Space Sunday: of budgets and proposed cuts

The Trump administration is seeking a 20% reduction in NASA’s budget for 2025/26. If met, it would likely killed projects such as the Nancy Grace Roman Space Telescope, seen here in an artist’s rendering. Credit: NASA

The National Aeronautics and Space Administration (NASA) has been a pioneer in all fields of space exploration, planetary Sciences, Earth sciences, meteorology (alongside of its sister agency, the National Oceanographic and Atmospheric Administration (NOAA) and its predecessor, the Environmental Science Services Administration (ESSA)). It has also been responsible for many advances in aircraft systems and aviation safety ever since its formation in 1958.

NASA, like any bureaucracy, hasn’t always got things right. Nor has it always gone about things in the right way – Project Artemis currently standing as prime example of this. But, in term of its size and federal budget allocation, NASA is perhaps one of the most cost-effective and successful US federal organs in modern history, with an ability to achieve so much with what amounts to so little.

As an illustrations of what I mean by the above. In 66 years of operations, NASA’s budget has rarely exceeded 1% of the US federal budget in any given year. In fact its peek budgetary allocations came – unsurprisingly – in the era of Apollo, but even then only reached a peak of 4.41% of the total US budget (1966). By the start of this century, NASA’s budget represented just 0.80% of federal spending and was in decline as a whole. For the last 15 years it has stabilised, but has rarely exceeded 0.50%.

In 66 years, NASA’s budget has rarely exceeded 1% of the US federal budget. It’s peak period lay in the Apollo era, when it averaged 2.43% over a 13-year period (1962-1974, including Apollo Skylab)

That’s a long way from being the kind of black hole of federal expenditure far too many people take it to be, and in terms of overall expenditure, NASA represents bloody good bang for the buck. Yet – and perhaps because of that incorrect public assumption – it remains a soft target with it comes to cutting the federal budget. Sometimes, admittedly, these cuts are driven by economic needs at the time, others are due political priorities pointing elsewhere. However, it is fair to say none have ever been driven a dogma of intentional deconstruction fuelled by ignorance; but that is what NASA is now facing under the current US administration’s budget proposals, leaked in part on April 11th, 2025.

These call for NASA’s budget to be reduced by 20% in the name of “cost-saving”. As the lion’s share of NASA’s budget – 50% in total – is devoted to all aspects of human spaceflight, and thus considered inviolable when it comes to cuts, the proposal directly targets NASA’s science, aeronautics, technology research and administrative budgets. They involve calls for the complete closure of at least one NASA research centre and a slashing on NASA’s overall science budget by as much as 50%.

There is nothing accidental about this targeting; the architect of the NASA cuts proposal is Russell Vought, one of those behind Project 2025, and a man known for his profound anti-science beliefs and doctrine. Such is his animosity – shared by others in the administration – towards subjects such as climate change, Earth observation and resource management, he is seemingly content to take a meat cleaver and hack off what is potentially NASA’s most cost-effective limb, one consistently responsible for delivering a wealth of invaluable knowledge to the world as a whole, simply to end the agency’s ability to carry out research into subjects he views with personal enmity.

Chief among these cuts is a two-thirds reduction in astrophysics spending (reduced to US $487 million); a 50% cut in heliophysics (down to US $455 million); more than 50% slashed from Earth sciences (down to just over US $1 billion) and 30% cut from planetary sciences  (reduced to under US $2 billion).

A 2010 view of a part of the NASA Goddard Space Flight Centre, Maryland. NASA’s first – and largest – research centre, the largest combined organization of scientists and engineers in the United States dedicated to increasing knowledge of the Earth, the Solar System, and the Universe via observations from space – under threat of closure. Credit: NASA

The budget also specifically earmarks the Goddard Space Flight Centre (GSFC), NASA’s first and largest science facility, with a staff of 10,000, for closure. The rationale for this, again, appears to be GSFC’s involvement in climate studies. However, such is the breadth and depth of its work, any such closure would cripple much of NASA’s research and science capabilities – something I’ll come back to below.

Within NASA, the proposal – initially dismissed by acting Administrator Janet Petro as “rumours from really not credible sources” when word surfaced about it ahead of its publication – is now being regarded as an “extinction level event” for NASA’s entire science capability.

The proposal has drawn sharp response from Capitol Hill, including the bipartisan Congressional Planetary Science Caucus, together with threats to “block” the budget’s move through the Senate.

If enacted, these proposed cuts would demolish our space economy and workforce, threaten our national security and defence capabilities, and ultimately surrender the United States’ leadership in space, science, and technological innovation to our adversaries. We will work closely with our colleagues in Congress on a bipartisan basis to push back against these proposed cuts and program terminations and to ensure full and robust funding for NASA Science in Fiscal Year 2026 appropriations.

– Congressional Planetary Science Caucus statement

Nominee for the post of NASA Administrator, Jared Isaacman, who is going through his confirmation process during April and already facing questions over his relationship with the SpaceX CEO (who is already impacting NASA through his DOGE scheme and in trying to influence the White House’s thinking over projects such as the ISS), described the budget proposal as “not optimal”, and stated that if confirmed, he would advocate “for strong investment in space science—across astrophysics, planetary science, Earth science, lunar science, and heliophysics—and for securing as much funding as the government can reasonably allocate.”

But while there may well be vows to block the proposed cuts and to “advocate” for science, concern has already been raised at to how effective or real they might be. The Trump administration has established a strong track record for decision-making by fiat, bypassing Congress altogether – and Congress (notably the House) has been largely content to sit and watch the edicts from the White House whoosh by.

Under US law, there is the means  for the Executive to arbitrarily impose budgets on federal agencies. The process is referred to as “impoundment”. In theory it can only be used following the start of the next government fiscal year – in this case, October 1st, 2025 – and then only if Congress and the White House remain at loggerheads over budgets. However, it has been reported that those in the White House see impoundment as a means to set budgets by executive decree, regardless of whether October 1st has been reached, in the expectation that should push come to shove, Congress will continue to sit on its hands.

GISS – First of 1,000 cuts?

Some proof of this might be evident in the case of the Goddard Institute for Space Studies (GISS). Established in May 1961, GISS is a research division of the Goddard Space Flight Centre, and since 1966 it has been located at the Armstrong Hall (named for Edwin Armstrong, not Neil), New York City.

Armstrong Hall, home of the GISS in New York City since 1966, now cut from federal building leases. Credit: NASA/Robert Schmunk

In the decades since its establishment, GISS has become renowned for its Earth Sciences research across a variety of disciplines, including agriculture, crop growth and sustainability and climatology. It has built some of the largest dataset on current and past climate trends and fluctuations. It has also contributed to the fields of space research, both on a cosmological scale and through multiple NASA solar system missions from Mariner 5 to Cassini-Huygens. Researchers at the GISS have been awarded the Nobel Prize for Physics, the Heinz Award and the World Food Prize for contributions to physics, science, environmental awareness, and improving the availability of food around the world.

In other words, it is a major centre for US scientific achievement.

However, on April 25th, 2025, the Trump Administration summarily cancelled the lease on Armstrong Hall – operated by Columbia University – ending GISS’s tenure there as from May 31st 2025. Again, The reason for this has been given “government waste of taxpayer’s money” (the lease had a further 6 years to run at a cost of US $3.3 million a year) – but the aim appears to be ending the GISS’s ability to conduct climate research.

Responding to the news in an e-mail to staff, GSFC director Dr. Makenzie Lystrup stated a confidence that the work of the GISS will continue, as its value is in “data and personnel”, not location, and promised to find the GISS a new home. However, given that GSFC is itself under threat, it remains to be seen whether a long-term future can be found for GISS and its data. In the meantime, all GISS staff have been placed on “temporary remote working agreements”.

Hubble at 35

The news of budget reductions potentially hitting NASA’s science capabilities come at a time when arguably what is one of its most iconic missions – the Hubble Space Telescope (HST) – celebrates 35 years of almost continuous operations (allowing for down-times due to on-orbit servicing and the odd moments in “safe” modes as a result of on-board issues).

Launched in 1990, Hubble’s story is one of triumph over near-disaster. On reaching orbit, a tiny error on the manufacture of is 2.4 metre diameter primary mirror came into focus – or rather, out-of-focus. Polishing on the perimeter of the mirror meant it was “too flat” by some 2200 nanometres (that’s 1/450 mm, or 1/11000 in). While tiny, the error was catastrophic in terms of Hubble’s clarity of vision, and effectively ended any chance of it carrying out cosmological observations before they started.

Fortunately, as we all know, NASA had the space shuttle, and Hubble had been specifically designed to be launched and serviced by that vehicle. It was therefore possible to come up with an ingenious solution to correct the error in the primary mirror – not by replacing it, but by giving Hubble a pair of “glasses” to correct its vision.

The first “lens in the glasses” took the form of deliberately introducing errors into the optics of the Wide Field and Planetary Camera 2 (WF/PC-2), an instrument already in development at the time Hubble was launched, and due to replace a similar instrument already on the telescope. These errors would completely cancel out the defects in the mirror’s surface, allowing the camera to take the required super-high resolution images with complete clarity.

The second “lens in the glasses” was an entirely new instrument called COSTAR (Corrective Optics Space Telescope Axial Replacement), designed to eliminate the mirror’s flaws from impacting the other science instruments on the telescope, until such time as these instruments could also be replaced by units with their own in-built corrective elements. COSTAR did require the removal of another instrument from Hubble – High Speed Photometer – but it meant Hubble would be able to carry out the vast majority of its science activities unimpeded.

To celebrate 35 years of observations by the Hubble Space Telescope, four iconic images to summarise the telescope’s abilities. Top left: Mars seen from a distance of 97.6 million km in December 2024. Top right: planetary nebula NGC 2899, some 3,000-4,000 light-years from the Sun. Bottom left: a portion of the Rosette Nebula some 5,000 light-years from our Sun. Bottom right: The galaxy NGC 5335, which is a flocculent spiral galaxy approx. 236 million light years from our Sun. Credit: NASA / ESA / STScI; Image Processing: Joseph DePasquale (STScI), Alyssa Pagan (STScI)

In December 1993, the shuttle Endeavour delivered the WF/PC-2 and COSTAR to Hubble, where they were successfully installed. By 2002, subsequent servicing missions had successfully updated all of the remaining science instruments on Hubble, allowing COSTAR to be returned to Earth. This occurred in 2009 when the final shuttle servicing mission replaced COSTAR with the Cosmic Origins Spectroscope (COS).

Throughout its life, Hubble has made thousands of observations and contributed massively to science programmes, our understanding of our solar system, galaxy, and the greater cosmos. It has participated in studies conducted around the world and contributed to a huge volume of science and education endeavours.  And despite failures, aging equipment and other issues, it repeatedly allows itself to be pulled out of every “safe” mode and resume operations through servicing missions and – since 2009 – via remote diagnostics and correction.

Such is its capacity to keep right on going, it is affectionately known as NASA’s Energiser Bunny by many in the programme.

All of which is made all the more poignant by the fact that NASA’s entire space observatories mission is at risk of closure as a result of the proposed Trump budget. Hubble, together with its semi-siblings, the James Webb Space Telescope (JWST) and Chandra X-ray Telescope (itself only saved from abandonment in March 2024) are all financed out of NASA’s Astrophysics budget, which the Trump administration wants to cut by 66%. Were this to happen, NASA would likely be unable to continue to operate all three telescopes – or even two of them – and certainly would be unable to complete and launch the Nancy Grace Roman Space Telescope. And even if one or more of the observatories were to survive the cuts, all are dependent on the Goddard Space Flight Centre for their operational and engineering infrastructure and support – which again, the budget proposing closing, a move that would kill the telescopes.

Hopefully, none of this will happen, but one cannot deny the dark shroud it casts over Hubble’s anniversary.

NOAA As Well

As noted, one of the most unsettling aspects with the proposed NASA cuts is the idea that the White House might seek to impose cuts and reductions by fiat, bypassing Congress with the use of executive orders.

This threat, is given weight by the fact that an initial 800 employees of the National Oceanographic and Atmospheric Administration (NOAA) were abruptly fired at the end of February 2025 on the grounds of “cutting costs”, the fact that they were “probationary” employees being disingenuously used to suggest they somehow weren’t qualified to work at the agency. Currently,  it appears that a further 1,000 positions at the agency still hang in the balance.

Nor does the threat to NOAA end there. The Trump budget proposal recommends cutting NOAA’s comparatively tiny US $7 billion budget by 25%. Specifically – and unsurprisingly – chief among the agency’s work targeted by the cuts is anything related to climate studies. In fact, in this area, the proposed cuts are closer to 75%, effectively ending all of NOAA’s research into climate change and weather (and no, the two are not the same).

GOES – Geostationary Operational Environmental Satellite – is a network of geostationary satellites jointly operated by NASA / NOAA for weather monitoring. Development of their next generation replacements could be put at risk as a result of proposed government budget cuts. Credit: NOAA / NASA

Although the administration has stated the National Weather Service will “not be touched”, both the layoffs in February and the proposed cuts could have potentially far-reaching impacts in that service’s capabilities. NOAA, in collaboration with NASA, currently operates three large Geostationary satellites for both weather forecasting and for gathering data on climate (called GOES). All three of the current units (only two of which are operational) are scheduled for replacement between 2032 and 2035. However, the Trump administration is also looking to end many joint ventures between NASA and NOAA. This, coupled with the proposed budget cuts means development of the replacement satellites could be impacted in the near future.

Further, by conflating “weather observations” with “climate change”, the administration has already severely impacted NOAA’s ability to carry out vital research into the development and operation of climate interactions that give rise to weather phenomena such as hurricanes.

NOAA was already stretched thin and understaffed. It’s going to go from stretched thin to decimated. NOAA provides most of the raw data and the models that predict hurricanes, and the hurricane forecasts many Americans see on their phones or TVs are created by the agency. Reducing the research and observation capabilities of the agency in this regard could regress hurricane forecasting capability by the equivalent of decades.

– Dr. Andrew Hazelton, former member of NOAA’s Hurricane Research Division.

All this comes at a time when the evidence for human activity being the single greatest release of greenhouse gasses into the environment, and thus the primary driver of climate change over and above any natural shifts in climate, are becoming more and more evident. As such, threats to Earth science budgets like those currently being proposed by the US administration, together with their headlong rush to increase US reliance on fossil fuels represents a further threat to our collective well-being.

Cica’s Rocks and Drums in Second Life

Cica Ghost, April 2024: Rocks and Drums

Cica Ghost’s latest turn of whimsy opened in Second Life towards the end of April, bringing with it another opportunity to leave the weight of the world behind and just have a little fun and let a smile or six crease your lips.

Rocks and Drums is another charming setting featuring giants, strange houses, beautiful flowers, vehicles, dancing, and a sense of fun. It comes with a line from  American singer, songwriter, poet, painter, author, and photographer, Patricia Lee “Patti” Smith, If you don’t have what you need, just rock with what you’ve got!

Cica Ghost, April 2024: Rocks and Drums

Given the core aspect of this installation is rock, it’s an apt quote. This is a place of rocky hills, rocky cairns, stone of primitively-hewn rock, and most notably rock giants and strange houses hewn from rock. Some are on the ground, other balance precariously on the top of stacks of flat rocks or rocky plinths. Like the stone giants, the houses are topped by tufted grass-like hair.

Across the land, grass and flowers grow tall, and people can wander freely. The stone giants are not the only creatures here, huge friendly treemen can also be found, and can rocks with fair-sized teeth!

Cica Ghost, April 2024: Rocks and Drums

While the houses on the ground are easy enough to access, those atop rock piles and plinths present something of a problem.  However, the answer comes in the form of flat rock tablets. Some have balloons attached, others are propellor-driven. Simply step up onto one as it reaches the ground and then allow it to carry you elevator-like up to one of the houses.

Those who fancy a shot of making like Fred and Barney can jump on one of three rock car rezzers and go for a drive around the setting. And of course there are Cica’s familiar dance stations and places to sit. So, go on over and let Cica’s creations raise a smile. Her shop means you can even bring some of them home with you if you like!

Cica Ghost, April 2024: Rocks and Drums

SLurl Details

2025 Raglan Shire Artwalk in Second Life: call to artists

Raglan Shire Artwalk 2024

The Raglan Shire Artwalk is one of the staples of the SL art calendar, and for 2025 the 20th Artwalk will take place between Sunday, May 18th and Sunday, June 15th, inclusive.

Running across four weeks, the Artwalk is popular event among artists and residents, often attracting over 150 artists, who display their 2D and 3D art across the regions of Raglan Shire. All the displays are open-air, with 2D art is displayed on hedgerows in and around the regions, while sculptures and 3D art is displayed in a number of designated areas, all of which allows visitors to both appreciate the art and explore the Shire regions.

Qualifying Art

For the purposes of this show, qualifying art is defined as original representations of RL photography, painting, drawing, printmaking, collage, and digital fine art that can be displayed on a prim; and SL photography, manipulated SL photography and SL sculpture. AI-generated art and pictures of RL crafts, such as beadwork, leatherwork, etc., are not part of this show definition.

Call to Artists

A Call For Artists for the 2025 event has been issued for those wishing to participate, and key points about the exhibition in addition to the above, are as follows:

  • It is a non-juried show.
  • Artists can display more than one piece if they wish.
    • 2D artists (“flat” art – photos, paintings, etc.) will be awarded a maximum of 15 LI. Individual pictures should be 1 prim, including the frame, and pieces should not exceed the height of the hedgerows against which they are displayed. No hovertext allowed.
    • 3D artists (sculptures, etc.), will be awarded a maximum of 500 LI for up to three pieces of work. Artists are requested to state the LI per piece in their application, together with its overall dimensions (length, width & height). Note that any piece exceed 10m in any of these will require special permission from the organisers.
  • In addition:
    • Sales of art are allowed, but tip jars and floating text are not allowed.
    • All art must be rated PG / G – so no nudity, please!
    • Group membership will be required in order to display work.
    • Touch-based landmark / biography givers may be included, but will count against an artist’s total LI allowance.

Registration

Those wishing to display their art should complete and submit the 2025 Artwalk Registration Form by no later than 21:00 SLT on Tuesday, May 12th, 2025.

Raglan Shire Artwalk 2024

Event Dates

  • Tuesday, May 12th: applications close at 21:00 SLT.
  • Friday, May 16th (after 09:00 SLT) and Saturday May 17th: Artist set-up days
    • Hedgerow space for 2D artists is on a “first come, first serve” basis.
    • Areas within Raglan Commons, Heron Shire,  Athen Shire, and Morning Shire will be designated for sculpture set up – available locations will be designated with with a marker.
  • Sunday, May 18th: Artwalk Opens.
  • Sunday, June 15th: Artwalk closes.
  • Sunday, June 15th (after 21:00 SLT) through Tuesday, June 17th: takedown of works.

Event Contacts

In-world contact preferred.

  • Artwalk Director: Linn Darkwatch.
  • Artwalk Assistant: Panacea Pangaea.
  • Artwalk Assistant: Kayak Kuu.
  • Artwalk Assistant: Karmagirl Avro.
  • Questions may also be asked through the Friends of Raglan Shire in-world Group.

Related Links

2025 Week #17 Project Zero User Group Meeting

via Linden Lab
The following notes were taken from the Thursday, April 24th 2025 Project Zero User Group (PZUG) meeting.

  • They are based on my audio recording of the meeting + chat log.
  • They should not be taken as a full transcript of the meeting.
Table of Contents

Meeting Purpose

  • The Project Zero User Group provides a platform  for open discussion about Project Zero, the cloud-streamed version of the Second Life Viewer. Topics can range from sharing the goals for Project Zero, demoing the current experience, and gathering feedback to help shape the future of cloud access for Second Life.
  • These meetings are conducted (as a rule):
    • The second and fourth Thursday of every month at 13:00 noon SLT.
    • In Voice and text.
    • At the Hippotropolis Campsite.
  • Meetings are open to anyone with a concern / interest in the above topics, and form one of a series of regular / semi-regular User Group meetings conducted by Linden Lab.
  • Dates and times of all current meetings can be found on the Second Life Public Calendar, and descriptions of meetings are defined on the SL wiki.

Resources

Note: “Zero” or “Project Zero” in these summaries always refers to the SL official viewer running in a browser; “Firestorm Zero”, “FS0” or “FS Zero” always refers to the Firestorm viewer offering in a browser.

Avatar Picker

  • Released on April 24th, 2025.
  • Actually the first part of presenting Project Zero with a new UI, built using HTML / React, and first discussed by Philip Rosedale when Project Zero was initially launched.
  • Takes the form of a UI element that “pops in and out” of the left side of the browser window for the viewer.
  • Allows a user to select one of the avatars available within the new Avatar Welcome Pack, and the dress it in one of the available outfits.
  • The idea is to help new users get started with the kinds of avatars and avatar accessories more generally found in SL, thus grounding them more in the platform and the avatar ecosystem.

Project Zero and On-Boarding New Users

  • With the resumption of direct advertising of SL, the Lab has noted:
    • Only around 10% of users responding to an ad and who are directed through the sign-up process that requires them to download and install the viewer, actually get as far a logging-in.
    • However, the number responding to an ad and being directed to the sign-up process culminating in them being able to access SL directly through their browser using Project Zero, has a success rate of over 50% actually logging-in.
  • Data gathering on incoming new users responding to ads suggest that the majority are using computers that would not be able to run the viewer to its fullest visual extent; however, 90% of those users coming in via the Project Zero route are able to properly “see people and hear the birds”.
  • The next strategic step is seen as encouraging those new users to more fully engage with the platform, and two steps are being taken in this direction – the Avatar Picker noted above, and an upcoming “Destination Picker”, which is seen as an extension to the avatar onboarding process.

Project Zero “Destination Picker”

  • This is liable to be the next element for the new UI.
  • When available, it will allow (new) users to select one of the 12 destinations, in a similar manner to the Go button seen on the web account registration  / join pages.
  • The desire being to point them towards locations and experiences that bring home the value of Second Life, and which encourage them to continue to log-in to the platform.
  • In this it is recognised that:
    • Simply listing a plethora of destinations which may or may not have active use risks losing incoming new users on the basis if they get sent to places where there is no engagement with others, they simply will not stay.
    • Similarly, just sending people to “crowded” places (clubs, shopping areas, etc.), is not necessarily a good idea, and people within those environments may not be amenable to answering questions / offering assistance. etc.
    • People are much more likely to stay if they find people who are friendly, willing to offer help, point them towards community resources, etc.
  • As such, the destinations placed in the Picker are going to be curated (and possibly rotated), based on how well they assist in helping new users feel “part” of SL.

Additional Notes on Destinations / On-boarding

  • Selections for inclusion are liable to be along lines that reflect the typical reasons people give for signing-up to SL – such as an interest in art, a desire to experience live music, etc.
    • In this regard, incoming new users are already being “round robined” to a number of potential starting points: the Welcome Hub, Gateways such as Firestorm’s gateway, experience-oriented hub like MadPea, etc.
    • However, the Lab wants to move this on to the users themselves being able to make a choice as to where they go on logging-in.
  • A new channel will be provided to those managing the selected destinations, which will provide them with data such as: numbers of new users returning for a further session, number of users going to no upgrade to a subscription tier, and other data that can help illustrate the success of a location in supporting new users, and possible highlight areas for possible optimisation.
  • With regards to the success of destinations used within the on-boarding of new users over the year, Philip Rosedale noted the following:
Over all these years, when we have looked at the statistics for destinations for areas as different as those I’ve mentioned – the Welcome Hub, the Adventure Island, the Firestorm Welcome Island, the MadPea games, for example – fascinatingly enough, we see that the success at retaining new users is virtually identical for all of those destinations; and overall, is of course very poor. 
So its interesting to not that we’re not even close, it would seem, on what the right on-boarding experience is; because all of the ones we have tried are equally unsuccessful. 

– Philip Rosedale

New Users and a Sandbox

  • Sntax floated the idea of offering incoming users the opportunity to go to a specific sandbox environment were they could join other users and new users in collaborative building / learning to build.
  • Active Worlds used to have something similar for its incoming new users.
  • Responses to this at the meeting were mixed.
    • Positives: offers the opportunity for collaborative work using the built-in tools; allows experienced 3D content creators new to SL experiment with importing mesh; could become an informative learning “playground”.
    • Negatives: built-in tools for content creation are both complex and have not seen any real TLC in years; primitives fall well short of more refined meshes; the potential for griefing.
  • This lead to a more general discussion on engaging new users, opportunities for engaging them in activities and how to direct them (e.g. offering those wanting to use Voice to “Voice friendly” locations; offering experiences such as games, sailing, flying, etc.

Notes on Availability

  • Existing users can also use the Avatar Picker, however:
    • It is only available on Project Zero.
    • Project Zero is geared towards incoming new users, so existing users might find it difficult to obtain a slot when trying to log-in via Zero.
  • Part of the reason for this is the Lab feels the capability needs to mature before becoming more widely available to existing users.
  • That said, if people would like to use Zero because it would potential offer a better experience than a viewer running locally on their computer, should IM Sntax Linden stating why they want to use Zero and what, specifically, they would use it for and the perceived benefits. Such use cases might then help speed the development of the capability.
  • Passes for Firestorm Zero are currently not available.

Date of Next Meeting

April 2025 SL Mobile UG meeting summary: avatar updates

Campwich Forest grounds: location for the Monthly Mobile User Group (MMUG)
The following notes were taken from the Thursday, April 24th 2025 Monthly Mobile User Group (MMUG) meeting. These notes should not be taken as a full transcript of the meeting, which was largely held in Voice, but rather a summary of the key topics discussed. The meeting was recorded by Pantera, and her video is embedded at the end of this summary – my thanks, as always to her in providing it.
Table of Contents

Meeting Purpose

  • The Mobile User Group provides a platform to share insights on recent mobile updates and upcoming features, and to receive feedback directly from users.
  • These meetings are conducted (as a rule):
    • The last Thursday of every month at 12:00 noon SLT.
    • In Voice and text.
    • At Campwich Forest.
  • Meetings are open to anyone with a concern / interest in the above topics, and form one of a series of regular / semi-regular User Group meetings conducted by Linden Lab.
  • Dates and times of all current meetings can be found on the Second Life Public Calendar, and descriptions of meetings are defined on the SL wiki.

Resources

Release Updates and “Coming Soon”

[Video: 2:57-8:46]

Version: 2025.3.548 (Android); 0.5.534 (iOS)

  • Issue: Not receiving items! – inventory offers received when using Mobile failing to appear in Inventory once logged-in on the Desktop viewer. This has now been fixed.
  •  Dash for Cash has proven popular, and has seen a small update in that it now references avatars by name.

“Coming Soon”

  • If you teleport whilst in the Lobby, a teleport pop-up will be displayed in addition to the teleport progress bar at the top of the Lobby screen.
  • Settings clean-up:
    • The Max Avatars drop-down is due to move from the Developer tools list (Menu → Settings → </> Developer Tools) up to the main Settings menu.
    • Group notifications are to become more granular, allowing notifications for specific groups to be turned on / off.
An upcoming change will see the Max Avatars setting move from the Developer Tools to the main Settings screen (note: the above is for illustration only; final update may appear differently).
  • Initial groundwork so that people can access the Lobby feature without their avatars having to be physically in-world:
    • This will see the the Sign Out button move from the Menu up to the Profile bar, and a new button introduced to the Menu: Return to Lobby.
    • When implemented, avatars will still be rendered in-world and seen as on-line, as this is only the groundwork.  However, it is hoped that things will progress over the next few months to reach a point where using the Lobby, as noted, does not require the avatar to be present in-world.
  • Additional quality of life updates are also targeting the May update, but the meeting was considered “a little too early” to discuss them.

Avatar Update

[Video: 9:27-43:00]

  • The core of the meeting was a presentation from Adam Sinewave on some of the challenges involved in rendering avatars on SL Mobile, the approach taken, status to date and work that should be appearing in upcoming releases.
  • This presentation took the form of a slide show with comments from Adam, and I’ve embedded a video of it below, with a concatenated summary of Adam’s comments. to see the latter in full, please watch the video directly in You Tube and click the transcript button in the video’s description area.

  • SL Mobile is a fully ground-up rebuild of Second Life for Mobile devices (utilising the Unity engine), utilising a very different architecture compared to the Desktop Viewer and with no common code, in order to work within the constraints of most Mobile devices.
  • This is particularly evident in the case of avatar rendering, where the different approaches to avatar skeletons as substantial:
    • The SL system is largely “monolithic” (for want of a better term): a single skeleton per avatar containing multiple bone sets, all capable of being positioned be shape, deformer animation, with no deterministic (or even an entirely random) approach to the ordering / priority of such changes.
    • The Unity system is more flexible and robust, but as a result can bring rendering quirks and issues hidden by the SL system into sharp relief.
  • Testing such avatar for issues and the effectiveness of fixes applied (regression testing) has until recently been manually-intensive requiring eye-on testing for each an every issue / fix. However, time has been spent building an in-house testing / regression system to automate a lot of this work, greatly speeding the process of issue identification, fixing and testing.
  • Outside of the above, there are still areas of work associated with avatars (some of which impact in-world objects as well) still to be address, and doing so will take time. These include at the time of the video:
    • “Not Working”: Animesh; avatar lighting; transparency on avatars (alpha layers); PBR materials rendering. All of these will be addressed, but the time frame is liable to be longer-term and the priority of work subject to change.
    • Partially working: Flexi wearables (partially supported, but in need of improvement); system eyes (positioned based on a “average” placement within the skull and which requires further improvement).
  • Silhouetting (avatars appearing transparent in the Mobile app): this is viewed as overly-aggressive, but has been necessary to ensure avatars only render when “complete”, so as to avoid any nudity that might collide with Apple’s rules on such. Unfortunately, this exposes a number of areas where avatar loading can fail and the avatar becoming such as a silhouette. Work is progressing on addressing these issues, but it will require a cycle of multiple updates.
  • A look at (at the time of the meeting) some of of the  upcoming avatar fixes improvements – including expanding the avatar test suite and, for users: improvements to resource loading and texture handling, allowing more to be seen and enabling avatars to be loaded / unloaded as they enter / leave view.
  • It was noted that much of this work has yet to reach the Mobile app (Alpha or Beta), be will be doing so in upcoming releases.

In Brief

Please refer to the video for details on the following and other questions which may have had a simple “yes” or “in progress” reply.

  • [Video: 45:56-47:10] A question on whether mesh creators simply using the default right-hand attachment point of avatar items can cause issues with losing items or how alpha blends work when compared to Desktop.
    • In terms of alpha blends, Mobile uses a different approach to layering (order-independent transparency using Z-depth rather than attachment order), such issues of layer ordering doesn’t apply.
    • It’s acknowledged that this might not quite match what creators are expecting, but it allow for a more efficient use of resources.
  • [Video: 47:38-48:48] SL and Unity handle rotation differently.
    • SL’s coordinates are based on right-handed rotation with the Z axis as up; Unity uses left-handed rotation with the Y axis as Up.  Thus, a translation system between the two is required, which can lead to issues.
    • Further complications can be introduced as a result of animations using rotation.
    • Fixes have been developed to address the more noticeable issues, which will be appearing in the next “update or two”.
  • [Video: 49:37-50:44] Inventory access through Mobile is on the roadmap. However, it is a very large, resource-intensive project with a lot of impact.
    • As such, as, when and how it is tackled is a matter of strategic consideration alongside other priorities.
    • Currently, it is not something that has seen any “substantial” work carried out.
  • [Video: 50:52-50:54 (text]  Mobile app hanging with “Not Responding” and the options to Close App or Wait:
    • The workaround for this at present is to go to the Developer Tools (Menu → Settings → </> Developer Tools), locate the Max Memory Limit drop-down and reduce the amount of memory (e.g. to 30% or 25%).
    • Further work has been made to general performance, which should be going into upcoming releases. As such, reports on the issue would be appreciated if it continues to manifest after these are available.
  • [Video: 51:01-52:53] Has anything been learnt from Mobile (thus far) that can be used to improve the Desktop experience?
    • Suggestions have been passed to the Desktop viewer team from Mobile.
    • There is a desire to unify experiences between the viewer and Mobile where possible (e.g. such as unifying chat history) and which may require changes to the viewer as well as updates to Mobile. However when such work will be carried out was unclear at the time of the meeting.
    • Outside of user-facing work, the avatar testing tool is something potentially of interest to the Desktop team as well.
  • There is an issue with certain fonts in name tags not displaying correctly on Mobile. This is known and will be investigated.

Date of Next Meeting

La Vie en Rose in Second Life

La vie Vn Rose, April 2025 – click any image for full size

There seems to be something of an unintentional French theme  within my more recent region visits, what with my reports on Les Secrets d’Albane, Sous les Oliviers and Jardin des Lys. It’s not that I’m actively seeking locations with French-inspired names and / or themes; it just seems to be the way that serendipity is pointing me.

Well, to a degree. Because while I’m here again I’m covering a location with a decidedly French name – La Vie en Rose (“life in pink”) and itself a most famous name, being the title of the signature song Édith Piaf (who wrote the lyrics) – it’s not entirely a matter of happenstance. It is the fact is it designed by Beautiful Requiem (BeautifulDisaster Requiem) on behalf (and with the assistance) of Rose Ulrik (Rose Siabonne), the names behind the beautiful (if now closed) Clef des Champs, which I’ve covered on numerous occasions in this blog.

La Vie en Rose, April 2025
Covering slightly less that a quarter of the area of the Full region upon (and over) which it sits, La Vie en Rose offers a choice of environments to visit – with some caution required in part.

The main Landing Point is within a sky platform. Open-sided to the sky, this carries with it memories of the pastoral, countryside feel of Chef des Champs whilst painting a picture all its own. It’s a place filled with details and little points of interest – some of which might be easily missed if one is not careful. It is located to the west of the setting and alongside a natural arch passing through a curtain wall of rock. Within this arch is a teleport disc providing access to the ground-level part of the setting with three destinations – Beach, Location 1 and Location 3.

La Vie en Rose, April 2025

The latter takes the form of a tropical setting with view out over open waters to the south and east.  Four rental properties line the eastern beach (Location 3 on the teleport disc’s menu) – hence the note of caution when exploring. However, the southern sands appear open to the public (Location 1 on the teleport disc’s menu), as does the inland lagoon, served by falls dropped from the parcel-edge cliffs and complete with its own beach. It’s an attractive setting, lending itself to a range of EEP settings, but I’m going to be focused on the sky platform in this article.

To the west of the latter, and under the rocky arch mentioned above, the path passes by way of a pool of water fed by waterfalls to run alongside a stream bubbling and splashing its way southwards, in a hurry to join with a larger body of water watched over by cypress trees and carpeted in lilies. The woods along this path offer various places to sit – with some reached via a log bridge slung across the stream. Wooden boards have been laid over rocks placed in the water of the pool so that it doesn’t end explorations, allowing people to reach the grasslands beyond, where the trail resumes.

La Vie en Rose, April 2025

However, before being too quick to follow the path past and over the water, when stepping under the rock arch from the Landing Point, take the time to look to your right. You’ll notice another archway, this one in carved stone hung with vines a short distance away. A Buddha sits in its shadows here, waiting to greet travellers and offer them the chance to discover the cavern lying within the arch and the secrets it holds.

For those who prefer the open grasslands in front of the Landing Point, these are also cut through with a track that loops around a rocky uprising to become one with the path leading outward from the large pool and its cypresses as it passes by a greenhouse like pavilion on its left, and a Tuscan-style pavilion to its right.

La Vie en Rose, April 2025

When travelling outward from the path from the Landing Point, it is possible to take a shortcut to the greenhouse pavilion by means of stone steps and passing through a broken gateway guarded by a wisteria tree. This leads to a path skirting another little body of water tucked neatly behind the greenhouse. Shaded by blossoming Sakura and fed by a waterfall of its own, this pool has an otherworldly feel to it, thanks to the carved stone of the broken gateway and the elven statue at the water’s edge.

Most of the westward end of the setting forms an open meadow bordered to one end by shallow waters. Here horses graze, birds fly and sing, and the grass and wild flowers grow pleasingly tall. The waters can be reached via a grassy path, or those who prefer can wander through the long grass, imagining their hands playing over the tops of the grass and flowers, perhaps pretending they are a field of wheat as Hans Zimmer’s Progeny from Gladiator plays through their head (at least it did with me!).

La Vie en Rose, April 2025

Part of the land here rising to form the hump of a little hill. Straddling it is a cosy little cottage open to the public. It is one of two houses in the setting, the second (also open to the public) sitting atop a plateau of rock. Neatly screened by trees, it is reached via a climbing up the side of the plateau, the path upwards commencing at the point of anther entrance into / out of the cavern I referenced earlier might be found. This second house sits within an extensive gardens also packed with detail.

Throughout all of the entire setting is a wealth of detail – can you spot the poker-play frogs, the houseboat riding the waters of a pond or the osprey with its latest meal? Outside of the little hilltop house, a loose deck offers comfortable armchairs, one of which has a book placed down beside it as if temporarily deserted while the reader pops inside the house – only for the breeze to come along and riffle through the book’s pages, flicking them with its invisible touch. Multiple places to sit and pass the time are waiting to be found, and wildlife large and small awaits snapshots from those so inclined.

La Vie en Rose, April 2025

Smaller than Clef des Champs, La Vie en Rose is no less as visually impressive, photogenic, and relaxing within its sky platform setting. It is more than worth a visit – and should you do so, don’t forget the ground-level beaches!

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