Tango with Nottoo, November 2022 – click any image for full size
Tango with Nottoo started life some three years ago as a tango dance venue occupying a Mainland parcel. The brainchild of Nottoo Wise, the club has expanded over the year, both in terms of size and offerings, and in August of 2022, it completed a move to its own Full region, where it continues the original club lounge as well as offering a range of dance venues, a movie theatre, beach, art gallery – and an eclectic mix of “hidden” attractions.
With its primary function being dance, music and entertainment, the region is styled differently to the majority of those featured in these pages, in that there is little overt terraforming within the region. Instead it present a largely flat aspect, the surface area given over to the various venues for music and dancing. Which should not be taken to mean it is without character; it’s simply that its character is invested in the venues and facilities offered.
Tango with Nottoo, November 2022
The dance settings take multiple forms, from the main ballroom, through the outdoor Always Tango area, where – as the name implies – an opportunity to dance a tango is always available (and, for those seeking a dance partner, the opportunity to find one through the Tango with Partners group) and the venues for both blues and jazz, to the outdoor dance expo garden and the very Deco inspired outdoor dance floor.
These all share the region with the Roxy Theatre, where dance performances may be held, the Bijou movie theatre, an art gallery, a 1950’s style diner and multiple places to sit outside and relax. Chief among these are the fine dining area, the beach and and an over-the-water bayou-style bar. Dancing is available through thanks to well-placed dance machines ,and the region boasts over 300 couples dances, a Spot-on Group Dance System, male and female individual dances and even a 3-person dancer!
Tango with Nottoo, November 2022
All of these points of interest are accessible from the main landing point – just follow the labelled paths leading away from it. The landing point also provides a wealth of information via notecard givers (and some gifts for visitors), as well as the daily schedule of events. A bicycle rezzer is available for those wishing to explore by means other than using their feet, and the Landing point is also home to one of the stations’ little railcar stations.
The latter provides access to the region’s public “hidden” areas, sitting beneath the land and the waves. To explore them, click the railcar sign at the station and hop aboard the little two-seater car it rezzes ((if you are riding on your own, make sure you sit on the right-hand side). Take the car to start the ride, and the car will carry you through an eclectic series of settings linked by tunnels. Each setting has its own little station in the form of a barrier that will stop the car (allowing you to get out and explore) and a further rezzer (allowing you to resume your ride). Should you opt not to explore any of these settings, touch the barrier to make it raise out of the way, and your car will resume its journey.
Tango with Nottoo, November 2022
Off to the east side of the region are two smaller islands. Accessible via jet ski, the northernmost of these islands presents a garden space open to all and, at the time of my visit, caught in the colours of autumn. south of this, the second island is a “members only” area, only accessible to those joining the Tango with Nottoo group (at no charge). Reached via a members-only teleport at the main landing point, the member’s island is one of the many benefits offered to group members – for details of the rest, check the Tango with Nottoo Member Benefits notecard available via the information board at the landing point for full details.
For anyone who loves dancing, Tango with Nottoo offers a lot, whilst the additional facilities – including the art gallery, which I barely touched upon here despite it hosing an exhibition of Milly Sharpe’s fabulous fractal art at the time of my visit – means the region has a lot to attract Second Life explorers as well.
Tango with Nottoo, November 2022
With Nottoo being out-world for much of her time, the region is largely cared for by Mona Layla (Monalayla) – who extended an invitation to me to visit; and Rachela Rossini – who gave her time to answer my questions during my visit as well as providing a pleasant welcome. To both of them I offer my thanks.
SLurl Details
Tango with Nottoo (Tango, rated Adult – but using Moderate rules within the public spaces)
Nitroglobus Roof Gallery: Milena Carbone – AfricaMilena Carbone is an artist who is constantly pushing at both the boundaries of her own creative means of expression and what might be regarded as the bounds of comfort of her audience. Through her work, she has encouraged us to consider the world around us and challenged us to face up to the harm we, as a race, appear hell-bent on doing to it – even though that harm may ultimately bring about out own demise. She has also often held up a mirror to humanity’s arrogance and poked us with the conceit of gods created in the image of Man, and she has dared to encourage us to face the failures of religion, the threat of climate change, and more.
Almost all of this is touched upon and / or embraced in Africa, her new exhibition of art opening on October 31st, 2022 at Nitroglobus Roof Gallery, curated and operated by the marvellous Dido Haas; a complex and layered exhibit, comprising images, interactive 3D elements, and external elements that present further depth to the installation, which takes as its central (but not exclusive) focus the subject of climate change.
The most obvious elements in the exhibition are the images. These are framed within the continent of Africa – a place of both unparalleled beauty and bio-diversity, and which has perhaps suffered more than most thanks to the uncaring hands of the so-called “developed” nations, and is set to do so even more unless those same developed nations are willing to actively work to reduce the global threat of climate change. They present two interwoven stories, those of Grace and Abel, which unfold as an almost Biblical journey from creation (symbolised by In the Beginning, located on the Gallery’s east wall to the right of the café building), to the end times and the fall of mankind, couple with latter-day plagues.
Nitroglobus Roof Gallery: Milena Carbone – Africa
These are stories we can enter into by clicking on the title plague for each image, located just below its lower left corner. These can be used to open “chapters” on Milena’s website which both offer narratives on Grace and Abel and their respective journeys, and offer-up broader food for thought -notably on the realities of climate change – for consumption.
Within the images themselves – which are also hybrid art pieces, utilising background generated via the Midjourney AI art generator combined with avatar images – can also be found reflections and dualities. Take Deluge for example. In title and tone, it echoes the story of Noah and the flood, and the destruction of all that went before; but even as it does so, it suggests more of a foreshadowing then a look back: because as climate change increases, the people of Africa – as noted in the preceding Burn Them All! – will face some of the greatest outfalls, prompting a mass migration – a literal deluge of peoples that could wash away our comfortable civilisations to the north and east of that great continent.
Running along the centrelines of the gallery’s two arms is a series of plinths mounting models of African animals. Each bears a label which may at first appear nonsensically humorous, but in fact offers commentary on the nature of our global society, where the divide between humanity and nature is becoming ever wider and more harmful, thanks to the former’s self-indulgent demands for instant gratification in all things. These models also carry additional subtext on both the issue of climate change and on the nature of “god” – whether seen as an independent consciousness or as a construct formed in our own image -, and our relationship with it. To appreciate this, it is essential that visitors to Africa approach each of the plinths in order to trigger its transformation.
Nitroglobus Roof Gallery: Milena Carbone – Africa(There is also a further interactive element to the installation in the form of a dance video displayed at one end of the gallery, complete with dance positions visitors can use to join in with the performance.)
Further examination of our relationship with “god” can be found within the constructs of the images and the characters within them. Milena herself notes that “Abel” is drawn from the Biblical tale of Cain and Abel, whilst “Grace” is a name and a term often associated with “god”. The story of Cain and Abel is perhaps one of the clearest demonstrations of “god’s” fickleness whilst also presenting a metaphor for man’s inhumanity to man – something for which Africa, as a continent both straddling the equator and containing some of the world’s poorest and more in-need nations will perhaps pay one of the highest prices.
Nitroglobus Roof Gallery: Milena Carbone – Africa
From the above, it is hopefully clear there is a lot to unpack and interpret within Africa, and that it is an installation where interpretation should be guided via the artist’s words, and not an “interpreter” (or interlocutor) like me. As such, I will leave you with a recommendation that you visit Africa and allow yourself time to be immersed within the stories and flow of ideas lying within it.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, October 30th, 2022
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 6.6.5.575749 – formerly the Maintenance M RC viewer – promoted October 26.
A rendering of the Tiangong Space Station as it appears ahead of Mengtian’s arrival. Centre right is the Tianhe core module with the Tinazhou 14 resupply vehicle on its aft docking port. To the left, the Wengtian science module and the Shenzhou 14 crew vehicle are attached to the starboard and nadir ports of the main docking hub, respectively. Credit: Shujianyang
This coming week should see the launch of two rocket behemoths from very different parts of the world and with.
On Monday, October 31st, at approximately 07:30 UTC, Long March 5B (Y4) should depart the Wenchang Spacecraft Launch Site on the island of Hainan, off the south-east coast of the mainland, carrying aloft the ~20 tonne Mengtian laboratory module en route for a rendezvous with the Tiangong space station.
The massive Long March 5B, China’s most powerful launch vehicle, departed the vehicle integration facility at the launch complex on October 25th, carrying the space station module enclosed in its payload fairings, the combination sitting on their mobile launch platform.
The Long March 5B Y4 booster and payload sitting on its mobile launch platform within the vehicle integration building at the Wenchang Spacecraft Launch Site. Credit: Xihu News
At 17.9 metres in length and 4.2 metres in diameter, Mengtian – Chinese for ‘Dreaming of the Heavens” – is in many ways similar to the Wentian (“Quest for the Heavens”) module which launched and rendezvoused with the space station’s Tianhe core module in July 2022. In all, the module will provide three science experiment facilities:
A pressurised environment for researchers to conduct science experiments.
An unpressurised experiments / cargo module with doors that can be opened to space.
A series of external experiment racks.
To reach the unpressurised elements, the module includes its own dedicated airlock, and has a single docking port for connecting to the Tinahe core module and two robotic arm, the first 5 metres in length and a smaller unit called an “indexing robot arm”. Mengtian will initially rendezvous with Tiangong “head-on” relative to Tianhe, allowing it to dock with the core module’s axial port on its main docking hub, minimising the risk of setting the entire station into an unwanted rotation.
The Mengtian science module. Credit: Leebrandoncremer
The axial port was, up until the end of September 2022, occupied by Wentian, however this used its own “indexing robot arm” to move itself to the starboard docking adapter on Tianhe, temporarily giving the space station a lopsided “L” shape. Some time after initial docking, Mengtian will similarly use its own small but powerful indexing arm to disconnect from the axial port and swing around to connect with the hub’s portside docking ring, leaving the station in its final T-configuration.
Mengtian’s arrival at the space station will signal the end of Tiangong’s main construction phase, as there are currently no plans to add further modules permanently to the 60-tonne station. Instead, the fore and aft axial docking ports on Tinahe will be used primarily by crew-carrying vehicles and by Tianzhou automated re-supply vehicles.
However, China does plan to launch a free-flying space telescope called Xuntian (“Space Sentinel”) in December 2023. This will by roughly equivalent to the Hubble Space Telescope in size, but have a field of view 300–350 times larger, coupled to a 2.5 gigapixel imaging system. Xuntian will periodically dock with Tiangong to allow for servicing of its equipment and systems and to allow its propellant tanks to be topped-up.
The launch is also liable to result in controversy. By design, Long March 5B’s 21.6 tonne (unfuelled) core stage and engines are designed to reach orbit. However, China has thus far made no attempt to equip it with the means to make a controlled re-entry into the upper atmosphere so that any parts surviving that re-entry (such as the engines) do not strike any populated areas of Earth.
The Long March 5B Y4 and Mengtian science module and mobile launch platform move by rail from the vehicle integration building towards the launch pad, October 25th, 2022. Credit: Xiahua News
This cavalier attitude has caused consternation within the international community. In 2020, for example, debris from a Long March 5B core landed in Cote d’Ivoire, damaging several buildings; then in July of 2022, parts of the vehicle used to lift the Wentian module to orbit, came down uncomfortably close to populated areas in Indonesia and Malaysia. In this, China does itself no favours by refusing to share details regarding specific trajectory information related to these launches with the wider global community, even though doing so would allow a degree of forewarning in areas at risk from debris.
The second big launch for the week should then follow on November 1st, when A SpaceX Falcon Heavy – currently the world’s most powerful rocket vehicle – is due to depart Pad 39A at Kennedy Space Centre, Florida. It will mark the first Falcon Heavy launch in more than three years – and only the fourth overall for a vehicle which at one time was to have become the backbone of the SpaceX fleet (the company now intends for its Starship / Super Heavy combination to replace both Falcon 9 and Falcon Heavy).
The launch is the first US Department of Defense mission for Falcon Heavy. Designated USSF-44, it will deliver at least four satellites directly to geosynchronous orbit. In order to achieve this, the core of the vehicle – A Falcon 9 booster core – will be expended, rather than attempt a landing. The two booster segments – also Falcon 9 booster cores – will be return for an attempted simultaneous landings at Cape Canaveral Space Force Station, Florida.
The Falcon Heavy booster performs a static fire test on Pad 39A at NASA’s Kennedy Space Centre on October 27th, 2022. Following the test, the rocket was lowered back onto its side and returned to the processing facility at Pad 39A so that the payload can be integrated prior to the vehicle being returned to the pad ready for launch. Credit: SpaceX
The lack of Falcon Heavy launches since 2019 illustrates a potential problem SpaceX may have with its plans for Starship / Super Heavy.
Simply put, with its ability to lob 63.8 tonnes to low-Earth orbit (LEO) and 26.7 tonnes to geosynchronous transfer orbit, Falcon Heavy was supposed to lower the cost of lifting payloads to orbit. However, in order to get close to this, it needs to launch relatively close to its payload capacity, and in an age of increasingly smaller and lighter satellites and payloads, its capabilities are seen as too excessive for most customers. Even in a rideshare capacity, where the costs can spread among multiple payload providers, the additional lead time involved in waiting for sufficient customers to sign-on to a Falcon Heavy launch have made it unattractive to potential customers, thus limiting its commercial viability; something that may prove to be the case with Starship / Super Heavy, with its much greater capacity.
Roc Shows off Stratolaunch’s Talon
Stratolaunch, builder of the world’s largest airplane, flew a prototype of its planned air-launched Talon hypersonic vehicle for the first time on Friday, October 28th, 2022, slung beneath the massive Roc aircraft, which uses two modified 747 fuselages, lifted the Talon-A TA-0 vehicle into the Mojave desert sky in captive/carry flight lasting over five hours and designed to pave the way for more extensive test flights.
The Stratolaunch Roc takes to the air with Talon-A TA-0 prototype mounted on its central launch pylon, marking the first time the latter as been flown. Credit: Stratolaunch
At 8.5 metres in length and weighing 3.7 tonnes, Talon-A is an air-launched, automated hypersonic aircraft capable of flying at speeds of Mach 5 through Mach 7 (6,100–8,600 km/h). Previously known as Hyper-A, the vehicle is designed to offer a reliable test-bed for hypersonic research and experiments. It is intended to be used by the US the government, the US Department of Defense, the commercial sector, and academia, and can carry both internal and external experiment payloads.
The massive Roc aircraft is designed to act as an aerial launch vehicle for a range of vehicles being developed by Stratolaunch, including the orbit-capable Talon+ (formerly Talon-Z) and even larger Stratolaunch spaceplane (previously called Black Ice), which is intended to deliver larger payloads – and possibly humans – to orbit in the future. In addition, Stratolaunch are in discussions with a number of potential customers to use the aircraft as a launch platform.
Stratolaunch Talon-A. Credit: Stratolaunch
As it stands, the success of the captive / carry flight means the Stratolaunch will now likely move to a vehicle drop test – releasing the TA-0 test vehicle in flight so that it can glide to an automated landing – which may occur in December 2022. Assuming that flight is successful, testing will switch to the first Talon-A production model (TA-1), which will likely undertake the first powered flight test in early 2023. Providing flight testing with TA-1 is successful, Stratolaunch plan to start offering commercial, payload-carrying flights with fully reusable version of the vehicle designated TA-2 and TA-3 before the end of 2023.
It’s time to highlight another week of storytelling in Voice by the staff and volunteers at the Seanchai Library – and this week previews the launch of a very special event.
As always, all times SLT, and events are held at the Library’s home in Nowhereville, unless otherwise indicated. Note that the schedule below may be subject to change during the week, please refer to the Seanchai Library website for the latest information through the week.
Sunday. October 30th, 13:30: The Halloween Tree, Conclusion
On All Hallows Eve, young Pipkin is due to meet his eight friends outside a haunted house on the edge of town. But as he runs through the gathering gloom, Something sweep him away.
Arriving at the house in expectation of meeting Pipkin, his eight friends instead encounter the mystical Carapace Clavicle Moundshroud, who informs them that Pipkin has been taken on a journey that could determine if he lives or dies.
Aided by Moundshroud and using the tail of a kite, the eight friends pursue Pipkin through time and space, passing through the past civilisations – Egypt, Greece, Rome, the Celts – witnessing all that has given rise to the day they know as “Halloween”, and the role things like ghosts and the dead play in it.
Then, at length they come to the Halloween Tree itself, laden with jack-o’-lanterns, its branches representing the confluence of all these traditions, legends and tales, drawing them together into itself.
On All Hallows Eve, how better than to get in the mood than with some classic tales of horror and spookiness from literature?
Perhaps one of the most well-known (and well-loved) stories of dark hauntings is Washington Irving’s The Legend of Sleepy Hollow, which is also one of the earliest examples of American literature of enduring popularity.
While setting his tale in post-revolutionary America in the year 1790, Irving in fact wrote the sorry tale of school teacher Ichabod Crane and his ill-fated encounter with the Headless Horseman in 1819 while visiting England, where his also penned Rip Van Winkle.
Both The Legend of Sleepy Hollow and Rip Van Winkle first appeared in print in his serial The Sketch Book of Geoffrey Crayon, Gent, which also marked Irving’s first use of that pen name. As with Rip Van Winkle, Irving claims he first heard about The Legend of Sleepy Hollow from “Diedrich Knickerbocker”, a fictional “Dutch Historian”.
Two New York Police Department detectives investigate a series of suspicious deaths across New York City. These are revealed to be the work of a race of intelligent beings descended from canids, called the Wolfen.
The novel is told from the point of view of the human characters as well from the Wolfen themselves. The savage killing of two New York City policemen leads two detectives, a man and a woman bound together by a strange, tough passion, to hunt down the wolfen – once called werewolves.
October 28th, 2022 saw the opening of an extensive retrospective exhibition of art by Bamboo Barnes at the Akiniwa region, a part of the Akipelago, operated and managed by Akiko Kinoshi (A Kiko), supported by 3D sculptures by Kerupa Flow. And when I say extensive – I mean just that: Personal Aspect occupies for main gallery buildings, at well as featuring three “outdoor” displays of her work.
Hailing from Japan, Bamboo is, as I’ve frequently noted, one of the most vibrant, evocative, provocative, and emotive artists displaying her work in Second Life. She is also an artist unafraid of plumbing the depths of emotion and introspection – as can be witnessed in some of the pieces in this exhibition.
Bamboo Barnes: Personal Aspect
Bamboo began her artistic journey within Second Life in 2011, initially working with with avatar screenshots. In 2013, she became enamoured by in-world 3D art installations, a factor which dramatically altered her artistic trajectory, her work shifting to a format that often presents a 3D depth through the two-dimensional form of the artist’s canvas.
With this shift in direction also came an opening of style and structure to her work; there is a focus of emotional self-reflection within many of them, often expressed through the use of vivid colours. She also sought explore the more esoteric through her art – the nature of self; metaphysics; what constitutes reality; the nature of art itself – particularly her own art, and more.
Bamboo Barnes: Personal Aspect
Within this exhibition – which features pieces Bamboo has selected as her “favourites” from her extensive portfolio – we are invited to join Bamboo on her journey through art, a journey that extends from Second Life landscapes and reflections on the world of 3D art within the platform, through to pieces offering insight into her examination of the themes noted above, onwards to her original digital art and experiments with motion (animation) in art to offer further dimensional depth.
Art is never finished, just abandoned.
Bamboo Barnes
Bamboo Barnes: Personal Aspect
One of the many beauties of Bamboo’s work is that she doesn’t not offer her own thoughts on it; rather, she prefers to allow her art to speak directly to those viewing it. As such, I don’t plan to offer much of a personal exposition on this retrospective. What I will say, however, is that this is an exhibition that should be seen – and appreciated with the time it deserves; to hurry through the halls risks missing the depth of expression awaiting discovery.
In this, Kerupa’s 3D work is the perfect accompaniment to Bamboo’s. Also hailing from Japan, Kerupa shares that heritage, while her art plumbs similar depths of expression and theme.