Now, explore Egypt’s Great Pyramid in a 3D virtual tour

This handout 3D artistic view made by the ScanPyramids mission and released on November 2, 2017 by the Nature Publishing Group shows a hidden internal structure in Khufu’s Pyramid, the largest pyramid in Giza. (AFP)
Updated 08 November 2017
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Now, explore Egypt’s Great Pyramid in a 3D virtual tour

PARIS: A team of scientists who last week announced the discovery of a large void inside the Great Pyramid of Giza have created a virtual-reality tour that allows users to ‘teleport’ themselves inside the structure and explore its architecture.
Using 3D technology, the Scan Pyramids Project allows visitors wearing headsets to take a guided tour inside the Grand Gallery, the Queen’s Chamber and other ancient rooms not normally accessible to the public, without leaving Paris.
“Thanks to this technique, we make it possible to teleport ourselves to Egypt, inside the pyramid, as a group and with a guide,” said Mehdi Tayoubi, co-director of Scan Pyramids, which on Nov. 2 announced the discovery of a mysterious space inside the depths of the Pyramid.
The void itself is visible on the tour, appearing like a dotted cloud.
“What is new in the world of virtual reality is that from now on you are not isolated but there are several of us, you’re in a group, you can take a tour with your family. And you can access places which you usually can’t in the real pyramid.”
While partly designed as a fun experience, the “collaborative immersion” project allows researchers to improve the technologies they used to detect the pyramid void and think about what purpose it may have served.
While there are passage ways into it and chambers in various parts, much of the internal structure had remained a mystery until a team from France’s HIP Institute used an imaging method based on cosmic rays to scan inside.
When looking through their 3D goggles, visitors can see the enormous stones of the pyramid as if they were real, and walk virtually along its corridors, chambers and hidden spaces.
As they approach the pyramid from the outside, the tour even includes audio of Cairo’s deafening and ever-present traffic.


Pressures and pains that tear a couple apart

A still from the film.
Updated 19 July 2018
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Pressures and pains that tear a couple apart

DENVER: Like a gallery wall-sized enlargement of a microscopic image, “Scenes from a Marriage” is all about size, space and perspective.
Directed by Ingmar Bergman — whose birth centenary was marked this week — at 281 minutes long, its unwieldly length presents an intimidating canvas, yet the claustrophobic intimacy of its gaze is unprecedented: The two leads are alone in nearly every scene, many of which play out for more than a half-hour at a time.
Premiered in 1973, the work is technically a TV mini-series, but such is its legend that theaters continue to program its nearly five-hour arc in its entirety. A three-hour cinematic edit was prepared for US theater consumption a year later (it won the Golden Globe Award for Best Foreign Language Film, but was ruled ineligible for the corresponding Oscar).
Not a lot a happens but, then again, everything does. Shot over four months on a shoestring budget, its six chapters punctuate the period of a decade. The audience are voyeurs, dropped amid the precious and pivotal moments which may not make up a life, but come to define it.
We meet the affluent Swedish couple Marianne and Johan — played by regular screen collaborators Liv Ullmann and Erland Josephson, both of whom clocked at least 10 Bergman credits — gloating about ten years’ happy marriage to a visiting reporter. This opening magazine photoshoot is the only time we see their two children on camera, and inevitably the image projected is as glossy, reflective and disposable as the paper it will be printed on.
The pressures, pains and communication breakdowns which tear this unsuited pair apart are sadly familiar. The series was blamed for a spike in European divorce rates. It may be difficult to survive the piece liking either lead, but impossible not to emerge sharing deep pathos with them both. Sadly, much of the script is said to be drawn from Bergman’s real-life off-screen relationship with Ullmann.
It’s a hideously humane, surgical close-up likely to leave even the happiest couple groping into the ether on their way out of the cinema.