Space Sunday: A Dragonfly for a moon

An artist’s impression of the Dragonfly vehicle operating over Saturn’s Moon Titan. Credit: JHU/APL

For the last few years, and as news arises, I’ve been covering the ambitious plans developed by a team at the Applied Physics Laboratory (APL) of Johns Hopkins University (JHU) to send a flying rover vehicle to Saturn’s largest moon, Titan.

The mission, using a octocopter called Dragonfly has been in development for several years, being formally greenlit for full-scale development by NASA earlier in 2024 (see: Space Sunday: flying on Titan; bringing home samples from Mars), after initially selecting it for evaluation and conceptual development as a part of the space agency’s Frontiers programme in 2019.

The idea of sending a flying – or at least floating, as proposals have also included the potential use of balloons to explore Titan from within it dense atmosphere – has been around for some time. In fact,  Ralph Lorenz, of JHU/APL, one of the proposers of the mission, first considered using rotary craft on Titan back in 2000. His idea then was to use a battery-powered rotor craft equipped with a radioisotope power source.

Montgolfiere balloon and ESA lake lander – a European Space Agency (ESA) concept mission for Titan

That vehicle would spend the daylight hours on Titan (equivalent to 8 terrestrial days) in flight or carrying out surface science. during the hours of darkness (again, lasting the equivalent of 8 terrestrial days), the vehicle would sit on the ground and use the radioisotope to both keep itself warm and recharge the batteries.

It is to this idea that Lorenz returned whilst having dinner with Jason W. Barnes of University of Idaho in 2017, with the two of them agreeing to work on a baseline proposal for a large rotorcraft capable of  flying on Titan. Together, they formed a nucleus of a team of scientists largely from APL’s staff of space scientists, including Elizabeth “Zibi” Turtle, who would be the mission’s principal investigator, as well as expertise from both NASA and other universities and space science institutes such as Malin Space Science Systems (MSSS), another long-time NASA partner.

Their initial proposal was published in 2018, and pretty much laid out the entire concept. Put before NASA for consideration, the proposal went through a series of changes prior to acceptance as a Frontiers mission. Initially targeting a 2027 launch, the mission was hit (like most things) by the COVID 19 pandemic, with all parties agreeing to push back the launch until July 2028.

These delays actually pushed the Dragonfly mission outside of the parameters of the Frontiers guidelines – missions under its auspices are supposed to be developed and flown for no more that US $1 billion (including all launch operator costs); currently, Dragonfly is expected to hit a total cost of around $3.35 billion throughout its lifetime. In all, the primary mission is expected to last some 10 years, 3.3 years of which will by at Titan.

But why go so far and at such cost in the first place? Well, as I noted back in April:

Titan is a unique target for extended study for a number of reasons. Most notably, and as confirmed by ESA’s Huygens lander and NASA’s Cassini mission, it has an abundant, complex, and diverse carbon-rich chemistry, while its surface includes liquid hydrocarbon lakes and “seas”, together with (admittedly transient) liquid water and water ice, and likely has an interior liquid water ocean. All of this means it is an ideal focus for astrobiology and origin of life studies – the lakes of water / hydrocarbons potentially forming a prebiotic primordial soup similar to that which may have helped kick-start life here on Earth.

As both the Huygens lander and Cassini probe showed, Titan is similar to the very early Earth and can provide clues to how life may have arisen on Earth; it is also an aerodynamically benign world. Its dense atmosphere (around 1.45 times that of Earth’s) is ideally suited to the use of rotary vehicles – considered superior to balloons, dirigibles and aircraft because their ability to hover in place whilst carrying out ground observations and their VTOL (vertical take-off and landing) capabilities mean that can easily set down for surface science activities / at the onset of night. Further, Titan has low gravity (around 13.8% that of Earth) and little wind, making automated flight a lot easier.

Titan, lower left, compared to Earth and the Moon. A composite image comprising an Apollo 17 picture of the whole Earth; a NASA Telescopic image of the full Moon, a Gregory H. Revera image of Titan: NASA/JPL/Space Science Institute. Via Wikimedia

Most crucially of all, flight allows the vehicle to move with relative ease between locations of interest for study, even if they are geographically widespread, separated by distances (and potential obstacles) a surface rover might find insurmountable.

Of course, we’re all now familiar with the idea of helicopter drones flying on other worlds, courtesy of NASA’s plucky little Ingenuity on Mars. However, The Dragonfly vehicle is something else all together. For a start, it is the size of a small car, and is expected to have an all-up mass of  around 450kg. A good portion of that will be taken up by its Multi-Mission Radioisotope Thermoelectric Generator (MMRTG), its large lithium-ion battery system and its four electric motors, each driving two pairs of 1.4 metre diameter contra-rotating rotor blades.  When flying, the vehicle will be able to reach speeds of up to 36 km/h, with a maximum airborne time of 30 minutes at that speed.

Initial descent. After release from the entry system and parachute, the vehicle can traverse many kilometres at low altitude using sensors to identify the safest landing site. This schematic from the original proposal uses an aerial image of the Namib sand sea, a geomorphological analogue of the Titan landing site, with ~100-m-high dunes spaced by several kilometres. Credit: Lorenz, Barnes, et al

Obviously, given the distances between Earth and Saturn / Titan render two-way real-time communications impossible without considerable lag, the vehicle will be equipped with a fully autonomous flight and navigation system capable of flying it along a selected flight path, making its own adjustments to account for local conditions whilst in flight, and with sensors capable of recording potential points of scientific interest along or to either side of its flight path, so the information can be relayed to Earth and factored into planning for future excursions. Flights over new terrain will likely be of an “out and back” scouting nature, the craft returning to its point of origin, allowing controllers on Earth to plan follow-up flights to locations where they might wish to set down and carry out ground-based science studies.

In terms of the latter, the vehicle will carry a number of science instruments, including two coring drills and hoses mounted within is landing skids, allowing it to gather tailings from the moon’s regolith and surface for on-board analysis by the vehicle’s on-board laboratory.

Most recently, as well a working on the full-scale development of the vehicle, APL has also been carrying out further tests with a half-scale flight-capable model, which has been used for the last year to help test and refine flight systems and avionics.  This has seen the vehicle put through its paces at near-to-ground flight tests and at reasonable altitudes (but not as high as the four kilometres maximum ceiling the full-size version is expected to operate at during deployment!

In particular, this works builds on work carried out inside a special wind tunnel at NASA’s Langley Research Centre during 2023, which was used to simulate the aerodynamic loads that would likely be placed on the vehicle’s rotors and motors during a wide range of flight operations – ascending, descending, hovering – allowing engineers to determine things like the amount of rotor pitch required during different types of flight operations, providing data which can be fed into the final design requirements for the actual vehicle.

Much of this testing has been around flight hardware redundancy – APL plan to have the vehicle capable of sustained flight even if one set of rotors fails  or even a motor supplying power to two sets of rotors dies. These tested have also allowed for direct assessment of the vehicle’s handling and determining where the centre of mass / centre of gravity should be placed (remembering that the drum-like thing at the back of the vehicle is a nuclear generator and all its associated shielding) to ensure good flight handling across a range of dynamic flight situations.

Also, on November 25th, 2024, NASA confirmed that  SpaceX Falcon Heavy launch vehicle will be used to send Dragonfly on its way to Saturn. This caused some mis-reporting (notably among SpaceX fans) that the mission is somewhat a NASA / SpaceX venture, or has only been made possible by SpaceX, with some SpaceX-biased commentators going to so far as to call the decision “unexpected”. However, Falcon Heavy is the only launch vehicle currently certified for launching NASA high-value missions – particularly those carrying an MMRTG; United Launch Alliance (ULA) having retired both of its certified launch vehicles – Atlas and Delta –  and have yet to achieve the required NASA certification with their Vulcan-Centaur (as is the case with Blue Origin’s New Glenn). As such, and with the prohibitive cost of using NASA’s own SLS rocket, Falcon Heavy has been the only real contender for the job.

At a cost of US $256.6 million, the contract to launch Dragonfly is significantly more than the $178 million NASA paid for the launch of the equally complex Europa Clipper, and the $117 million for the launch of the Psyche mission (although admittedly, that was agreed in 2020), both of which utilised Falcon Heavy. What was new with the announcement was the selected launch window and flight trajectory. The mission is slated to launch some time between July 5th and July 25th, 2028 (inclusive), in a window that will require the vehicle to make a fly-by of Earth in order to acquire the velocity required to reach Saturn in 2034. In this, the flight does differ from the originally planned 2027, which would likely have included a flyby of Jupiter, rather than Earth; however, for the 2028 launch, Jupiter will not be in a position to provide a gravity assist, hence the use of Earth, marking the mission as the first dedicated mission to the outer solar system to not use Jupiter in this way.

Progress MS-29 Update

In my previous Space Sunday update, I covered the detection of a “toxic smells” within the Russian section of the International Space Station (ISS), requiring the atmosphere throughout the station to be scrubbed. The first outlet to cover the news – as it was breaking – was the  highly-reliable Russian Space Web, operated by respected space journalist and author, Anatoly Zak, and it was through that source I first read of the situation.

During the past week other outlets have taken up the story, but it is Anatoly who continues to lead with updates. While there was no immediate danger to any of the ISS crew, the hatches to the Progress vehicle were sealed and the atmosphere throughout the station scrubbed – on the international side of the station, the use of the Trace Contaminant Control Sub-assembly (TCCS) system was imitated after NASA astronaut Don Petit reported a “spray paint-like” smell in the Node 3 module of he station.

Progress MS-29 approaching the ISS, November 23rd, 2024. Credit: Roscosmos

In Anatoly’s most recent update in the story, he confirmed that after recycling the atmosphere in the Progress vehicle, the hatches had been reopened between it and the Poisk module against which its docked and off-loading of supplies had commenced. Anatoly also noted the the current working hypothesis from Roscosmos is that the smell did not originate from within the Progress MS-29 vehicle.

Instead, the Russian space agency believe the smell came from within the docking mechanism on the Poisk module. The Russian docking mechanisms include fuel lines for both off-loading hypergolic propellant supplies from a newly-arrived resupply vehicle carrying them, and to transfer propellants to Soyuz vehicles to “top off” the tanks of their thrusters prior to making a return to Earth.

Because of this, and while docking operations involving Progress and Soyuz are automated, after any departure from the Russian section of the ISS, ground control should perform a purging of the inner chamber of a docking mechanism to ensure any leak of hypergolic propellant that have been in the feed lines at the time which might otherwise be contained within the chamber is removed. This appears not to have been done following the departure of the last vehicle to use this particular docking port, Progress MS-27, potentially leaving traces of highly toxic propellant caught between the newly-arrived MS-29 and the interior of the Poisk module, releasing them into the latter when the inner hatch was opened.

Of Gingerbread and the Woodies in Second Life

Gingerbread and the Woodies, December 2024 – click any image for full size

Gingerbread and the Woodies is the title Alpha Auer has given to her 2024 seasonal design for her Alphatribe Island. Alpha describes it as a “sort of” continuation of her Ragville – but if you didn’t see (or don’t recall) that work, have no fear: Gingerbread and the Woodies stands on its own two feet as a delightful place to visit.

Alpha notes that the installation is made possible through the support of Olympes Rhode – so to her also go thanks for making the setting possible. Alpha goes on to note that the setting is best seen using the supplied Shared Environment, Draw Distance set to 256 metres and that shadows are enabled in the viewer.

Gingerbread and the Woodies, December 2024

While I’d certainly agree that shadows and the Shared Environment are a must, I’d very politely disagree over the need to set Draw Distance to 256 metres; while the region has clearly been optimised to help boost performance, should you have a system that might get a little grumpy with things like frame rates at so high a setting, I’d suggest going for whatever your system can comfortably manage, rather than feeling you cannot visit on account of that setting.

Given Gingerbread and the Woodies is a seasonal setting, it should come as no surprise that it is a snowy location; possibly somewhere in the far north, or at least where the temperature is such that the trees have their trunks coated in frost, and the waters seem particularly cold.

Gingerbread and the Woodies, December 2024

The Woodies of the title are the local inhabitants of the land; they live in gingerbread and cookie homes – some of which are quite grand – and share the landscape with the local wildlife. They appear to be a hardy folk; despite the cold look of the sea, some have just returned from a voyage to collect more seasonal things to put out around their houses or perhaps with which to dress their gingerbread trees.

If any of the goods on the boat are to be sold, then the local market is likely where they’ll be headed; here to join all the pastries, cakes, wreaths and other goodies. And should you feel particularly taken by some of the offerings within the market – you can buy them as well; even Alpha’s raccoons, bears, squirrels and owls are available to be purchased and taken home!

Gingerbread and the Woodies, December 2024

The houses and Woodies are scattered through the setting so exploring is a must in order to see everything. Alpha suggests leaving the Sun as is within the environment settings, but I confess that for some photos here and when filming, I did move it a little.

There are some good opportunities for photography with the Woodies  (they’re very friendly in this regard!), with Santa and a couple of his little helpers ready to pose with you. Rezzing is open for those wishing to use props – but while Auto Return is set (60 minutes), please remember to pick up after, rather then leaving them to be returned.

Gingerbread and the Woodies, December 2024

But really, this is a setting not so much for describing, but enjoying.  As noted, the region is nicely optimised, so hopefully most folk can follow Alpha’s recommendations for viewing the setting when visiting. However, and as I also hinted at above, I did take the liberty of doing some filming whilst visiting – more of an entirely unofficial “teaser”, if you will.; I hope it encourages you to pay Gingerbread and the Woodies a visit!

Enjoy!

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Bay City 2024 Christmas Tree Lighting fund-raiser in Second Life

Bay City Fairgrounds: Bay City Tree Lighting, December 1st, 2024

On Sunday, December 1st, 2024, Bay City will once again be hosting their annual Christmas Tree Lighting and fund-raising event. With it comes an opportunity to support Child’s Play Charity, a 501c3 non-profit organisation offering on-line communities such as the Bay City Alliance the ability to help seriously ill children around the globe during their hospital stays via the purchase and donation of games and gaming equipment.

Activities will commence at 13:00 SLT and run through until 16:00 SLT, taking place at the Bay City fairgrounds. On offer will be:

  • Live entertainment by performers Coralie and Maximillion Kleene, and music by DJ GoSpeed Racer.
  • A skating party around the base of the tree.
  • The tree lighting itself.
  • Refreshments and fun.

Funds will be raised via a silent auction that will run through until the close of the event. On offer is an impressive range of items kindly donated by designers and creators from across Second Life, Lusch Motors, FAYDED, Shergood Aviation, Buzzbox Munroe, ThomasHooker, Revna Macabre/Seydr, The Mesh Shop, C.H.C (Cindy Henusaki Custom Cars), Cica Ghost, GenusProject, Javatar Mocha, Eleanor8, Owl Dragonash, Pagan Lane, Madpea, Hollow Family Industries, Starla Mainlande, Trinity Yazimoto, OldManChristmas, and Rob Fossett. Bids are made via vendor, and  should your bid be exceeded by another, your Linden dollars will be automatically refunded. You can, of course, increase your bid if you wish. Items will be awarded to the highest bid when the auction closes.

In addition, donation kiosks are be provided in the Fairgrounds for those who would like to support Child’s Play without participating in the auction.

Bay City Fairgrounds: Bay City Tree Lighting, December 1st, 2024

About Bay City and the Bay City Alliance

Bay City is a mainland community, developed by Linden Lab™ and home to the Bay City Alliance. The Bay City Alliance was founded in 2008 to promote the Bay City regions of Second Life and provide a venue for Bay City Residents and other interested parties to socialize and network. It is now the largest Bay city group, and home to most Residents of Bay City. To find out more, contact Marianne McCann in-world.

Bay City and the Bay City Alliance and Child’s Play

Bay City and the Bay City Alliance have a long history of fund-raising for Child’s Play, and in 2016, they received special recognition by the charity, being awarded Silver Level sponsor on the Child’s Play’s website.

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Cica’s Snowflakes in Second Life

Cica Ghost: Snowflakes, November 2024

Cica Ghost is back with a wintertime setting to see out 2024 with Snowflakes, and in doing so, offers us a little insight into the fact that even snow monsters appreciate a little warmth on cold winter nights when the stars shine brightly.

In a darkened world where hills rise like comical bumps a cartoon character might suffer after taking a bop to the head, birch tress point boughs bereft of leaves towards the nigh sky, as if trying to to pull down the blanket of stars to wrap around themselves and stave off the cold. All around, snowflakes drift towards the ground to join their siblings already there.

Cica Ghost: Snowflakes, November 2024

Night-time can be one of the most magical times to witness gently falling snow when the wind is calm and the air is fresh; there can be a wonderful sense of mystery, particularly when walking through wooded land  – and believe me, as one who has partaken of late evening walks through the park adjoining my home, walking under naked tress and over the bridges panning the local stream, I speak from experience!

But here, among these trees, are other wonders to be found. This is because, with the Sun long set and darkness all around, the local snow monsters have come out. Although in fairness, “monster” here is more due to a matter of their scale rather than any wicked intent on their part. Indeed, and as noted all they are seeking a little of the forementioned warmth – both the kind born of a warm fire and the kind from friendly companionship – or having a little fun building a snowman.

Cica Ghost: Snowflakes, November 2024

These chaps clearly mean no harm (although beware the falling snowballs near some of them!); one even looks a little looks a little unhappy and lonely on the cold night, possibly because there’s a nice little house close by (one of a number sharing the landscape) which could well be a lot warmer inside than it is outside – but he’s a little too big to get through the front door!

For those who like a little fun, there are Cica’s dances to be found and a pair of “snow rollers” to ride around on. The setting is accompanied from a quote from Lorelei Gilmore from the 8th episode of the first season of The Gilmore Girls, A show I’d never heard of until reading the quote – and subsequently finding the episode – love and War and Snow – is one of the most highly regarded of the show’s entire run. However, it expresses the mood of Cica’s Snowflakes perfectly:

Everything’s magical when it snows
Cica Ghost: Snowflakes, November 2024

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A Sweet Surrender in Second Life

Sweet Surrender, November 2024 – click any image for full size

Sweet  Surrender is a Full region held and designed by  Giulliana Dallaʂ (Giulliana Palen) and Fotis Dallas. It offers a multi-faceted location, rich with opportunities for exploration and photography, making full use of the available space to offer a little something for everyone. Whether you like tropical beaches, ancient ruins, brightly flowered gardens, hidden coves, underwater playgrounds, romantic spots, opportunities to dance or simply having somewhere to sit and talk or cuddle, then you’ll enjoy Sweet Surrender.

Sweet Surrender is a dreamy, romantic haven where love fills the air. It’s a place designed for intimate moments and magical connections. Soft lanterns cast a warm glow over cozy nooks perfect for cuddling, while a charming dance floor invites couples to sway under a canopy of twinkling stars. The gentle melodies of live acoustic music float through the night, creating an enchanting atmosphere where every glance, touch, and step feels like poetry in motion. Sweet Surrender is where hearts meet, and memories linger forever.

– Sweet Surrender About Land

Sweet Surrender, November 2024

The Landing Point sits within the north-west quarter of the region, just outside the Café de Paris. After being greeted by the local bird as he sings from a Tsukbai just outside the café, The basin looking to be employed as a means for patrons to rinse their hands after eating. From here, gravel paths offer several routes of exploration – which you take is entirely up to you.

You could for example, set out westwards to where the local lighthouse serves as a little store for Giulliana’s products whilst offering a lookout point over the sea and the sailing ship passing by, and to the headlands sitting to the north and the south.  Between the lighthouse and each are, respectively, a shingle cove and the region’s tropical beach. However, the beach cove is only one of two to be found to the south; the second, and smaller of the two home to one of the region’s romantic / cosy locations.

Sweet Surrender, November 2024

The beach is accessible from the path running to the lighthouse and from a second path as it runs south to loop around a rocky hill topped by some of the ruins scattered throughout the setting. From here it is possible to reach the smaller cove mentioned above and also climb up along the top of the southern headland to reach another retreat, this one with a shine alongside it.

This loop of path also give access to another elevated lookout point, this with a southern beach below it. In forming its loop, the path also passes by one of the setting’s inland bodies of water. Another such body sits at the northern end of the region the broadest point of a spine of rock rising to run north from just behind the Café de Paris. This second body of water, fed by waterfalls, offers a place to dance or to sit on the deck of an overlook, a little camp site below.

Sweet Surrender, November 2024

A stream cuts the region in two from north to south, two bridges spanning it, one towards the middle of the region, the other crossing the gorge formed by the upland in part occupied by the dance area and waterfalls, and a large cabin presenting another retreat. A path runs running down the east side of this plateau to another shingle beach.

Is is on this eastern side of the setting that the region’s third inland body of water can be found, imaginatively formed by water piped through an old grand piano. Gravel paths wander over the grass and flowers and under the trees here, as with the western side of the region; and like that side of the setting, they lead visitors to the many attractions to be found here.

Sweet Surrender, November 2024

I’m not going to describe all that lies here – better for visitors to discover; What I will say that within this part of the region is an event space which – I think – will be the venue for music events within the region, starting on Friday, November 29th, and thereafter on the second Friday of each month; those who don’t feel like walking can take a horse if they wish. I’ll also say that the underwater element to the setting can be found to the north as well – look for the the arch under the stone and Poseidon standing guard.

With greenhouses covering dance floor, grottos hiding places to pass the time or dance, many places to sit with friends or a loved one, the aforementioned ancient ruins to explore, Sweet Surrender offers much for romantics and explorers alike – and with winter drawing in for those of us in the northern hemisphere, it offers and engaging summertime visit.

Sweet Surrender, November 2024

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We Orange the World 2024, in Second Life

We Orange the World 2024: Debra Katz

Monday, November 25th, 2024 saw the opening of the 2024 edition of We Orange The World, hosted by the Artsville Galleries and Community, and organised by Jerzzie Reece-Redstar. Featuring the work of 24 women from across Second Life, the exhibition is now in its 4th year, and is intended to run alongside the United Nations Women’s 16 Days of Activism Against Gender-Based Violence, which runs annually from November 25th through to December 10th inclusive.

According to the  UN Office on Drugs and Crime (UNODC), violence against women  – notably femicide, the intentional murder of a woman or girl purely on the basis of her gender – is on the rise globally. In 2023 alone, the UNODC produced data which showed that every ten minutes through the year, a woman or girl was murdered by their partner or a member of their family, and one in four adolescent girls was abused by a family member. Nor is the violence restricted to physical abuse: psychological violence is a very genuine thing – one that can extend into virtual spaces as well, thus adding a further layer of relevance to We Orange the World.

We Orange the World 2024

The United Nations Women’s 16 Days of Activism Against Gender-Based Violence was initiated in 1991 at the inauguration of the Women’s Global Leadership Institute, in an attempt to reverse the use of violence against women. It is used as a nexus strategy by individuals and organisations around the world to call for the prevention and elimination of violence against women and girls. Initially a civil society initiative, the campaign has – since 2008 – been supported by the UNiTE campaign,  which runs parallel events with the aim of ending violence against women by 2030.

Within We Orange the World, now in its fourth year, artists have been invited to submit 2D and / or 3D art related to the general theme of the beauty and empowerment of women around the world. Entrants were asked to keep pieces positive, uplifting and empowering rather than negative in nature, otherwise subject matter and presentation were left up to the artists.

We Orange the World 2024

Participating artists for 2023 include: Blip Mumfuzz, Gwyn Evergarden, Duna Gant, Raven Arcana, Carelyna, Ilyra Chardin, Mareea Farrasco,  Dido Haas, Margo Hollak, Jaminda Moon, Selen Minotaur, Rhiana Rhiano, Sina Souza, Lori Bailey, Cana Restless, Masggie Runo, Marvayu Anante, Jerzzie Reece, Maloe Vasant, Scylla Rhiadra, Redi Bixchin, Tess Carfagno, Lizzy Swordthain, and Debra Kaz.

The exhibition area follows the same format as recent years: a central outdoor art display around the main event space as it sits under an appropriately orange sky (the use of orange and black through the setting, with other colours gently intruding, is striking in and of itself). This area hosts individual pieces by the majority of the artists as well as offering gifts to visitors.

We Orange the World 2024: Selen Minotaur

On the four cardinal point of the event / exhibition space, are are four indoor exhibition halls, each dedicated to larger exhibitions by Debra Katz, Selen Minotaur, Tess Carfagno and Ilyra Chardin; with Debra, Selen and Ilyra mixing 2D and 3D pieces in their installations. Finally, the four corners of the event area offer places of reflection, contemplation, music and remembrance.

We Orange the World traditionally includes daily events; unfortunately, no details beyond the first two days were passed to me in the invitation folder I received, and I didn’t find any information at the event itself. It is entirely possible such information is available of the event’s Facebook page, so if you have an account there (I don’t, so cannot confirm) do hop over and take a look for yourself there, just in case.

We Orange the World, 2024

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