of the latter sits between a elevated events area tucked into the north-west corner of the setting, on a terrace covering a table hill. Given the other path up to this region is long and winding (but well worth the effort of finding and following given it does take one on a tour of a good part of the region and offers so excellent views from some of the higher aspects of the landscape), this zip line offers a quick and easy ride back down to the lower-lying elements of the setting for those who do not wish to retrace steps.

Blue Finch Blossoms Hollow, April 2024

But to return to the tube ride: this deposits riders in the shallows of a cove directly below the events terrace noted above, which is home to one of two stretches of beach making up the setting. A rocky arch from here provides the means to return of the region’s grasslands and gardens. Once through the arch, it is possible to spot another of the region’s zip lines and also appreciate another touch of the fantasy elements found throughout, this one in the form of ruins and a quiet swing waiting for romantics.

Places to sit can also be found through the region – from converted rowing boats through decks built out over the waters, parasoled tables on terraces and squares or rafts on the water, through to the region’s little cafés and bars or the open-air cinema (complete with offerings of pizza and buckets of nibbles.

Blue Finch Blossoms Hollow, April 2024

Blue Finch Blossoms Hollow is one of those places where just as you convince yourself you’ve seen everything there is, something else pops up in the form of an unexpected turn of a path or a hither-to unseen passage between trees or under rocky heights, and so brings you to something else to enjoy.

Such a discovery might be a little vignette of animals or a place to sit, a romantic corner, the unexpected sight of water flowing upslope (such is the magic of the region!) or another such unexpected view. As such, it is genuinely a place where the more time taken in exploring, the greater the rewards to be reaped.

Blue Finch Blossoms Hollow, April 2024

Those seeking an immersive location bringing together assorted themes and ideas and which offer huge scope for photography, relaxing, having a little fun or romantic interlude – or indeed, a combination of all of these  –  will undoubtedly find Blue Finch Blossoms Hollow an ideal destination in their Second Life travels.

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The Kondor Art Museum in Second Life

The Kondor Art Museum, April 2024: Maghda

The Kondor Art Centre, operated and curated by Hermes Kondor, is an exceptional and engaging hub for the arts in Second Life; one that is frequently evolving  / changing in order to offer visitors multiple opportunities to appreciate artistic expression through the platform. An example of this came in February 2024, with the opening of the Kondor Art Museum.

Located in one half of the Kondor Art Garden, the museum presents a modern building with multiple halls for individual exhibitions of art spread across two floors. At the time of my visit, these offered displays on behalf of several  Second Life artists I particularly admire: Maghda, Caly (Calypso) Applewhyte, Bamboo Barnes, Milena Carbone (who, at the time of writing, also had an exhibition entitled Whispering Waves in the neighbouring Art Garden), and Hermes himself.

The Kondor Art Museum, April 2024: Caly Applewhyte

Now, to be honest, I’ve no idea if these are permanent exhibitions or if they will be rotated with other artists over time. The artists here have been on display at the museum since it opened in February; something for which I’m actually grateful, giving it has given me the opportunity to catch-up with the work of these artists – notably Caly, Maghda and Bamboo, three incredibly expressive artists through (respectively) their avatar-centric photography (Caly and Maghda) and digital media art (Bamboo).

The lobby for the gallery features additional 2D and 3D art by ArtemisGreece, Scylla Rhiadra, Lalie Sorbet and Thus Yootz (with a remarkable collage entitled Real Life, Pictures within a Picture) and a further untitled piece by Hermes himself. These are all displayed within the museum’s lobby, from where it is possible to easily access each of the individual halls within the building, with the artists on display clearly labelled at the entrance point of each hall.

The Kondor Art Museum, April 2024: Bamboo Barnes

It is here that I have my one – minor – critique: it would be nice if the museum provided biographical information on the artists for those who might not be familiar with their work; or if not biographies, then perhaps an introduction to their displays within the halls. Doing so helps to encourage those engaging in the Second Life art environment to perhaps seek out and learn more about the artists they might be encountering for the first time. But again, this is a very minor critique.

This point aside, these are nevertheless thoroughly engaging displays of art, with Hermes’ physical world photography and Milena’s AI-generated (I believe) pieces nicely counterpointing the work of Caly, Maghda and Bamboo. Hermes’ presentation of his work from The Museum, his photo essay focused on the art of, and visitors to, Lisbon’s Calouste Gulbenkian Museum (home to one of the world’s most highly regarded art collections) provides a further nice counterpoint the idea of a gallery museum.

The Kondor Art Museum, April 2024: Milena Carbone

As noted, I’ve no idea if / when the individual art displays available at the Kondor Museum might be changing; as such, for those keen to catch the artists there at the time this piece was written – then it might be better to hop over and explore sooner rather than later, just in case. And while there, do take a walk around the Art Garden as well and appreciate the art displayed there.

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SL21B: Performer and Volunteer applications

via Linden Lab

June 2024 will mark the 21st anniversary of Second Life opening to public access – and to mark it, Linden Lab has announced the 2024 Birthday celebrations as being marked across an entire month – from Friday, June 21st through until  Sunday July 21st, 2024.

Theme

This theme for Second Life’s 21st birthday (SL21B) has been given as Elements, which the Lab describes thus:

This theme invites us to explore the fundamental components that make up our vast virtual landscape and the diverse communities within it. From the fiery passion of creators and artists to the fluid adaptability of our social environments, from the solid bonds within our communities to the fresh breezes of innovation that propel us forward, “Elements” is a celebration of the core forces that shape our experiences in Second Life.

– From the official SL21B announcement blog post

Applications

Performers

Applications for SL21B performers were officially opened on April 29th, 2024. Key points:

  • Applications will be accepted through until Friday, May 31st, 2024.
  • There will be three stages for performers within the General rated SL21B estate.
  • New for 2024 will be an official performance stage in the Adult rated SL21B estate, and explicit lyrics and more adult attire will be permitted on this stage.
  • DJs, live artists and people performing on the designated events stages are permitted to rez ONE low-prim tip jar. Donation kiosks are not allowed.
  • There is a 350LI allowance for props and rezzable items for DJ and live music shows. A DJ set-up is allowed (spin table, speakers, small light emitters/effects) – but performers are asked not to design a giant framed set that covers the stage, its floor or the backdrop.
  • Full rules for Performers can be found in the application form.

Volunteers

A call for event volunteers was made on April 15th, 2024. Key points:

  • Applications will be accepted through until Sunday, May 12th, 2024.
  • Volunteers are asked to commit to at least two hour shifts at a time, and to note that as a week long event. SL21B requires volunteers who will be available for more than just one or two days.
  • Training sessions will be provided across multiple times. All volunteers are expected to complete a training session, regardless of whether they have been volunteers at previous Birthday events. Those failing to complete the required training will be removed from the Volunteer group.
  • These are volunteer positions, and as such, volunteers will not be paid. Additionally, volunteers cannot rez/wear tip jars or solicit for tips.
  • Full rules and requirements for volunteers can be found in the application form.
  • Official SL21B Volunteer Applications announcement

Exhibitors

As I’ve previously reported, Exhibitor applications opened on April 4th, 2024.Again, key points:

  • Applications will be accepted through until Sunday, May 12th, 2024.
  • There will be both General and Adult rated regions available to exhibitors.
  • Exhibits do not have to be in keeping with the Elements theme – LL are keen to showcase the passions, interests and creativity of the platform’s users and many groups and communities.
  • Full rules for Exhibitors can be found in the application form.
  • Official SL21B Exhibitor Applications announcement.

2024 SL viewer release summaries week #17

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

Updates from the week through to Sunday, April 28th, 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: 7.1.6.8745209917, formerly the Maintenance Y/Z RC ( My Outfits folder improvements; ability to remove entries from landmark history), dated April 19 and promoted April 23 – NEW
  • Release channel cohorts (please see my notes on manually installing RC viewer versions if you wish to install any release candidate(s) yourself).
    • Maintenance X RC (usability improvements), version 7.1.6.8758996787, April 23.
  • Project viewers:
    • No updates.

LL Viewer Resources

Third-party Viewers

V6-style

  • No updates.

V1-style

  • Cool VL Viewer Stable branch updated to version: 1.32.0.19 (PBR); and Experimental to version 1.32.1.1 on April 27 – release notes.

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links

A Venus by the Water in Second Life

Venus by the Water, April 2024 – click any image for full size

Update, July 2025: Venus by the Water has closed.

Elizabeth (ElizabethNantes) and Cecilia Nansen are two women in Second Life noted for their creativity. Elizabeth is a creator who has produced multiple popular region designs over the years, several of which I’ve previously featured in these pages since around 2016 – the last time being her excellent Hear How Your Landscape Should Sound, produced in collaboration with Electric Monday (see here for more).

Celia Nansen is one of Second Life’s premier photographers noted for producing evocative and narratively rich avatar studies, someone whom I’ve again often featured in these pages since the unveiling of her very first exhibition in-world back in 2017 (see here for more).

Venus by the Water, April 2024

In March, Elizabeth and Cecilia opened a collaboration of their own to Second Life users, one that brings together region design, art and music in a beautifully considered and executed Homestead region they have called Venus by the Water. Fittingly, given the region is the product of two in-world creative talents, Venus by the Water is also offered as a tribute to two exceptional talents from the physical world: Bjork and Polly Jean Harvey (more professionally known as PJ Harvey).

This is an idyllic setting, presented as a low, temperate island which the surrounding waters are in the process of breaking up. Already they have eroded the narrow neck of sand that once linked the two halves into a whole so that a broad wooden deck is now required to maintain the connection between the two segments of land. This deck is set as the region’s landing point, and is home to a tip jar and local Group joiner. From it, visitors can take their pick as to which half of the setting they choose to explore first.

Venus by the Water, April 2024

The larger area of land, forming a W-shape which extends from a narrow tail pointing eastwards along the southern side of the region, through to a rocky headland lying to the north-west, is largely sandy in nature, although the west side is home to lush grass and a small woodland area where horses might be found grazing. A stream cuts right through this land, separating the north-eastern most part of it off from the rest, shingle beaches to the north and west bracketing its grassland, the stream doing the same to the south and east.

Tucked into the south-western corner of this landscape, between the woodlands to the north and the sands to the east, sits the Gallery Bjork. At the time of my visit, the 2D work on display came from artists responding to a call from Cecelia and Elizabeth for submission of art on the theme of Venus on the Water (hence the décor within the Gallery space with a tide gently lapping over coastal reeds and grass).

Venus by the Water, April 2024

Outside, on the rear terrace might be found a sculpture by Mistero Hifeng keeps a quiet eye on things, whilst the front room of the gallery presents an image of PJ Harvey and Bjork from an interview published in (I think) 1993 or 1994, and which also featured American artist Tori Amos. Rendered in monochrome, the photo faces two reflections of its form, each featuring Elizabeth and Cecilia.

The smaller land mass for the setting sits to the north-east, cupped between the arms of the W. It presents a rugged by lushly flowered grassland bordered by trees, an earthen path cutting through it from the landing point to where the Café Polly sits atop an extensive deck reaching out over the waters. Broadly split into two indoor seating areas bracing the central service area, the café additionally offers outdoor seating under parasols for those who prefer, either on the deck itself, or on a smaller deck a very short walk from the café’s door, overlooking the bay that cuts deeply into the land.

Venus by the Water, April 2024

This is a peaceful location, although the aged and bent tree that seems to be trying to stretch its branches toward the café and touch it, together with the corpse of another tree angling itself sharply over the path leading to (or from, depending on your point of view) the café, suggests the island has seen its share of strong winds and harsh weather. Even so, there is nothing now to interrupt the gentle rocking on the rowing boats tied-up at the pier just below the café’s deck.

These rowing boats, rocking gently in the swell as it approaches the shore, are just one of the details that further bring this setting to life. There are many more to be found throughout which both give depth to the region and often offer encouragement for people to stay and enjoy their time here.

Venus by the Water, April 2024

For example, There’s a little camp site out on the sand of the south-east headland and watched over (in a manner of speaking) by the sheep grazing on the stunted grass close by. Then, almost mid-way between the landing point and the Café Polly, the path offers a short branch leading to a raised deck. This is home to a pair of loungers looking out over this bay cutting so deeply into the land. In doing so, they draw attention to another rowing boat, this one anchored out in the sheltered waters to offer another place to sit and past the time, either alone or with someone close to you. Still more such tranquil places await discovery – but I’ll let you find them on your visit 🙂 .

Venus by the Water is finished in an EEP setting which compliments it perfectly, and thus really is best seen under it. The region also fears a very subtle and fitting sound scape, so I recommend having local sounds active when visiting as well. The audio stream for the region has also been carefully curated, and features at times an interesting mash-up or two between Bjork and PJ Harvey, and well as some of their own recordings.

Venus by the Water, April 2024

All told, a perfectly presented and relaxing setting – as one would expect from two creative talents like Cecilia and Elizabeth.

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Space Sunday: Rocket Lab, Voyager, Hubble and SLIM

June 29th, 2019: Rocket Lab’s Electron Rocket rises from Launch Complex 1 on the Mahia Peninsula of New Zealand North Island at the start of the mission Make It Rain. Credit: Rocket Lab

Rocket Lab, the New Zealand / US commercial launch provider, is gradually increasing the annual launch cadence of its Electron rocket, as the company continues to garner a solid reputation as a provider of a reliable launch platform whilst also building-out other aspects of its business.

Founded in 2006 in New Zealand by entrepreneur Peter Beck, Rocket Lab initially developed the  Ātea (Māori for “space”) sub-orbital sounding rocket, which made its first (and only) flight in 2009 with the Manu Karere or “Bird Messenger” mission. Although a sub-orbital class of rocket, the  Ātea -1 nevertheless pushed its upper stage and payload beyond the von Kármán line, the arbitrary “boundary” between the Earth’s atmosphere and space sitting at 100 km altitude (although the Earth’s atmosphere actually extends – albeit tenuously – far further than this), technically making Rocket Lab the first private company in the Southern Hemisphere to reach space.

The company started developing Electron Rocket after being awarded a 2010 US Government contract to study the use of a small-scale launch vehicle specifically geared towards servicing the developing cubesat market – a contract which in part lead to the company relocating to the United States in 2012-13 and taking up residence in California, with its New Zealand operations becoming a wholly owned subsidiary of the US business.

Electron Rocket on the production line in 2020. The one with the Electron logo on a white background was an Electron core stage outfitted to test systems to aid in the recovery of boosters following splashdown. Credit: Peter Beck

A two-stage rocket standing 18 metres tall, Electron made its first flight in May 2017. This did not go as planned and no payload was carried, justifying the mission’s name:  It’s A Test. However, the next flight (the first of three in 2018), called Still Testing, successfully delivered a payload of cubesats to orbit, whilst the next flight, called It’s Business Time saw the commencement of commercial launch operations. At the time of writing, Electron has clocked up an impressive 42 successful flights and payload deployments out of 46 launches, with customers paying between US $5 and $10 million per launch.

While this launch rate perhaps doesn’t sound like a lot when compared to SpaceX and its Falcon family, it needs to be remembered that while much is made of the annual volume of Falcon launches, less than 25% of them are actually directly revenue generating commercial sector launches; the vast majority (an average of 60% per year for four years) have been Starlink launches, for which SpaceX absorbs the cost (approx. US $40 million a launch) for no revenue, with a further 15%+ being far more lucrative US-government related launches. By contrast – although the margin of revenue over cost is much smaller, Electron should almost double Falcon’s 4-year average of commercial launches (13.25 per annum)  in 2024, if all 21 of its commercial launches are successful (the company also has 4 government contracted launches to complete in 2024 as well).

For a time Rocket Lab toyed with (and tested) the idea of plucking Electron core stages out of the air using a helicopter and a drag line designed to snag the line between the booster’s drogue and main parafoil as it descended towards a splashdown. This idea, whilst promising, was abandoned. in 2021. Credit: Rocket Lab

Currently, Electron is not reusable, making its launch costs higher than they might be. However, the company is looking to change this by recovering spent Electron first stages after splashdown and then refurbishing and reusing their nine Rutherford motors – the rocket motors being the most expensive element of the launch vehicle. The first re-use of a refurbished Rutherford motor took place in 2023, with Electron’s 40th flight, the the company is now building on this.

As well as commercial launch customers, Rocket Lab has garnered US government contracts from NASA, the National Reconnaissance Office and the United States Space Force, with the latter in recent months awarding the company contracts worth some US $547 million to develop and launch satellites as a part of the US military’s Proliferated Warfighter Space Architecture (PWSA), a constellation of satellites from a number of suppliers which provides  communications, information gathering, target tracking, etc., to the US military in battlefield and tactical / logistical operations. In addition, Rocket Lab has provided both its US and New Zealand launch services to other governments as well, including France, South Korea and the Australian government.

Nor is the company resting on its laurels with Electron. Despite once saying he would eat his hat if Rocket Lab ever moved towards making a reusable launch system  – his belief being that if the engines could be recovered and reused, that was enough – in March 2021 Rocket Lab announced they were to commence work on a medium-lift (8 – 13 tonnes payload range) launch vehicle.

Called Neutron, the reusable vehicle was introduced to the world on March 1st, 2021 in a video which saw Peter Beck keep his promise: he ate his hat (or some of it, at least).

Neutron – unlike SpaceX’s Starship / Super Heavy – has been designed from the ground-up to meet the needs of a number of existing government and commercial markets: the growing smallsat constellation market (which in and of itself is perhaps increasing more issues they it is potentially solving); medium payloads to LEO, SSO and also to geostationary transfer orbit (GTO – e.g. to other planets); and human space flight. It will achieve all of this in a novel approach.

Classified a 2-stage launch vehicle, Neutron will not have a conventional upper stage. Instead, the payload booster and payload will be contained inside the first stage. After passing through the majority of the atmosphere and entering a post-engine shutdown ballistic flight, the upper portion of the Neutron will open to eject the payload. Once the latter is clear, Neutron will use its thrusters to flip itself away from the “upper” stage, allowing the latter to fire its motor and push the payload on to its assigned orbit. Other factors then come into play – such as the shape of the Neutron, the re-use of at least one of its motors, etc – that will allow the rocket to make a propulsive return to launch sight descent and landing.

The advantages of this approach are multiple. Incorporating the upper stage into the rocket means that it can be smaller and lighter, as it does not require the additional structural reinforcement needed for it to be the fist of the rocket as it punches its way up through the atmosphere. Similarly, the integration of the protective payload fairings into the main rocket both increases the overall structural integrity of the vehicle and means they are not simply thrown away during a launch, removing the cost of a brand new set of fairings with each launch.

A rendering of Rocket Lab’s Neutron Rocket. Credit: Rocket Lab

However, there are also potential issues with the approach which Rocket Lab will have to demonstrate they can address. For example, human-rated vehicles generally require  means by which a crew can be hauled clear should the rocket malfunction. Clearly, if you are carrying your crew inside the rocket to start with, then getting them out of it will take longer that simply blasting them clear with powerful motors, as can easily be done when they are sitting at the pointy end of the rocket.

Currently, the first Neutron flight is targeting a late 2024 launch – which is an ambitious target for a project only announced in 2021, and which requires not only the development of the launch vehicle, but its propulsion system and fabrication facilities. As such, whether Rocket Lab achieve it or not is still open to debate.

The engine for Neutron is called Archimedes engine, and it is being built by Rocket Lab at their facilities in California. Primarily constructed using 3D printing, nine Archimedes motors will power the Neutron core stage with a further motor powering the “upper” stage.

Meanwhile, ground was broken for the rocket’s production facility in April 2022 at the  Mid-Atlantic Regional Spaceport (MARS) within NASA’s Wallops Flight Facility on the eastern coast of Virginia, USA – the MARS spaceport being the base of operations for Neutron, with no plans (at present) to launch the vehicle from New Zealand or elsewhere.

In addition to launch vehicles and satellites, Rocket Lab also produces the Photon satellite bus, designed for a variety of uses, including lifting satellites to their assigned orbits and providing power and propulsion for interplanetary payloads.  Photon is an attractive vehicle for government space agencies and the private sector, as it can be flown on a variety of launch vehicles and can utilise a wide range of rocket motors, such as Rocket Lab’s other engines, the Curie and HyperCurie and those from third-party suppliers, engine selection being based on mission requirements.

As such, while Rocket Lab might be small (literally and figuratively) when compared to SpaceX’s Goliath, it is (a bit like David was in that particular fight) the one to keep an eye on.

NASA: Voyager 1  and Hubble – Good News / Bad News

After a five month period of anxiety in which the spacecraft has been sending gibberish back to Earth, NASA’s Voyager 1 spacecraft, the most distant human-made object from Earth so far made, has resumed sending understandable engineering data.

As I’ve been covering in these pages, Voyager 1 started sending this gibberish since mid-November 2023, although it has remained fully capable of receiving and acting upon instructions from Earth. This resulted both in a suspension of the spacecraft’s science activities and an inability for engineers to determine the vehicle’s overall operational state.

An artist’s rendering of Voyager 1 in interstellar space. Credit: NASA / JPL

Since then, investigations initially narrowed the potential issue as lying with one of two systems: the spacecraft’s telemetry modulation unit (TMU), responsible for sending data to Earth; or the flight data subsystem (FDS), responsible for the actual packaging of that data ready for transmission to Earth. Further work determined the issue as lying within the FDS, although exactly what has gone wrong remained a puzzle.

Then, and as I reported in March (see:  Space Sunday: starships, volcanoes and Voyagers), an engineer from NASA’s Deep Space Tracking Network (DSN), which handles all communications with NASA’s multiple deep-space missions, noticed something odd about some outlier data the communications received from Voyager 1 – it did not appear to be gibberish. Digging deeper, he realised it was actually a complete dump of the FDS’s memory.

This allows engineers to determine a single memory chip within the FDS has failed, corrupting about 3% of the system’s memory; just enough for the data packaging operation to be thrown into disarray and result in gibberish. The cause identified, the problem became how to fix it.

The most obvious means to doe so would be to tell the spacecraft not to use the corrupted memory for data processing. However, that required instructing the FDS to use other memory space – and there wasn’t a single address space in the system large enough to match the corrupted memory and manage its own data processing. As a result, the engineers broke the problem down into a series of steps.

The first step was to updated the FDS software so that the system could take the data normally handled by the corrupted data so that it could be handled through several other parts of the FDS memory, and without messing up any of the other data they had to manage. This recoding was carried out during March and April, and on April 18th, 2024, the updated software was sent to Voyager 1. Then came a nigh-on 48 hours wait for a response: it takes 22.5 hours for a signal from Earth to reach Voyager 1, which then has to execute the code, carry out the instructions related to it, and send a reply – requiring another 22.5 hours to reach Earth.

If the engineers were correct and the update correct, then the response from Voyager 1 should be an engineering update on its overall status. On April 20th, that’s exactly what the mission team at NASA’s Jet Propulsion Laboratory received, and for the first time and for the first time in five months, Voyager 1 weas once again communicating with meaningful data.

Engineers and flight team members responsible for Voyager 1’s operation respond to the confirmation that data received from the spacecraft on April 20th, 2024 confirms their initial attempt to correct a data communications issue has worked. Credit: NASA/JPL

The next steps in the process are to ensure that all science data can be similarly re-routed through the FDS to avoid the corrupted memory sent to Earth without anything becoming confused, and then finally to ensure the faulty memory is completely ignored by all FDS processing and by any of Voyager 1’s systems that interact with the FDS. These steps are expected to take several more weeks. Nevertheless, the fact that Voyager 1 is once again “transmitting in the clear”, so to speak, is welcome news.

Unfortunately, things are not so good with the Hubble Space Telescope (HST), with NASA reporting it is again experience issues with its gyroscopes for the second time in the last six months – and the problem appears to lie with the space gyro that had problems in November 2023.

The gyroscopes are used to precisely point the telescope at targets and hold it steady during imaging. Originally, HST used 3 pairs of gyros, which were periodically swapped-out during servicing missions. However, the last time all six gyros were replaced was during the last servicing mission of 2009 – since the retirement of the space shuttle, NASA has not had the means to safely carry out such a mission, and in the intervening time, three of the gyros have failed completely.

The Hubble Space Telescope (HST) as seen from the departing space shuttle Atlantis, flying STS-125, the final HST Servicing Mission, in 2009. Credit: NASA

Such failures are the result of wear and tear affecting wires less than the width of a human hair and called flex leads which pass through the gyros carrying power and data. As the gyros operate, these flex leads well, flex; but they also slowly corrode as a result of this flexing and can eventually break. One sign of this possibly occurring can be seen when a gyro starts to show power fluctuations. This happened during the past week, causing the gyro to enter a “safe” mode.

As a result, and after allowing the telescope to enter a contingency mode were it can – at reduced capability – function on just two gyros for a few days, on Sunday, April 28th, 2024, NASA completely paused the telescope’s science operations in order to more fully investigate the gyro’s problems in order to try to determine if it is about to suffer a flex lead failure, or whether there is another cause of the gyro’s woes, as was the case in November 2023.

If it turns out the gyro cannot be safely restored to an operational state, NASA has indicated it will switch Hubble over to operating on just a single gyro – permanently degrading its capabilities – in order to hold the second functional gyro as a reserve against any further gyro failure.

Japan’s Moon Sniper Wakes Up – Again

As I’ve previously reported in these pages, Japan became the fifth nation to successful land a spacecraft on the Moon when its Smart Lander for Investigating Moon (SLIM – also called “Moon Sniper”) arrived on the lunar surface on January 19th, 2024. Unfortunately, the craft arrived upside down, as confirmed by images returned by one of the two micro-rovers deposited on the lunar surface as a part of the mission (see: Space Sunday: a helicopter that could; a lander on its head and  Space Sunday: More Moon (with people!) and a bit of Mars) – although precisely why it did has not been 100% confirmed.

Despite this, the vehicle was able to complete the majority of its science mission before being put in a dormant state with the onset of the long lunar night. At the time – the start of February – it was not anticipated that the craft would survive the 14 terrestrial day period without sunlight to warm it and provide energy to power its batteries. But it did; as it started to receive sunlight once more in late February, it called home.

Japan Aerospace Exploration Agency (JAXA) released this image, captured by the LEV-2 mini-rover, of their SLIM lander upside down on the Moon. Credit: JAXA

Whilst the team responsible for the spacecraft had hoped this might be the case, they were unable to get the vehicle to resume science operations and, after a further 14 terrestrial days of sunlight, SLIM went back to sleep for a second night. This time, it was not expected to wake up and the mission team disbanded – only to come back together in March 2024, when SLIM did indeed wake up as it received daylight, and started ‘phoning home and sending images, which it continued to do until night came yet again.

This time, the mission team were sure the vehicle would not call home once sunlight had returned to its landing spot and once again, they’ve been proven wrong. SLIM again ‘phoned home on April 24th, 2024, although it is unclear whether or not the mission team have been able to re-establish any of the vehicle’s science gathering activities. Even so, that the craft has thus far survived three long lunar nights again proves Japan’s prowess with their space technology.