Sunday, January 2022 saw Cica Ghost open her latest installation in Second Life – just in time for us all to have some extra New Year’s fun.
Funday offers a strange, partially-ruined town, a place where buildings are often lacking the accepted number of walls and roofs, and where courtyards and floors sit partially exposed, partially broken, while roads and paths are entirely absent – the way to get around is to simply wander over grass and under the trees.
Cica Ghost: Funday, January 2022
However, this is not a place of ruination; rather it is a place of contrasts and brightest; a playground, if you will. Paintings of flowers and windows brighten walls – one of which has Cica’s smiling face peeking down on those below, and another of her playing with a butterfly; washing lines are draped with oversized socks and jumpers, and run between towers and poles, suggesting they could by shimmied along, Nor are all the buildings in ruins; a number of them form thin, squat towers sitting upon pedestals, some of which can be reached by ladders.
Scale is something that doesn’t matter here; chairs suitable for avatars mix with couches (and floor lamps!) big enough for giants. Meanwhile, the local inhabitants – cows, sheep and chickens – suggest a farm may once have been a part of the setting, while the local ponds are home to decidedly oversized frogs and a water worm.
Cica Ghost: Funday, January 2022
Given this is a build by Cica, there is also a mix of interactive elements (including the seats mentioned above) awaiting discovery, allowing visitors to enjoy a dance or two and even perform some acrobatics.
Easy to explore and with elements that match its the first part of its name, Funday presents an easy way to relax and enjoy Cica’s creativity.
An artist’s impression of the James Webb Space Telescope (JWST) with Earth and the Sun beyond. Credit: ESA/ATG medialabFollowing its launch on December 25th, the James Webb Space Telescope (JWST) has completed several major steps in the deploying its critical hardware as it continues its month-long voyage towards its operational orbit at the Earth-Sun L2 Lagrange point.
Here’s a brief summary of what has happened thus far with deployments.
In the early houses of Wednesday, December 29th (UTC), Earth, JWST unfolded the forward sunshield pallet, lowering it away from its stowed position in front of the central deployable tower supporting the (still folded) primary and secondary mirror assemblies and the telescope’s massive radiator, and containing JWST’s vital electronics and science instruments.
Unfolding the after sunshield pallet. Credit: NASA
The lowering process took 20 minutes to complete, and was followed by the aft sunshield pallet being unfolded from behind the mirror tower in an 18-minute operation. After this, JWST went through several hours of additional operations, including ensuring the pallets were correctly in place and their sub-systems operational, and orienting the observatory with respect to the Sun to provide optimal shielding when the sunshield is deployed and tensioned. Once all this was completed, the command was given for the pallets to lock themselves in their deployed condition.
Later on the 29th, the deployable tower was raised some 1.2 metres from its “stowed” state over a 6-hour period. This moved it away from JWST’s thrusters and provided the room needed for the sunshields to be deployed and tensioned.
A computer generated simulation of one of JWST’s boom being extended, drawing out the sunshield membranes. Credit: NASA
Thursday, December 30th saw the deployment of the sunshield commence. A three-part process, and one vital to the observatory’s operations, this started with the drawing back of the membranes that have protected the delicate sunshield.
On December 31st, the booms that extend the five layers of the sunshield were extended. Operations began at 18:30 UTC, with the five segments of the portside boom extending outwards from the mid-point between the two sunshield pallets. The procedure took just over three hours to complete, and was followed by the extension of the starboard boom, which took a similar amount of time, also drawing out the membranes of the sunshield on that side of the telescope.
A computer generated simulation of one of JWST’s boom being extended, drawing out the sunshield membranes. Credit: NASA
Overall, the deployment of both booms took longer than anticipated, but was successfully completed, with operations then being halted for New Years Day. On January 2nd, operations resumed on the tensioning of the membranes. A 2-day operation, this involves separating each of the 5 membranes from the others and then tensioning it using the side booms and four fore-and-aft boom mechanisms. Once this has been completed, the focus will switch to deploying the telescope’s “eyes” – its secondary and primary mirrors.
The other news on the programme is that such was the accuracy with which the Ariane 5 placed JWST onto its transfer orbit, coupled with the smoothness of the first “mid-course” thruster burns, far less propellants that had been estimated. This now means that the observatory has sufficient reserves to complete at least a 10-year mission (although NASA remains focused on the 5-year primary mission).
Space Highlights for 2022
I generally try to look ahead to key space events at the start of the year, and while this may not be as comprehensive as previous years, but the following is offered as a broad summary of high points.
Launches
Several new launch vehicles will undergo initial launch tests / flight in 2022, including:
Block 1 NASA Space Launch System (USA): maiden flight, February 2022 carrying the Artemis 1 mission hardware and cubesats for ten missions in the CubeSat Launch Initiative (CSLI), and three missions in the Cube Quest Challenge. The payloads will be sent on a trans-lunar injection trajectory.
Artemis 1 mission – click for full size. Credit: NASA
Florence, January 2022 – click any image for full size
Just before the New Year, Gnaaah Xeltentat kindly sent me a personal invitation to visit the latest iteration of Florence, his Homestead region, which has once again been given a new look by Iska (sablina), assisted by Tippah.
At the time of my last visit, almost a year ago (see: Spring at Florence in Second Life), the region had just been given a clever re-working by Iska and Tippah that offered a new twist on the layout originally created by Minnie Atlass in 2020 (see: Witnessing Florence at Low Tide in Second Life). For this iteration, however, the region has been completely redressed by Iska, who has drawn her inspiration from a location in the physical world; the Salin d’Aigues-Mortes (salts of Aigues-Mortes), Camargue, in the south of France.
Florence, January 2022
A natural wetland sitting between the Mediterranean Sea and the two arms of the Rhône delta, it is home to what are regarded as the largest salt water marshes in Europe, one designated a Wetland of International Importance. It is also noted as an Important Bird Area, being home to over 400 species of birds (including being one of the few European habitats for the greater flamingo). And if that weren’t enough, the area is also the one of the largest producers of salt in Europe, producing around 500,000 tonnes annually.
Whilst relatively unknown outside of France, the salt marshes are a popular destination for the French – the rather vicious local mosquitoes notwithstanding ; the result of both the richness of the birds and wildfowl in the area, and the natural pink colouring to the waters of the marshes.
The latter is due to the microscopic algae, Dunaliella Salina (the same algae that gives flamingos their pink colour) which is common in high concentrations of enclosed salt water environments such as the waters of the Camargue. As the algae grow, they synthesise beta-carotene (which also gives some fruit and vegetables their red/orange pigment) to protect them from the Sun, and it is this that makes the water in the marshes appear pink.
Florence, January 2022
All of this is encapsulated in the new design for Florence in a simple, elegant layout that has much to attract the eye and camera. The landing point is located alongside a collection of 31 rectangular salt tanks, representing those used by the Salin Group to “farm” salt from the region. To the east, but close by are three high peaks of salt, representing the massive tables of salt that tend to be a feature of the region as the salt is gathered and dried..
To the west, the land forms more natural bodies of salty water, sand / salt bars between them helping to form paths, and the waters being enjoyed by flamingos and other waterfowl whilst other birds fly overhead. Along one of the “sand bars” there sits a little artist’s retreat, its flat roof offering a good look-out point, while a wooden deck extends out into another pool, offering a further place to sit – or from which to fly a kite.
Florence, January 2022
Crossing the region from east to west is a set of rail tracks long which flatcars of salt can be rolled, a rutted cart / vehicle track paralleling them. A bridge from here spans a water channel to reach a larger dry landmass, home to a lighthouse and the local hotel. The latter also reflects the relaxed nature of the area: unsupervised access to the salt lakes in Camargue is not permitted; visitors are expected to stay locally and join one of the guided tours offered by foot or bicycle – or, for those who like a little more comfort – in a 75-minute train ride (perhaps again reflected by the presence of rail tracks in the region).
Also to be found in the region are horses, emblematic of the Camargue horse, an ancient breed of horse of unknown origin and indigenous to the region, believed to be one of the oldest breeds of horses in the world. These hardy little horses live in semi-feral conditions and are the traditional mount of the Camargue “cowboys” who herd the black Camargue bulls. The latter are also represented in the region by a pair of cattle.
Florence, January 2022
As well as getting around on foot, the region offers a little motor boats visitors can putter around it, motoring along the water channel, or out to the little island that sits on its own, or around to the western side of the region, and the cover that awaits to one side of the hotel.
It is clear that a lot of care and consideration has gone into the creation of this setting such that it offers a good suggestion of the Camargue salt marshes whilst also being a very individual region design even if one does not reference them. There are multiple places to sit – outdoors and in, and – as noted – numerous opportunities for photography. But don’t take my word for it – get your 2022 off to a non-snowy start and pay a visit yourself!
Currently open at the Akikazie art hub, curated by , is a new large-scale installation by Betty Betty Tureaud which, for lovers of mazes in liable to be a measure of fun.
The Incal and the 4 Mazes takes as its inspiration the French graphic novel series The Incal (L’Incal), written by Alejandro Jodorowsky and originally illustrated by Jean Giraud (aka Mœbius), who published the initial stories in the series in the sci-fi / horror Métal hurlant (“Howling Metal”) science fiction / horror comics series he co-founded, with the full story later published as a single volume by Marvel/Epic. Set within a fictional universe, the story follows the adventures of one John Difool (in fact, the first story in the series was published in Métal hurlant as “an Adventure of John Difool, and artefacts referred as the Incal – The Light Incal and the Dark Incal.
Akikaze: The Incal and the 4 mazes
The graphics novels include multiple themes, include technology, religion, space, good and evil, and more. Within her installation, Betty pays homage to some of the themes and ideas through the four titular mazes of the the installation. These are placed individually placed in four blockhouses, and can only be accessed via a teleport. Each maze has a theme (or element) – Space, Earth, Techno, Mind – with those visiting referred to at the 5th element (a passing reference, perhaps to Luc Besson’s cult sci-fi classic of that title?).
Accessing the mazes is a case of clicking on one of four teleport options arrayed at the landing point, an Incal (Space), an eyeball (Mind), a pink flying creature and a cube that is mindful of those of the Borg (Techno).
Clicking on any of the them will carry you into one of the mazes. These are all designed around s similar layout, and the object in to find your way to the centre and both a gift and a teleport back out. None is particularly hard to complete and again – having not read the Difool series, I’m not entirely aware as to how each ties back to L’Incal.
However, there is a rich degree of symbolism within some of the mazes. Within the “techno” cube for example, the Borg-like is continued, but more particularly, some of the hallways of the maze are marked by curtains of binary notation (and clouds of binary lines tumble here and there as well). These may at first appear meaningless, but actually represent “2022” – the year we have just entered. Meanwhile, within the “Mind” maze, there appear eyes and hands that bring to mind the Lab’s own eye-in-hand logo.
As well as the mazes, visitors can walk between the blockhouses to a teleport point at their centre. This provides access to the Incal floating over the installation as it flashes light through the four blockhouses.
Akikaze: The Incal and the 4 mazes
Those teleporting up to it will find sit points allowing them to take flight around the Incal – although be careful when you stand: it can be a bit of the drop to the blockhouse below. There are several other points of interest around the installation – a crystal that rotates on being touched, another that generates a pyramid of glowing light, a cube that will provide information on Betty and a rezzer for a buzz fly creature you can sit on and take to the air.Curious, symbolic, carrying with it an element of fun and the homage to Jodorowsky and Giraud Incal and the 4 Mazes offers an interesting visit with rewards from Betty.
Pemberley, December 2021 – click any image for full size
You won’t find Fitzwilliam Darcy waiting to host you at Pemberley, the Full region in Second Life held by Jude Mortensen and NataliaLinn. Nor, to be honest, will you find any grand manor house ready to captivate your gaze from afar, or signs of the gardens and English countryside across which Elizabeth Bennet first caught sight of the house.
What you will find, however, is a public region landscaped by Dandy Warhlol (Terry Fotherington) that presents a rich rural environment dusted in snow, surrounded by icy mountains, and watched over by the remnants of what might have been a once great manor – or, possibly, a fortified house or even a church.
Pemberley, December 2021
It is Pemberley, but not of old, time has passed, and the land has grown wild, and yet the magic lives on at Pemberley.
from Pemberley’s About Land description
The latter stands to the south of the region, on a table of rock that forms the main highlands for the setting but which is cut off from it via an narrow, stream-like channel that connects the east and west sides of the region’s surrounding water. Whilst rocks and debris offer various points where this little channel can be crossed, the primary means of doing so is via two bridges, one to the east and one to the west.
Pemberley, December 2021
It is the former – eastern – bridge that offers the most direct way up to the ruins. Constructed of stone, it links the snowy slope leading up the the broad steps of the ruins with a rutted road that meanders northwards to connect with the farms, homesteads, smaller ruins and other structures along the east and north side of the region on slightly elevated land. The core of the island remains mostly low-lying, a mix of small fields, outhouses, ruins and fences, interspersed with trees, shrubs and spaces where horses can roam.
The landing point to the region sits within these lowlands, lying towards the north-east. Its position means that explorers have the opportunity to freely choose where they want to go within the region. Paths are available that lead to various locations in the region, such as the little shingle beach on the east side, or the broader sandy beach to the north-west, and which comes complete with a rocky overlook, or the western cove with its old lighthouse. There’s also the promontory running between cove and water channel to reach a more recent lighthouse (with its own little footbridge connecting it with the slopes below the manor house ruins).
Pemberley, December 2021
But to return to the main ruins on the island. These form a point of interest not just for there visual impressiveness and photogenic nature, but also because they are the venue for the region’s music events. Details of these can be found both on the Pemberley website, as and when they are announced, or within the region’s event calendar. However, given this is New Year’s Eve, here are some highlights for those looking for something to do to celebrate, here’s some highlights:
Friday, December 31st:
18:00-20:00 SLT – D.J. Mist.
20:00-21:00 SLT – Samm Qendra live.
21:00-23:00 SLT – D.J. Cati.
Saturday, January 1st, 2022:
15:00-16:00 SLT – Fly Kugin live
Tuesday, January 4th, 2022:
13:00-14:00 SLT – Tay live.
Pemberley, December 2021The direct SLurl to the events space is provided at the end of this article. In the meantime, the region offers an engaging environment with many opportunities for photography. It also – at the landing point – presents visitors with the opportunity to join The Nature Collective group, described as:
The Nature Collective is a Second Life group created with the goal of cultivating a community around sims, spaces and projects which share a common focus on nature and nature conservation/preservation. It is our hope to foster a movement to help people engage and reconnect with the wonder and joy of nature, in the virtual world and beyond.
Click the poster on the the wall at the landing point for more information on the group. And for me – I’ll see you in 2022, when I’ll be resuming my travels through Second Life.
Friday, December 31st 2021 will once again see Bay City celebrate the turning of the year with their annual Prim Drop festivities.
An outdoor, black tie attire and/or full dress event, the Prim Drop is open to all Second Life residents, with festivities opening at 23:00 SLT at the Bay City Fairgrounds in North Channel. Marianne McCann will be providing the music and fireworks in a 2-hour extended DJ set, and food and drink will be provided.
This will also be the final opportunity in 2021 to donate to Child’s Play Charity, a US 501c3 non-profit organisation which helps seriously ill children around the globe during their hospital stays with the purchase of games and gaming equipment. So even if you can’t make it to the event itself, do please consider taking a couple of minutes out of your SL day and stopping by the Bay City Fairgrounds and making a donation via one of the collection bins there. 2021 has already seen over L$450,000 raised for Child’s Play – can the Prim Drop carry it through LS500,000? Why not hop along and join the fun and help push the funds even higher!
Bay City Prim Drop 20211/22 – get your photo taken on the red carpet!
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 group for Residents of Bay City.
Inara Pey: Living in a Modemworld 