September 13th, 2024 marked the anniversary of a momentous and crippling event in Earth’s history. It was on that day that a nuclear waste disposal site on the far side of the Moon reached critical mass, causing a thermonuclear detonation of immeasurable force, shattering the Moon and hurling it from Earth’s orbit and into the depths of space, carrying with it the 311 surviving souls on Moonbase Alpha.
Passing beyond the range of their fleet of Eagle Transporters and making a full-scale evacuation evacuation, and with Earth unable to mount a rescue mission, the people of Moonbase Alpha could only signal their survival as they departed, never to be heard from again.
– Extract from Pey’s Encyclopaedia of Space Exploration (2024 edition)
Of course, nothing like the above ever happened – but in 1974, the premise of the Moon being flung into interstellar space as a result of a massive chain reaction of thermonuclear events (and aided by the odd wormhole or two, amongst other things), carrying the 311 people trapped on Moonbase Alpha with it, lay at the heart of the Anglo-American television series Space: 1999.
Space: 1999 – Moonbase Alpha
I didn’t personally catch-up with Space:1999 until the 1990s, and while it struck me as perhaps and little too focused on the Alien of Week type of threat, providing disbelief was sufficiently suspended, it could be a fun watch – and it cannot be denied that considerable work went into making Moonbase Alpha a believable place and the Eagle Transporter perhaps one of the most well-conceived and “real world” space vehicle designs to be featured on television as coming from a near-future period in our development of spaceflight technology.
While the series was cancelled after just two seasons, the show lived on – as with many sci-fi series – in the world of fandom, where continues to enjoy much support and popularity. This support and interest continues into Second Life, where fans and role-players can take up a active role in operations within Moonbase Alpha, thanks to Mitch Charron. His Space: 1999 – Moonbase Alpha is an impressive representation of significant parts of Moonbase Alpha as seen in the first season of the series, bringing together familiar and iconic elementsfrom the show, including the commander’s desk, the comm-posts standing along the corridors, the station’s surface buggies and – of course – the Eagle Transporter.
Welcome to Moonbase Alpha! Inspired by the Space: 1999 70s SciFi TV series, MBA is an-going project of themed roleplay of space exploration and alien encounters, set a few years before Breakaway (and working our way there and beyond :). The Moonbase is still under construction, evolving and expanding but fully operational. We create multi-session ‘episodes’ which we play out over a period of time. While Alpha is our home base, our scenarios often involve multiple sims developed by members depending on the needs of our episodes.
– From the information notecard available at any of the station’s comm posts.
Space: 1999 – Moonbase Alpha
And when I say impressive, I mean exactly that; it is clear that considerable effort has be put into the interior design, faithfully reproducing the aesthetics of the original sets and interiors and their signage / iconography. As well as Main Mission and the commanding officer’s expansive office space (complete with the large sliding doors to separate it from the bustle of Main Mission for conferences and the like), the interiors include a part of Doctor Helena Russell’s medical centre, a portion of the science facilities (one lab of which appears to be for Professor Victor Bergman), the station’s solarium and nuclear generation plant (both, I believe, seen in the episode Force of Life), a section of the travel tube network, and a series of corridors connecting all of these elements together and linking them to crew accommodation and recreation facilities.
Explorations of the facility start at a Landing Point neatly situated within the passenger pod of an Eagle Transporter. From here, the starboard doors from the pod (when facing towards the flight deck) open into a travel tube car, and its opening is accompanied by the initial fanfare of the show’s original (and best, I think) theme tune for those with local sounds enabled – and in this regard, having them enabled is recommended, as many of the sounds from the series can be heard throughout the facility, adding further depth.
Space: 1999 – Moonbase Alpha
Two exits are available from the travel tube car. One leads to the nuclear generating facility mentioned above, and the lifeblood of Alpha (just beware the warning beams!) or exit into Alpha itself via a security station and passing the airlock (surface EVA possible through the latter). Following the corridors from her will take visitors past all of the major facilities and to the elevator up to Main Mission. Here it is quite easy to imagine Paul Morrow overseeing operations with Sandra Benes dependably at his side, and perhaps Victor Bergman caught in a technical discussion with David Kano.
As noted in the introductory notecard, RP in the setting is intended to be relaxed and fun, with the station also forming a hang-out for those involved. In addition to Alpha, the setting currently also includes a part of the nuclear waste facilities and their monitoring station. During my visit, Mitch informed me he’s working on other elements such as the space station where the Ultra Probe has been constructed prior to the events of the series (and seen in flashbacks during Dragon’s Domain – an episode which utilised Tomaso Albinoni’s Adagio in G Minor so movingly and emotively to help drive the story, making it for me the best of Space: 1999).
Space: 1999 – Moonbase Alpha
Those wishing to join with the role-play are encouraged to read the introductory notecard for information on the likes of Alpha uniform sleeve colour, in-world availability of uniforms and Alpha spacesuits, etc.
With some gentle touches of humour mindful of how set builders oft utilised off-the-shelf items to dress sets (Commodore, anyone?), Space 1999 – Moonbase Alpha is an engaging build for visitors and RPers alike.
The following notes were taken from the Tuesday, October 1st, 2024 Simulator User Group (SUG) meeting. They form a summary of the items discussed, and are not intended to be a full transcript, and were taken from my chat log and Pantera’s video of the meeting, which is embedded at the end – my thanks to her for providing it.
Meeting Overview
The Simulator User Group (also referred to by its older name of Server User Group) exists to provide an opportunity for discussion about simulator technology, bugs, and feature ideas.
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.
Simulator Deployments
On Tuesday, October 1st, the SLS Main channel saw the deployment of the Picnic /Doubtfire update, making it grid-wide.
There were apparently some issues with the deployment, resulting in it taking longer than anticipated, due to a need to fix them on the fly.
Wednesday, October 2nd should see all RC channels restarted without any deployment.
WebRTC Simulator Deployment Status
As a result of an Engineering team summit in week #41 (commencing Monday, October 8th), it now appears the deployment of the WebRTC updates to some of the main RC channels will now not take place until Wednesday October 16th.
In the meantime, WebRTC can still be tested on the four WebRTC regions (WebRTC1 through 4) on the Pop Rock channel, and on the Preflight test RC channel.
SL Viewer Updates
No changes at the start of the week:
Release viewer: version 7.1.10.10800445603, (formerly the DeltaFPS RC), dated September 11th, was promoted to de facto release status on September 19th. This includes:
Performance boosts. Memory management has been optimized and users will experience a higher FPS across various systems. A comprehensive range of bug fixes are also provided. This includes better PBR material handling and resolving frequent crashes. See the release notes for more.
UI for scheduling region restarts now available via a new button located in the Region/Estate floater. (Note: there is currently an issue with scheduled region restarts working correctly and a fix is due to come in the next server release).
Release Candidate: ExtraFPS RC, version 7.1.11.11074622243, issued September 30th.
Aesthetics improvements: new Antialiasing setting – SMAA; Contrast Adaptive Sharpening; Khronos Neutral Tone Mapping (can be changed to ACES via the RenderTonemapType Debug setting).
In Brief
Please refer to the video below for the following:
Game Control:
This work has apparently not been merged into the initial release of ExtraFPS. A bug fix failed to pass QA, causing issues on the Mac flavour of the viewer.
It is hoped that this issue can be resolved and the code merges in the near future.
Combat 2.1:
Rider Linden has published a new proposal specification for “Combat 2.1”, the next update to the Second Life Combat System (SLCS), this one expanding on teams and respawning.
Feedback is being sought on this, with the note that it should be offered sooner rather than later by anyone who may not have seen it, as Rider is hoping to start converting it into actionable items, after which he can then start to implement.
A fix for at least some of the attachment dropping / loss / ghosting issues (see: Attachment loss on RC channel 2024-08-29.10619830788) which can be experienced during region crossing (TP or physical) is being deployed and tested.
The plan is to deploy it with either the WebRTC simulator updates or the Barbecue maintenance update that will follow, depending on which is the the next to go out (currently WebRTC, as noted above).
However, the fix is currently available on Aditi (the Beta grid) for those wishing to test it.
Rider Linden is working on llSetAgentRot (turns the avatar to face the direction indicated by rot., with a +/- 3 degree variance), which should be going into the Barbecue simulator update.
However, there is a corresponding viewer change it requires in order for the avatar turning to be seen viewer-side, and this update is going into the viewer Develop branch for a future viewer update.
This sparked a further discussion which ran into the topic of Child Agents (instances of an avatar which are registered in regions adjacent to the region the avatar is in, allowing the avatar to be “tracked” in case it is actually going to move from the region it is in to the region in which the Child Agent is registered, for example) and the subject of ghosted objects.
LDPW have requested a new LSL function – llTransferOwnership – which would allow a scripted change of ownership for an item with Transfer permissions.
This sparked an end-of-meeting discussion on how it might work and suitable safeguards.
As the function is still in the discussion phase at this point in time, please refer to the video below for further information.
Date of Next Meeting
Tuesday, October 15th, 2024, due to the Engineering Team summit meeting.
† The header images included in these summaries are not intended to represent anything discussed at the meetings; they are simply here to avoid a repeated image of a rooftop of people every week. They are taken from my list of region visits, with a link to the post for those interested.
I returned to Black Tulip Gallery as October brought with it the kind of weather that made me feel as though hiding under the duvet would be a snugly-good idea. However, I braved the walk to my study(!), in order to take a peek at the October exhibition at the gallery. Operated and curated by Zoey Rhodan (ElizabethZoey), Black Tulip is a small, boutique-style gallery space located within the Confederation of Democratic Simulators (CDS), offering a richness of art and artistry within its exhibitions.
For this exhibition, entitled Colours of Life, the gallery features the work of no fewer than thirteen artists from across Second Life, and does so without feeling overcrowded in the process, given its relatively small size. The pieces displayed are from Zoey’s personal collection, and as the name suggests, the exhibition has been built around the theme of reflections on life and on living.
Black Tulip Gallery, October 2024: CybeleMoon
The participating artists comprise: AmandaT Tamatzui, Cayla (YumiYukimura), CybeleMoon (Hana Hoobinoo), Duna Gant, Ellie Baily, Hadiya Draper, Milena Carbone (Mylena1992), Raven Arcana, Sophie de Saint Phalle (Perpetua1010), and Tess (Therese Carfagno), (all one image apiece); Bamboo Barnes and Mareea Farrasco (two apiece); and Christian Carter (3 pieces). The art itself ranges from pieces generated via pictures captured in-world, through AI generated art / digital compositions to physical work by the artist uploaded to and rendered within SL.
As reflections on life and living, they are as richly varied as the styles and techniques used to produce them; from single-frame stories in either black and white or colour (such as CybeleMoon’s – someone whose presence in SL I greatly miss – The Shell Seekers and Raven Arcana’s When the Sun Goes Down) through to the expressive experimentalism of Bamboo Barnes and the abstract art of Tess, to the social commentary found in the likes of Christian Carter’s Fake, with its portrayal of loneliness hidden by the masks of mood we so often feel obliged to wear for the world. As such, all are pieces which have a lot to say as we regard them.
Black Tulip Gallery, October 2024: Bamboo Barnes and Tess (Therese Carfagno)
Another aspect of the exhibition I like is the division between styles: colour images are located on the lower floor, and the monochrome pieces on the upper. This gives a subtle sense of the gallery hosting two smaller exhibitions, the pieces in each linked as much by this division in styles, with all of them – lower and upper – united by the core theme of the exhibition to form a whole.
Ideally curated and presented, Colours of Life is a further engaging exhibition in what is a series of such exhibitions hosted within an equally engaging space.
Black Tulip Gallery, October 2024: Christian Carter
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, September 29th, 2024
This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:
It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy. This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.
Official LL Viewers
Release viewer: version 7.1.10.10800445603, formerly the DeltaFPS RC, dated September 11, promoted September 17promoted August 26.
Performance boosts. Memory management has been optimized and users will experience a higher FPS across various systems. A comprehensive range of bug fixes are also provided. This includes better PBR material handling and resolving frequent crashes. See the release notes for more.
UI for scheduling region restarts now available via a new button located in the Region/Estate floater. (Note: there is currently an issue with scheduled region restarts working correctly and a fix is due to come in the next server release).
Les Bean at the Salty C, September 2024 – click any image for full size
As can be seen by flicking through my Exploring Second Life series, one of the things I enjoy is seeking out coffee house style hang-outs, as well as places that are photogenically pleasing and interesting to explore. Within Les Bean at the Salty C, I found a place that combines all three – hardly surprising given the region’s designers: Emm (Emm Evergarden) of The Nature Collective fame (among other things) and Teagan Cerulean.
The smell of salt in the air, the crash of waves, and distant harbor ferry welcomes you. Set sail to a place where the ocean whispers tales of a magical island. Whether seeking solace, adventure, or inspiration, the Cerulean offers a storybook escape.
– Les Bean at the Salty C About Land Description
Les Bean at the Salty C, September 2024
Occupying a Full private region leveraging the Lab’s Land Capacity bonus, the setting is very much multiple-part in nature whilst forming a fairly continuous set of landscapes. By this I mean that within the region there is a mix of private occupancy homes, public spaces and private rentals, all of which are split across the three islands into which the region has been split, with the islands themselves offering landscapes that flow one to the next.
Of these islands, the triangular one sitting in the region’s south-east corner appears to be entirely private in nature, existing within its own parcel and entirely separated from the rest of the region by the intervening stretches of water. As such, it plays no further role in this article. Of the other two, both offer a mix of public and private areas, but with a clear delineation between the two, reducing the risk of trespass.
Les Bean at the Salty C, September 2024
The main island, oriented north-to-south along the western side of the region, is home to the main Landing Point for the setting. Separated from the other two islands by a central channel of water, this island comprises a central public area forming a small town-style element, bracketed to the south and north by private residences, those to the north being available for rent at the time of my visit. The Landing Point sits on a cobbled plaza overlooking the waterfront of the central channel and backed by the coffee house, which shares the space with an ice cream parlour and a record store.
It is here that I must underscore the need for careful exploration and camming here; not only is the region packed with detail throughout, there is also some super little touches of humour to be found around the town in the form of signs and chalkboards; some of which I perhaps identified with a little too much (e.g. “I tried starting a day without coffee once – My court date is pending”). The town itself has a curiously mixed feel which is equally charming to take in; by turn offering touches of rural France, the Mediterranean, hints of Tuscany – and even flavours of Mexico and North America (the latter in the form of the stream train halted at the local station). Life to the setting is added by the presence of a range of vehicles, washing hanging on lines, place settings at the restaurant, a town market, and an engaging soundscape (I particularly liked the train service announcements!).
Les Bean at the Salty C, September 2024
At the northern end of the little town is a flight of steps descending into the residential rentals area of the island, headed by a map of the region highlighting the available properties. Trespass here can be avoided by keeping to the boardwalks laid over the grass here, and one of these does actually lead to a public seating area on a deck up towards the north-west corner of the island.
The waterfront below the little town is a busy little area, offering some mooring space for small boats running directly below the sea wall, and a wharf pointing out into the channel. The latter is home to a little rough-and-ready bar and docking for the local ferry. The latter is Analyse Dean’s excellent Bandit vehicular ferry, which chugs its way back and forth between this pier and the one on the west coast of the island occupying the north-east quarter of the region, which is home to the rest of the public spaces within the setting.
Les Bean at the Salty C, September 2024
This triangular island has – to me – more of a feel of North America. Heavily wooded, it also has a private residence within it, so some caution is required when exploring, particularly as the path winding away from the ferry dock eventually arrives at said private residence, climbing up to it by way of steps cut into a hill slope. However, as there is plenty of humorous warning the house in question is a private residence (“No Trespassing. We’re tired of hiding the bodies”), visitors can avoid it and simply carry on to the tumbledown and strange house sitting further up the hill.
The latter is one of two places on the island offering a sense of the haunted as brooms magically sweep floors. I’ll leave you to find the other such place on the island, and say only that it also has an item of clothing that seems to be knitting itself to add to the slightly haunted feel, and that the location itself is again charming in its general presentation, even if the cabin is itself is oddly overgrown.
Les Bean at the Salty C, September 2024
As noted, this is a highly photogenic setting with a lot to see – more than I’ve covered here (the sense of ghostly mystery is enhanced to the southern end of the main water channel and close to the lighthouse, for example, where ghostly singing might be heard) -, so again, care in exploring is well worthwhile. Given the soundscape available through the region, do make sure local sounds are enabled, and use of the region’s shared environment is also recommended, as it gives a suitably autumnal feel in keeping with the rest of the region.
A Falcon 9 rocket carrying Crew Dragon Freedom and the two members of the Crew 9 / Expedition 72 mission to the ISS lifts-off from SLC-40, Canaveral Space Force Centre, September 282th, 2024. Credit: SpaceX
The long-awaiting NASA Expedition 72 / SpaceX Crew 9 mission launched for the International Space Station (ISS) on the 28th September, 2024, with some media still quite wrongly calling the launch a “rescue” mission.
The mission continues to be dubbed as such most likely because it is an attention-getting headline, after the recent farrago with the Crew flight Test (CFT) mission involving Boeing’s CST-100 Starliner. While the latter made a safe uncrewed return to Earth – albeit it with some additional thrusters issues and an unexpected software reboot – on September 9th (See: Space Sunday: Starliner home; New Glenn update), the vehicle’s crew of Barry “Butch” Wilmore and Sunita “Suni” Williams remained aboard the space station, allowing the media to continue to play the “astronauts stranded in space!” tune.
The Titan IVB/Centaur (Model 401) carrying the NASA/ESA Cassini/Huygens mission, on the pad at Launch Complex 40 within the (then) Cape Canaveral Air Station, October 13th, 1997, shortly before the mission’s launch Credit: NASA
Leaving aside the sensationalism of reporting, the Expedition 72 / Crew 9 mission is still something of a landmark mission for SpaceX, being the first time a crewed launch has ever taken place from Space launch Complex 40 at Canaveral Space Force Station, adjoining the Kennedy Space Centre. Referred to as SLC-40 (or “slick-40”) in US Air Force parlance when it was used by the military, from 1965 through 2007 been the launch point for payload missions using the Titan launch vehicle family.
In 2007 SpaceX leased the facility, and it has since become the highest-volume launch facility for the company’s Falcon 9 vehicles, hosting over 200 launches (the majority of these being non-direct revenue generating Starlink launches). Since 2023, SpaceX has been upgrading SLC-40 for launches of the Dragon capsule system, with the emphasis on cargo launches to the ISS, but also crewed launches once the necessary access, support and emergency escape systems, etc., had been integrated into the launch facility.
Crew 9 had originally been due to launch from Kennedy Space Centre’s Launch Complex 39A (LC-39A), until now the only facility available to SpaceX for launching crewed missions, and also the Falcon Heavy launch system. However, as the launch date for Crew 9 continued to be pushed back from mid-August through September, it risked conflicting with the launch of NASA’s Europa Clipper mission using Falcon Heavy, and which has to take place in October. So, to avoid scheduling issues, NASA and SpaceX agreed to move the Crew 9 launch over to SLC-40.
Crew 9, carrying NASA astronaut Nick Hague and cosmonaut Aleksandr Gorbunov lifted-off at 17:17 on September 28th, the launch having been delayed from this target date by Hurricane Helene. The flight proceeded smoothly, with the first stage of the rocket making a safe boost-back and landing some 8 minutes after launch, and the upper stage correctly delivering the Crew Dragon capsule Freedom to its initial orbit and the start of a 28-hour “chase” to rendezvous with the ISS, that latter being due at approximately 21:30 UTC on Sunday, September 29th.
However, whilst all has proceeded smoothly with the Crew Dragon vehicle, an anomaly with the Falcon 9’s upper stage de-orbit burn meant it splashed down outside of its designated target area in the Pacific Ocean, prompting SpaceX to suspend Falcon 9 launches until the reason for the deviation to be investigating, per Federal Aviation Authority (FAA) requirements.
A shot from a camera on the upper stage of the Falcon 9 used to launch the Crew 9 mission, showing the Crew Dragon Freedom moving away following vehicle separation on reaching orbit. Credit: SpaceX via NASA TV
As to why Crew 9 is not a “rescue mission”, the explanation is simple: the mission is a part of NASA’s schedule of ISS crew rotations and not any specifically result of the issues pertaining to Boeing’s Starliner or the fact that Williams and Wilmore being “stranded in space”. In fact, the two astronauts have always had the means to return to Earth, either using the Starliner vehicle or the SpaceX Crew 8 Dragon vehicle.
One of the temporary seats the ISS crew rigged within Crew Dragon Endeavour for use by Williams and Wilmore, had it been necessary for any evacuation of the ISS. Credit: NASA / Michael Barratt
The former was demonstrated in June 2024, when Wilmore and Williams and the rest of the ISS crew were ordered into their respective vehicles in readiness for a possible emergency Earth return due to the risk of the ISS being hit by debris from the break-up of a Russian satellite in an orbit which intersected that of the space station (see: Space Sunday: of samples and sheltering).
The latter was shown following the return of the Crew 8 mission aboard Crew Dragon Endeavour, when the additional seated rigged within the vehicle’s pressurised cargo area for use by Williams and Wilmore, had a return to Earth been required prior to the arrival of the Crew 9 mission.
Which is not to say either option was either optimal or entirely safe; ergo, the need for an abundance of caution on NASA’s part, coupled with the need to disrupt crew rotations to the ISS as little as possible, the decision to fly Crew 9 with only 2 on board and thus “reserve” the remaining two seats for Wilmore and Williams made the most sense, both ensuring they had an assured flight home, and could complete the planned Expedition 72 crew rotation on ISS in place for astronauts Stephanie Wilson and Zena Cardman.
SpaceX and FAA
In the meantime, SpaceX has entered into an aggressive head-to-head with the Federal Aviation Authority over both launches of Falcon 9 and Falcon Heavy earlier in the year and overall SpaceX’s Starship operations out of Texas.
In short, the FAA is seeking to impose fines on SpaceX to the tune of US $633,009 due to SpaceX having failed to comply with the requirements of licenses issued for the launches of both Falcon 9 and Falcon Heavy, which the FAA states violated the launch licenses it granted for the them on the basis of changes SpaceX made to the launch operations. The changes, relating to a new control centre and propellant farm, were subject to license modifications for the respective launches, but the FAA state SpaceX submitted the requests for modifications too late for them to be properly processed.
In response to this, SpaceX claims it sought to have the licenses modified for the launches in question, but the FAA is at fault for failing to process the modifications in time for the launches to proceed as scheduled, and that as SpaceX judged the changes to not be safety issues, decided to go ahead with them nevertheless.
The Starship issues are equally complicated, with the FAA stating the license for to carry out any further Starship launches is being held-up on two main counts.
The first is that SpaceX is in violation of Texas state and federal requirements relating to the water deluge system used during Starship / Super Heavy launches out of Boca Chica. SpaceX dispute this – although they are also fighting US $148,378 in fines levied by the US Environmental Impact Agency for violations in the use of said system. The second is that SpaceX has failed to carry out required sonic boom analysis relating to its plans to return the Super Heavy booster to the launch facility for “capture” during the next Starship flight. Both of these are viewed by the FAA as “safety” issues SpaceX must address prior to any license being granted.
For its part, SpaceX and its CEO have aggressively hit back at the FAA, claiming the agency’s senior management is “lying”, and that FAA Administrator Mike Whitaker should be fired by Congress. In particular, with the SpaceX CEO stating the FAA is targeting SpaceX over “petty issues” relating to safety whilst “neglecting real safety issues at Boeing”. Whilst uncalled for, these comments came at a time when FAA Administrator Mike Whittaker was testifying to the House Transportation Committee in relation to Boeing’s ongoing aviation issues; as a result, Rep Kevin Kiley (R-Calif.) used the aviation-related hearing to accuse the FAA of “undue scrutiny” where SpaceX is concerned, and questioning whether the FAA treat SpaceX “equally” with Boeing.
Addressing the House Transportation Committee, FAA Administrator Mike Whitaker noted that the best way for SpaceX to “speed up” the launch licensing process would be to properly comply with the regulations. Credit: House Transportation Committee webcast
In reply, Whittaker agreed that companies should be held to the same standards of safety – and pointed out that in this respect, Boeing has both a safety management system (SMS) programme in place and (however unwillingly) operates a whistleblower programme as a part of their SMS. By contrast, and despite 20+ years of operations, SpaceX has consistently failed to implement either.
The comments around Boeing have also prompted some SpaceX fans to question why the FAA is so quick to “ground” SpaceX but has not done the same with Boeing’s Starliner. The answer to this is simple: the FAA has jurisdiction over all commercial launches from US soil, but is not responsible for licensing or overseeing US government launches or the spacecraft craft carried on these missions. As Starliner’s issues were purely spacecraft related, decisions relating to the vehicle’s safety fall under the remit of NASA, not the FAA.
How Many Natural Moons does Earth Have?
The above should be a simple question to answer – “one”. However, between now and November 27th, 2024 one could argue the answer should be “two”, thanks to the arrival of a tiny asteroid called 2024 PT5.
Measuring roughly 10 or 11 metres across, the asteroid is technically referred to as a near-Earth object (NEO) – an asteroid in an elliptical orbit close to the Sun and on a path that frequently cross Earth’s as we move around the Sun. Officially “discovered” (observed for the first time) on August 7th, 2024, it passes around the Sun just over once a terrestrial year, but at a low relative velocity when compared to Earth’s.
Thus, at 19:54 UTC on September 29th, it will pass just outside of Earth’s Hill Sphere at a velocity low enough for it to temporarily pass into a short-order orbit around Earth. However, because the asteroid will be just beyond the Hill Sphere at the time of “capture”, it will resume its passage around the Sun on November 25th, 2024, after 57 days passing around Earth and the Moon, not quite completing a full orbit. Sadly, during the encounter, it will be too small to observe with anything but the largest of optical telescopes.
This is actually not the first time our planet has – at least briefly – has had a “mini-Moon” – and such events might actually be relatively frequent; the last recorded event like this was in 2020, and that as more and more attention is focused on NEOs, it is possible that more and more might be found to make similar temporary orbits around Earth. One of the more interesting questions around 2024 PT5 is whether it started life as an asteroid or whether it might have originated on the Moon and was blasted out into space as part of a significant impact at some point in the Moon’s history. After this little loop, orbital calculations show that the next time it comes close enough to enter a temporary orbit in this manner will be in 2055.
And where did the Moon Come From?
For the last 40 years, the going theory for the origin of the Moon has been that it was formed from material resulting from a very large collision between Earth and another large body some 60 million years after the solar system formed.
The theory was a consensus decision reached by planetary scientists at a 1984 conference called to discuss findings from studies of the rocks returned by the Apollo mission and held in Hawai’i. The basis for the consensus was that chemical and isotopic analysis of the returned material showed that it was similar to the rock and soil on Earth: calcium-rich and basaltic in nature and was of a near-identical age to similar rocks found on Earth.
Professor Darren Williams, Penn State Behrend College, one of the co-authors of a new paper suggesting on the origins Earth’s Moon. Credit: Penn State Behrend / Penn State
However, according to planetary scientists from Penn State Behrend College, this might not be the whole story: there is a possibility the Moon might actually have actually formed elsewhere and was captured during a close encounter between the young Earth and a terrestrial binary.
In this theory, there were two objects in a binary orbit and orbiting the Sun in an orbit very similar to Earth, and most likely formed at around the same time (thus meaning their composition would be similar). Over time as the respective obits of the binary system and Earth came into proximity to one another, Earth’s gravity separated the binary, snagging one of the objects, which became our Moon.
As evidence of this, the researchers point to the Moon being more in line with the Sun than with Earth’s equator, suggesting it originated in solar orbit. They also note that such situations are not uncommon in the solar system – Neptune’s moon Triton, for example, is most likely a captured Kuiper Belt object. In addition, the team’s modelling show that a binary-exchange object of the Moon’s size and mass interacting with the Earth’s gravity would likely start in an elongated elliptical orbit as it is initially captured by the Earth, which overtime would become increasingly circularised to a point where it became tidally locked with Earth: always keeping the same face towards the planet. After this, tidal evolution would be reversed, causing the object to slowly start to move away from Earth once more.
Much of this matches the behaviour of the Moon, which is now roughly 382,400 kilometres from Earth and moving away at the rate of 3 centimetres a year. This might not sound like a lot, but it is far enough for the Moon to be entering what will, in the centuries ahead, become an increasing tug of war between Earth and the Sun for control of the Moon – one which the Sun will eventually win.
Even so, and as the researchers note, their work is not conclusive whilst raising new questions:
No one knows how the moon was formed. For the last four decades, we have had one possibility for how it got there. Now, we have two. This opens a treasure trove of new questions and opportunities for further study.
Professor Darren Williams, Penn State Behrend College
China Unveils Lunar Spacesuits
China has unveiled the new generation of its space suit intended for use in their upcoming lunar exploration programme.
The suit appears to be a further Feitian space suit developed for extravehicular activities aboard the Chinese space station; however it remains unnamed, with the China Manned Space Agency (CMSA) launching a competition to name the new suit.
An artist’s renderings of China’s new lunar spacesuit. Credit: CMSA
Unveiled at the third Spacesuit Technology Forum hosted by the China Astronaut Research and Training Centre, with the press release highlighting the red strips on the suits, stating they are inspired by the famous “flying apsaras” of Dunhuang art (upper arms), and rocket launch flames (legs). It is said to be equipped with a multifunctional integrated control panel that is easy to operate, cameras for recording close-up and long-distance scenes and made from protective materials that can effectively shield astronauts from the lunar thermal environment and lunar dust.
Alongside the presentation of the new suit, CMSA released a video promoting the new suit and featuring taikonauts Zhai Zhigang and Wang Yaping. Zhai made history in the Shenzhou-7 mission as China’s first person to conduct a spacewalk; he also flew Shenzhou-13 with Wang, who became China’s first female taikonaut to complete a tour of duty aboard the Tiangong space station. Their use as models for the new suit has spurred speculation that they might be part of China’s first crewed lunar landing – although given the first landing will be before 2030, this is purely an assumption.