Crew Preps for Two Space Deliveries Racing to Station

The SpaceX Dragon space freighter and Russia's Progress 74 resupply ship blast off to resupply the space station
(At left) The Falcon 9 rocket from SpaceX with the Dragon space freighter on top lifts off from Kennedy Space Center in Florida. (At right) Russia’s Progress 74 resupply ship blasts off from the Baikonur Cosmodrome in Kazakhstan.

Two space deliveries are racing to the International Space Station and the Expedition 61 crew is getting ready to receive them. Several tons of science experiments, crew supplies and station hardware are in orbit right now to replenish the orbiting laboratory.

Russia’s Progress 74 (74P) resupply ship blasted off this morning from Kazakhstan and is on its way to the station’s Pirs docking compartment for a linkup on Monday morning. Cosmonauts Alexander Skvortsov and Oleg Skripochka will be on duty monitoring the 74P’s automated docking at 5:38 a.m. EST.

The SpaceX Dragon commercial space freighter will arrive first on Sunday and astronauts Luca Parmitano and Andrew Morgan will be waiting in the cupola to capture it. The duo will carefully guide the Canadarm2 robotic arm to reach out and grapple Dragon at 5:30 a.m. Mission controllers will take over then remotely control the Canadarm2 and install the U.S. cargo craft to the Harmony module.

NASA astronauts Jessica Meir and Christina Koch are configuring the space station for the new research gear Dragon is delivering on Sunday. Morgan and Parmitano will also be unloading the multitude of science experiments and critical research samples.

Northrop Grumman deorbited one of its two Cygnus resupply ships in space today four months after it departed the orbiting lab.  It orbited Earth for a series of engineering tests before it was commanded to reenter the atmosphere and burn up safely over the Pacific Ocean.  The most recent Cygnus is still attached to the space station’s Unity module and targeted to leave in mid-January.

Russian Resupply Ship Orbiting Towards Station

Russia's Progress 74 cargo rocket
Russia’s Progress 74 cargo rocket launched from its launch pad at the Baikonur Cosmodrome in Kazakhstan on Dec. 6, 2019

Carrying almost three tons of food, fuel and supplies for the International Space Station crew, the automated Russian Progress 74 cargo spacecraft launched at 4:34 a.m. EST (2:34 p.m. Baikonur time) from the Baikonur Cosmodrome in Kazakhstan.

The resupply ship reached preliminary orbit and deployed its solar arrays and navigational antennas as planned.

It is now the second resupply spacecraft in space on its way to the orbiting laboratory. The SpaceX Dragon spacecraft that launched Friday on the company’s 19th commercial resupply services mission to the station is scheduled to arrive Sunday, Dec. 8. NASA TV coverage of Dragon’s rendezvous and capture will begin at 4 a.m.

After a three-day journey making 49 orbits of Earth, the Progress spacecraft is expected to dock to the Pirs compartment on the station’s Russian segment at 5:38 a.m. Monday, Dec. 9. NASA TV coverage of Progress rendezvous and docking will begin at 4:45 a.m.

Progress 74 will remain docked at the station for more than seven months, departing in July 2020 for its deorbit into the Earth’s atmosphere.

Learn more about space station activities by following @space_station and @ISS_Research on Twitter as well as the ISS Facebook and ISS Instagram accounts.

NASA TV Broadcasting Rocket Launch to Station

Russia's Progress 74 cargo rocket
Russia’s Progress 74 cargo rocket stands at its launch pad at the Baikonur Cosmodrome in Kazakhstan. Credit: Roscosmos

NASA Television and the agency’s website are now live broadcasting the expected launch of a Russian Progress cargo spacecraft from the Baikonur Cosmodrome in Kazakhstan at 4:34 a.m. (2:34 p.m. Baikonur time).

The Progress 74 spacecraft is carrying almost three tons of food, fuel and supplies for the Expedition 61 crew aboard the International Space Station and is scheduled to arrive to the station early Monday morning.

Learn more about space station activities by following @space_station and @ISS_Research on Twitter as well as the ISS Facebook and ISS Instagram accounts.

Adobe Purchases Oculus Medium Immersive 3D Sculpting App

A match made in heaven. 

Earlier this morning Adobe announced the purchase of Oculus’ 3D VR sculpting app, Oculus Medium.

Originally released in December of 2016 alongside the Oculus Touch controllers, the popular sculpting/modeling/painting tool has been used on numerous high profile projects, from the production of AAA VR games like Archangel: Hellfire, to the development of concept art for various feature films. Of course, the app has proved immensely popular among amateur creators as well, resulting in a sizable catalog of user creations. 

“Adobe is one of the world’s leading creation software companies, and they’re committed to providing best-in-class 3D and immersive tools for artists, including Adobe Dimension and the Substance tools suite,” states Oculus in a blog post. “Medium joining the Adobe family brings both new talent and technology to Adobe and solidifies Medium’s position as a premier sculpting application and professional tool.”

This past November the company launched Adobe Aero, their own proprietary AR development platform which allows users to convert existing Photoshop, Illustrator, Cinema 4D, and other 2D and 3D projects into AR. Since its release, creators have utilized the platform to bring various 3D models created in VR to life in augmented reality. With the acquisition of Oculus Medium, it appears as though Adobe is looking to establish its own immersive ecosystem. 

Oculus states that despite the change of ownership, Oculus Medium will remain free to those who activate their new Oculus Touch controllers via the Oculus Store.

However, this purchase does raise some concerns for the future of the 3D modeling app. After the launch of CS6, Adobe began pushing its subscription-based model in the replacement of individual ownership. “Nothing is changing for you today,” states Oculus in the tail-end of the post. Could this mean an eventual subscription-based pricing model for Medium in the future? We’ll just have to wait and see.

Oculus Medium is currently available on the Oculus Rift/Rift S for $29.99.

Feature Image Credit: Oculus, Adobe

The post Adobe Purchases Oculus Medium Immersive 3D Sculpting App appeared first on VRScout.

Neue Entwicklung: So kann Berührung per Touchscreen funktionieren

Ein Vater sitzt mit seinem Sohn in einem Raum. Die Mutter sitzt woanders – und bringt doch ihr Kind mit einer Berührung zum Lachen. Dahinter steckt neue Forschung, die auch das Gaming revolutionieren könnte.

Das Experiment mit der Familie wird in dem Forschungsbericht beschrieben, den Wissenschaftler aus China und den USA in der jüngsten Ausgabe des Magazins „Nature“ veröffentlicht haben.

Dort beschreiben sie, wie die Berührung über weite Entfernungen hinweg funktionieren kann: Sie haben nämlich eine Art künstlicher Haut entwickelt. Die sieht aus wie ein Hightech-Pflaster zum Aufkleben und kann Signale von einem Touchscreen empfangen. Darüber schafft es die Mutter in der Versuchsanordnung, ihren kleinen Sohn zu „kitzeln“.

Pflasterähnliche, künstliche Haut überträgt Berührung

In den Versuchen der Forscher war das Silikonpflaster so groß wie eine Hand. Ihren Angaben nach kann es aber auch größer oder kleiner angefertig werden.

Im Inneren stecken flache, runde, mit Kupferdraht umwickelte Magnete und Mini-Antennen. Diese Mini-Antennen empfangen das vom Touchscreen gesteuerte Funksignal und geben es an Mikrochips weiter, die wiederum die Mini-Magnete steuern. Sobald diese aktiviert werden, fangen sie an zu vibrieren – das kann man dann unter dem Pflaster spüren.

Medizinischer Fortschritt bei Amputationen

Das Pflaster funktioniert kabellos und ohne Batterien. Nach Angaben der Wissenschaftler ist mit ihrer neuen Entwicklung nicht nur die Übertragung von Streicheleinheiten möglich.

Sie denken auch an eine medizinische Anwendung ihrer Forschungsarbeit, zum Beispiel bei Menschen, die einen Arm oder eine Hand verloren haben. Sie könnten das Pflaster mit ihrer Prothese koppeln und so den Gegenstand „fühlen“, den sie gerade mit der Prothese berühren.

Berührungen in Virtual Reality integrieren

Ein weiteres Einsatzgebiet für die neue Entwicklung: die virtuelle Realität. Die Forscher erklären in ihrem Bericht, dass darin bisher hauptsächlich die Sinne Sehen und Hören angesprochen und für den Effekt genutzt werden.

Es gebe zwar bereits Möglichkeiten, Berührungen zu erzeugen. Doch bisher würden solche Geräte mit Stromschlägen arbeiten oder seien wegen vieler Kabel nicht besonders nutzerfreundlich.

Die neuen künstlichen Hautstücke könnten sich auch Gamer bei Videospielen auf Knie, Arme oder Rücken kleben und damit beispielsweise Treffer eines Gegners im Kampf spüren.

Prototyp noch nicht marktreif

Das Pflaster und auch die Software dazu sind noch nicht auf dem Markt. Laut dem Bericht ist der Prototyp aber schon weit entwickelt – die Industrie könnte demnach also schon bald einsteigen.

 

Quelle:

https://www.swr3.de/aktuell/nachrichten/Neue-Entwicklung-So-kann-Beruehrung-per-Touchscreen-funktionieren/-/id=47428/did=5286174/661nd8/

 

 

German Circus Uses Holograms Instead Of Live Animals For A Cruelty-Free Magical Experience

 

Entertaining the crowds since 1976, Circus Roncalli has done something unimaginable – they have swapped out horses, lions and elephants for holograms. And the show remains spectacular.

Circus Rocalli decided to make drastic changes in aid of fighting animal cruelty in the booming industry.

The shows still feature tusks, tails and an array of acrobats and fiery circles, but in a world’s first, not a single animal is real. They recreated the magnificent 3D holographic imagery with projectors which fill an arena measuring 32 meters (105 feet) wide and 5 meters (16 feet) deep with a view of 360°, for the entire audience to enjoy.

TAG/TRAUM, Roncalli’s agency has joined forces with Bluebox who has partnered with Optoma who have installed 11 ZU850 laser projectors throughout the arena, providing for a mesmerizing experience. It’s important to understand that the Idea and Concept was from Bernhard Paul the Founder and Director of Roncalli.

Birger Wunderlich at Bluebox said, “We have been using Optoma projectors for 6 years and have consistently had a very positive experience in price, performance, and reliability. We needed a high contrast projector with great colors for the 3D effect and the ZU850’s 2,000,000:1 contrast is perfect for this project.”

Their bold moves comes at a time where animal living conditions in captivity are under dire concern.

Here is an Interview with Bernhard Paul the Founder and Director of Circus-Theater Roncalli

Bernhard Paul the Founder and Director of Circus-Theater Roncalli

Horses and dogs were part of your shows for many years.Don’t you miss them ?
Times changed also Opinions change. Transporting animals on congested/full highways is an anachronism and not necessary. In Begin of 2016 I had the wish to show animals in the circus in a poetic and modern way. Together with „La Fiesta Escenica“ from Spain I did show already different animals as puppets and costumes. For example Polarbears. I saw the Superbowl from America. And Justin Timberlake was singing with Prince. But he did pass away. I was so impressed from the holographic technic. So I wanted to have It round. In  Begin 2017 I hired a new CDO (Chief Digital Officer). Markus Strobl became the CDO and CCO (Chief Communication officer). He did lead now on together with me the Project. In March 2018 was the Premier of the 300° Holographie in the Circus. It was the Premierday of the new Tourshow „Storyteller“ in Cologne in Germany.
Why did you actually decide to stop with real Animals?
Roncalli’s Focus from the beginning was on Clowns , acrobats and poets acts. More the 30 Years just horse was used on the show. But in the last years Roncalli did change his Routing Concept to play only at Metropole-City in Germany and Europe. We just visit cities where we have special places like at Vienna where we play at the Town Hall Square. There is no space anymore for animals and not really green fields. In the past  we did already play at Moskau, Amsterdam and Sevilla. So new cities in Europe are of course possible in the future. It is important that we get a special and central place/spot. Many cities want invite us. This year we are touring in Germany. For example in Hamburg or Munich.
What was the « click »/revelation of this decision ?

As a circus you have to be open minded for everything especially for the feelings of the audience. Cause the Audience is our boss. When you feel that the audience does not approve of something then you have to change it. After my first hologram experience on a Roncalli-Cruiseship Show for TUI I had the wish to make something new also at the Circus.

What were the reactions of the audience?

After the announcement not to use any animals at our shows we received more then 20.000 Emails and letters from all over the world. 95% positive feedback. When we started with our 300° Holographie the pictures and videos did go viral in Social Media. At More then 40 countries it was a News in the Media that Roncalli is the first circus to use holographic animals. In one year our show „Storyteller“ hat more then 600.000 visitors.

Were you scared that people got disappointed, not to see animals « for real » ?
Like I said the focus of Roncalli never has been on Animals. In 2018 we did ask our visitors: What do you expect of a Roncalli-Show? Here the Ranking:
1. Clowns
2. Acrobats
3. Poetic acts
4. Nostalgic and historic circus wagons
5. Good Live Music
6. Horses (2,7 %)

As a Circus or Circus-Director you have to listen to the audience but also to your heart and to trust you own gut. I was sure and focused to show the audience something new.

What do you think of the cities and even countries that decide to prohibit shows with animals ?

It depends on the situation. You can’t compare every circus. Each is different. So better to decide by situation and not in general. What should not be critical is populism.

How did the other circus react when they saw your new way of Circus?

Especially Circuses with the focus Animals Acts was not really happy about. But since las year I did call my Circus not anymore just Circus I call it now Circus-Theater Roncalli. Because we were and are now also more close with Theaters.

Your holograms shows are kind of « sober », « animals » seem to stay in the middle. What do you imagine for the future : could they end up jumping in the audience, for example ?
We continue to work on the holography. So far, we were pioneers. We still have many ideas. We also changed a lot of outside the ring. We are the first circus that is going to be free of plastic. For example, our popcorn is only sold in paper bags instead of plastic bags. In addition , we now also offer vegan and vegetarian food.
Can you tell us what are the big changes in your everyday organization, with this new shows ?

Even the modern technology is quite intense in the care. Again, there may be technical problems. But so far everything works very well.

Does it also mean lots of money saving ?
Money was not the engine and the purpose of this change to use Holography.
Bernhard Paul the Founder and Director of Circus-Theater Roncalli
Activists have accused many circuses of severe cruelty such as beating, starving and keeping their performing animals under the most unsanitary conditions, being forced to perform for massive crowds night on night on very tight schedules.
A great example of the movement being made, the UK government has been presented with a legislation that would ban all travelling circuses from utilizing wild animals from the year 2020 on wards – a victory in its own.
Quelle:

All Pictures are the ownership of Circus Roncalli

Visit the Circus Roncalli website : https://www.roncalli.de/

Copyright: @circustheaterroncalli  #circustheaterroncalli #circusroncalli
https://educateinspirechange.org/nature/animals/german-circus-uses-holograms-instead-of-live-animals-for-a-cruelty-free-magical-experience/amp/

 

Virtual reality engages tech-hungry learners with ForestVR

With the increased need to integrate meaningful and engaging technology and ICT capability tools in schools, teachers are increasingly required to discover and learn new ways to incorporate these tools in the classroom to meet their busy curriculum.

Smartboards, webquests, ipads, laptops – the need to engage our active learners in new and interesting ways is ongoing.  It can be difficult however to find ways to integrate technology in an authentic way to meet Australian curriculum outcomes – not just use technology for the sake of it, or dare we suggest, for entertainment value.

In a time where we also hope to provide real world tangible solutions to an ever increasing concern amongst many of our students for our climate future, it’s no surprise that a recently launched virtual reality school toolkit, ForestVRTM, has caught the attention of teachers around Australia.  ForestVRTM, allows students to immersively – and virtually – learn through 360 experiences and environments about Australia’s productive forests from seed to shelter – the only carbon positive industry in Australia.  The free to view and download online 360 experiences and virtual tours have students immersed right alongside forestry workers while they plant new tree seedlings, or join the log crane operators in their heavy machinery as they get harvested logs ready to be processed into paper and cardboard.  Today’s technology-savvy learners are hungry for this type of experience, and teachers will be pleased to see even their most trickiest of students, engaged in this approach to learning.

ForestLearning, an initiative of Forest and Wood Products Australia Ltd., has launched the immersive toolkit for schools at the recently held Geography Teachers Association Victoria,  Australian Geography Teachers Conference, Forest Education Foundation conference in Tasmania, and the Mount Gambier ForestLearning pathways program.  The ForestVRTM Learn Through Immersion virtual reality toolkit, and soon to be launched in early 2020 teaching resources and lesson plans, was developed and designed through collaboration with the Geography Teachers Association Victoria and the Design and Technology Teachers Association Victoria and other successful early adopters of VR in classrooms, in conjunction with leading forest and wood product industry partners.

So far, there’s been an enthusiastic response.  One teacher attending the Geography Teachers Association Victoria from an outer Melbourne suburb school captured on a recent Wood Chat podcost entitled Virtual Reality1, said  “I think one of the things it really does is it gets that curiosity going.  Rather than just being told information to learn, I can set out a task that they then have to investigate further, and it’s really nicely linked through this technology.  Instead of trying to fight technology, I can now just try and embrace it and use it as much as I can.”

ForestVRTM can be used with virtual reality headsets, but is just as effective as a tool for small group work using an iPads, laptops, or even the classroom smartboard as a whole class activity.  Students see the various stages of the sustainable forestry cycle, and learn and investigate how forests are managed as a renewable resource.  With sustainability as a cross-curricular priority, these tools are being used across a range of subject areas K-12 – science, geography, design and technologies, agriculture and more.  Teacher feedback at a launch showed they felt inspired about finding solutions to climate change and sustainability and that’s why they initially tested the ForestVR tool using a VR headset.  Teachers said they will be able to inspire students in relation to the benefits of planting trees to produce renewable resources and show students how scientists, called Foresters, plan and grow new trees in plantations and native forests in order to sustain the environment, produce wood and timber products, and offset carbon.

Filmed at 28 different locations across Australia, the 360 immersive experiences and virtual tours are available to view and download via www.forestlearning.edu.au/forestvr. They can also be useful tools used in conjunction with school field trips to forest areas, as they provide students with the ‘missing links’ in the productive forestry renewable cycle that wouldn’t otherwise be possible to visit for students due to OH&S, bus costs and other barriers.

Students using VR headsets are fully immersed in the environment that they’re watching, with the ForestVRTM tools being designed to feel as though you are there in that environment.  The ForestVRTM virtual tours also provide students a behind-the-scenes look to how foresters and spatial mapping teams plan and manage productive forests over the long term.  They’ll hear from Aboriginal Partnership Liaison Officers about how they strive to conserve the qualities and attributes of places that have spiritual, historic, scientific or social value, and how habitat trees, such as those with nesting hollows for wildlife, are identified and protected.  Students learn how the site is regenerated either through natural regeneration or via seedlings that are replanted after every harvest, to start the sustainable forest cycle again.

Australian Curriculum aligned teaching and learning resources will be launched in early 2020 ready for teachers to use in the new school year.  These resources will be aligned to Geography Level 8 (Forest Landforms and Landscapes), Level 10 (Environmental chance and forest management), Design and Technologies Level 7/8 (Cardboard seat project-  sustainable forestry, sustainable cardboard), and a cross curricula Geography/Design and Technologies resource for Level 5/6 (Australian forests – renewable and sustainable). All resources have been developed in partnership by the Geography Teachers Association Victoria and the Design and Technology Teachers Association Victoria.

Teachers at the ForestVR launch were impressed that their students could be so immersed in the forestry industry.  One teacher commented that her students from the city definitely wouldn’t have an idea about what a plantation forest is, what a native forest is, or the fact that there are even different types of forests.  To be able to show the actual processes in producing the wood and paper materials that students consume, hopefully they get an appreciation for where they come from.  When they’re using the tools using their VR headsets, or on their iPads they’re completely engaged.  There’s 100% focus on what they’re looking at.  It’s a wonderful thing to be able to be completely immersed in what you’re supposed to be looking at without any peripheral distractions.

Virtual reality is engaging and it’s easy to see why more schools are embracing it as a learning tool.  As well as virtual tours, ForestVR includes 360 photos called ‘environments’, with embedded information hotspots where students can spend more time exploring each stage of the forest lcycle.  A second phase of ForestVR exploring themes such as biomes, careers and agroforestry funded by the Australian Government is currently under development and will be launched mid-2020.

ForestVR is available at www.forestlearning.edu.au, and soon to be launched in December 2019 as the ForestVRTM APP for IOS, Android and Oculus. Keep up to date on all new resources by signing up to the ForestLearning enews via the website, and like and follow them on Facebook – @forestlearningau.

1 Wood Chat podcast – “How Virtual Reality is being used to launch forestry into the future” – https://soundcloud.com/woodchat/ep-11-how-virtual-reality-is-being-used-to-launch-forestry-into-the-future

 

Quelle:

https://educationhq.com/news/virtual-reality-engages-tech-hungry-learners-with-forestvr-69767/

Coloring Box Looks to Bring AR Technology to Children

Art, education, and AR technology for children – if it can find funding

As augmented reality becomes more ubiquitous, more and more AR applications for children are being produced. These applications are entertaining for children but they also get children into augmented reality younger. Just as computers and computer games for children were once a new thing, youth AR applications spur adoption and promote a richer future for AR technology.

Unfortunately, because young children are not currently a target market for AR technology, these applications often have difficulty finding funding.

Keith Carlson and Lost Works Studio

The AR Coloring Box is an augmented reality experience for children currently seeking funding on Kickstarter. Created by Keith Carlson of Lost Works Studio, the AR coloring box promises “interactive education for kids”.

Carlson founded Lost Works Studio after careers in computing and architecture. The AR Coloring box combines these experiences and passions.

The AR Coloring Box

The coloring box consists of flat wooden components, which children can color and then assemble into a three-dimensional scene. An accompanying app then uses AR technology to bring the scene to life.

“These augmented reality coloring boxes engage a child’s imagination as they color and assemble the kit,” explained  Carlson. “When the app is launched, an added layer of storytelling is incorporated into the experience.”

Potential users can preview the app on Apple and Android devices, though the full product will only launch pending funding.

“Moving forward, the designer is very interested in developing the storytelling aspect of the augmented reality feature,” the studio shared with ARPost. “These will become short, 3 to 5-minute vignettes which display within the box, merging augmented and physical realities – a new type of storytelling.”

Early funders will receive the coloring box which, even without AR technology, is “un-augmented” artwork in their own right. The boxes are recommended for children 7 and up, but there’s no reason that artistic adults can’t enjoy them too.

The Kickstarter Campaign

As of this writing, the project has reached $135 of its $1000 funding goal. The campaign is registered as “all or nothing” – only to launch it reaches its funding goal – in the next 26 hours.

Funders pledging $15 or more will receive a coloring flat and colored pencils. The flat works with the AR app but is not as impressive as the complete box.

The complete box will be sent to funders pledging $30 or more. Two boxes will be sent to funders pledging $60 or more.

Donations of under $15 are also accepted.

The AR Coloring Box promises both education and entertainment. It’s also a good early case study of an effort to bring AR technology to children.

Quelle:

https://www.virtualrealitypulse.com/edition/daily-amazon-oculus-2019-11-25?open-article-id=12162458&article-title=how-augmented-and-virtual-reality-can-help-to-evolve-education&blog-domain=arpost.co&blog-title=arpost

Mit der VR-Brille auf den Mond fahren

Die Digitalisierung ermöglicht auch bei Kunst und Kultur neue Wege. Gemälde oder hochempfindliche Objekte lassen sich zu Hause am PC anschauen. Und im Museum tauchen Besucher dank virtueller Realität in neue Welten ein.

Wer kurz mal ins Weltall möchte, muss nach München kommen: Im Deutschen Museum ist eine Fahrt über den Mond möglich – dank virtueller Realität!

Fremde Welten mithilfe digitaler Technologien erlebbar machen, damit bildet das traditionsreiche Haus in der Landeshauptstadt keine Ausnahme. Zahlreiche Kultureinrichtungen im Freistaat haben die Chancen für sich erkannt – und nutzen sie, um den Besuchern ihre Themen noch lebendiger und anschaulicher zu vermitteln.

Alte Stadtansichten werden auf dem Tablet lebendig

So hat sich etwa das Museum Bayerisches Vogtland in Hof (Oberfranken) mit der vorbildlichen Aufarbeitung der Stadt- und Regionalgeschichte einen Namen gemacht. Neben Technik, Handwerk und Gewerbe zeigt das Museum auch Insekten, Reptilien und Amphibien. Es hat zudem eine kreative Lösung in Sachen Kunst gefunden: Da die Sammlung der Stadt Hof nicht öffentlich zugänglich ist, hat das Museum eine „Virtuelle Galerie“ aufgemacht – für die es 2.400 Werke digitalisiert hat. Der Besucher kann nach einzelnen Objekten suchen oder virtuell durch die Ausstellung flanieren.

Auch das Haus der Bayerischen Geschichte in Regensburg (Oberpfalz) hat eine aufsehenerregende digitale Installation: Im Kulturkabinett „Heimat im Kleinformat“ steht ein riesiger Leuchttisch mit einem Reliefbild, das den Freistaat von oben zeigt.

Der Besucher nimmt sich ein Tablet, visiert einen beliebigen Ort an – und erhält Statistiken, historische Fotos und Ortsansichten. Das Ganze basiert auf der Augmented-Reality-Technik, bei der Exponate aus der Realität durch computergestützte Daten virtuell erweitert werden.

Und dann ist da natürlich die Mondfahrt im Deutschen Museum! Virtuell rast der Besucher auf die Landekapsel der Apollo 17 zu, schlägt rechts ein und düst an der US-Flagge vorbei, die die Astronauten in die Mondoberfläche gerammt haben. Der Rover legt sich rasant in die Kurve, braust über Hügel, quert Krater. „Wirklich eindrucksvoll“, lauten die einhelligen Urteile.

Möglich ist das dank einer Virtual-Reality-Installation, bei der der Nutzer eine Spezialbrille trägt, die ihn virtuell auf den Mond beamt. Der bewegliche Sitz, auf dem der Besucher dafür Platz nimmt, lässt ihn zudem jede Kurve und Beschleunigung spüren.

Burgen und Schlösser vom Sofa aus bestaunen

Übrigens: Kunst lässt sich dank Digitalisierung auch vom Sofa zu Hause aus genießen. Der Freistaat Bayern hat mit der Site bavarikon.deein Internetportal geschaffen, über das man kostenlos Gemälde und Grafiken, Stadtpläne und Landkarten sowie Burgen und Schlösser näher unter die Lupe nehmen kann – zum Teil sogar in 3-D-Grafik.

 

Quelle:

Foto: Volle Fahrt voraus: In einer Simulation steuert ein Besucher im Deutschen Museum in München mit dem Rover über den Mond. (c) Deutsches Museum/Time in the Box GmbH

https://www.aktiv-online.de/ratgeber/mit-der-vr-brille-auf-den-mond-fahren-3848

 

 

Death Lap Review: Mostly Competent VR Combat Racing

Death Lap is the latest VR outing for Anshar Wars developer Ozwe Games and it does its best to channel the spirit of Twisted Metal into a relatively standard lap-based racing game. Read our full review to see how it fares!

Based on the footage I’d seen, the art work, and the way the game has been marketed, you probably thought it seemed like a Twisted Metal-inspired car combat game. I think that’s a reasonable assumption to make. In reality, it’s much more like a grungy version of Mario Kart.

Let me explain.

Twisted Metal is hardly a racing game. It’s actually more of an arena combat game that just so happens to pit vehicles as the main characters set across a variety of torn up and run down cities awash with rubble and broken streets. The focus is on evading and engaging in vehicular combat, not so much racing to the finish line. On the flip side, Death Lap is entirely about racing. Your objective is to finish three laps around the chosen race track as quickly as possible to land first place and bask in the glory. The weapons and gritty setting are just backdrops.

Since the Oculus Quest is sorely lacking in the racing game department Death Lap is arriving at a good time (just ahead of Radial-G: Proteus later this month) but its execution doesn’t really match up with its marketing too well.

Just like in Mario Kart you’ll run over boost arrows, hit ramps, drift around corners, and pick up power-up boxes to supercharge your hunks of metal. The main difference is that each vehicle is also equipped with unique close-range and long-range weapons as well. For example, my favorite vehicle has a giant drill on the front that shreds cars I sneak up behind or ram into, while also packing a powerful rocket launcher mounted on top. Using my right hand to aim and my left hand to steer, I’m free to blast my opponents away while drifting across the finish line.

It’s a good concept that packs some serious thrills. One of the levels (shown below in the GIF) takes place across an enormous pinball machine, similar to the casino levels in Sonic the Hedgehog. There’s another level focused on “Sin City” and yet another featuring a flaming clown roller coaster (again, “Hi, Twisted Metal!) to drive through.

Level variety is decent then, but there are only 5 tracks and a handful of vehicles to pick from. Nothing left to unlock after about 20 minutes of playtime. No upgrades, no customization — just a few tracks and a few cars. Supposedly the draw here is the leaderboard and competitive online multiplayer, but there isn’t enough depth to really keep people coming back from what I’ve seen.

 

As a package Death Lap isn’t as feature-packed as I’d have liked to see, but it’s still a lot of fun to play when everything is clicking. Leading your shots to blow up cars as they drift around obstacles in the distance is super satisfying and the weapon variety is actually pretty great. Other than the rocket launcher cars are equipped with mini guns, mini missile launchers, a laser gun, and one even has a rail gun style beam.

Visually it leaves a bit to be desired, even on Rift. Environments look a little muddy and textures are extremely flat, even in the vehicle cockpits. You can tell this is clearly a Quest-first game, which is fine, but it doesn’t compare to the same quality of other Oculus Studios-published titles in terms of production values.

Comfort

Death Lap seems to be a pretty comfortable experience for the most part. Having a cockpit to sit in helps ground you to avoid motion sickness and the default comfort setting means you need to physically turn your head and body to stay facing forward, which works well on Quest. You can disable this so the car turns, but it’s noted that could cause some discomfort if you’re susceptible to that. There’s also a third-person camera mode, but that felt a bit weird to me. The camera also zooms out every time you barrels roll off of a ramp in the air.

To steer the default method is just using the left analog stick like any non-VR racing game would do, but you can toggle an alternate method in the main menu settings that has you twist your wrist to steer instead. I’d prefer a method that lets you actually reach out with your left hand in 6DOF space, like you do with your right hand to aim, and actually grab onto the wheel itself. Neither of the included methods really felt appropriate to me but I did prefer the wrist twisting.

Although this review was conducted primarily using an Oculus Rift version of the game, we have played it on Quest too. The main differences are in the visuals, as the Quest is a bit lower quality as expected. Gameplay and content are unchanged and it supports both cross-play for multiplayer and crossbuy for Rift and Quest.

To be honest I’m hoping Ozwe returns to the Anshar franchise and either delivers a brand-new game or at least ports Anshar Online to Quest since it’s already on Gear VR, Go, and Rift.

DeathLap_screenshot_01

Death Lap Review Final Verdict:

This isn’t the ultimate VR racing game by any means, but it still manages to deliver the fun of competent combat racing in spurts. With a small offering of tracks and vehicles, no real progression system, and no customization it’s a bit bare bones, but the thrill of seeing explosions and drifting around a giant pinball machine salvages a lot of the intensity.


Final Score: :star: :star: :star: 3/5 Stars | Pretty Good

death lap vr pro con list


Death Lap is now available for Oculus Quest and Oculus Rift headsets at the price of $19.99.

This review of Death Lap from Ozwe Games was conducted on an Oculus Rift S using two Touch controllers. You can read more about the new five-star scoring policy here.

The post Death Lap Review: Mostly Competent VR Combat Racing appeared first on UploadVR.