Connect with us
DAPA Banner

Tech

Lunar Radio Telescope to Unlock Cosmic Mysteries

Published

on

Isolation dictates where we go to see into the far reaches of the universe. The Atacama Desert of Chile, the summit of Mauna Kea in Hawaii, the vast expanse of the Australian Outback—these are where astronomers and engineers have built the great observatories and radio telescopes of modern times. The skies are usually clear, the air is arid, and the electronic din of civilization is far away.

It was to one of these places, in the high desert of New Mexico, that a young astronomer named Jack Burns went to study radio jets and quasars far beyond the Milky Way. It was 1979, he was just out of grad school, and the Very Large Array, a constellation of 28 giant dish antennas on an open plain, was a new mecca of radio astronomy.

But the VLA had its limitations—namely, that Earth’s protective atmosphere and ionosphere blocked many parts of the electromagnetic spectrum, and that, even in a remote desert, earthly interference was never completely gone.

Could there be a better, even lonelier place to put a radio telescope? Sure, a NASA planetary scientist named Wendell Mendell, told Burns: How about the moon? He asked if Burns had ever thought about building one there.

Advertisement

“My immediate reaction was no. Maybe even hell, no. Why would I want to do that?” Burns recalls with a self-deprecating smile. His work at the VLA had gone well, he was fascinated by cosmology’s big questions, and he didn’t want to be slowed by the bureaucratic slog of getting funding to launch a new piece of hardware.

But Mendell suggested he do some research and speak at a conference on future lunar observatories, and Burns’s thinking about a space-based radio telescope began to shift. That was in 1984. In the four decades since, he’s published more than 500 peer-reviewed papers on radio astronomy. He’s been an adviser to NASA, the Department of Energy, and the White House, as well as a professor and a university administrator. And while doing all that, Burns has had an ongoing second job of sorts, as a quietly persistent advocate for radio astronomy from space.

And early next year, if all goes well, a radio telescope for which he’s a scientific investigator will be launched—not just into space, not just to the moon, but to the moon’s far side, where it will observe things invisible from Earth.

“You can see we don’t lack for ambition after all these years,” says Burns, now 73 and a professor emeritus of astrophysics at the University of Colorado Boulder.

Advertisement

The instrument is called LuSEE-Night, short for Lunar Surface Electromagnetics Experiment–Night. It will be launched from Florida aboard a SpaceX rocket and carried to the moon’s far side atop a squat four-legged robotic spacecraft called Blue Ghost Mission 2, built and operated by Firefly Aerospace of Cedar Park, Texas.

Illustration of a four-legged structure with solar panels on the sides on the surface of the moon. In an artist’s rendering, the LuSEE-Night radio telescope sits atop Firefly Aerospace’s Blue Ghost 2 lander, which will carry it to the moon’s far side. Firefly Aerospace

Landing will be risky: Blue Ghost 2 will be on its own, in a place that’s out of the sight of ground controllers. But Firefly’s Blue Ghost 1 pulled off the first successful landing by a private company on the moon’s near side in March 2025. And Burns has already put hardware on the lunar surface, albeit with mixed results: An experiment he helped conceive was on board a lander called Odysseus, built by Houston-based Intuitive Machines, in 2024. Odysseus was damaged on landing, but Burns’s experiment still returned some useful data.

Burns says he’d be bummed about that 2024 mission if there weren’t so many more coming up. He’s joined in proposing myriad designs for radio telescopes that could go to the moon. And he’s kept going through political disputes, technical delays, even a confrontation with cancer. Finally, finally, the effort is paying off.

“We’re getting our feet into the lunar soil,” says Burns, “and understanding what is possible with these radio telescopes in a place where we’ve never observed before.”

Advertisement

Why Go to the Far Side of the Moon?

A moon-based radio telescope could help unravel some of the greatest mysteries in space science. Dark matter, dark energy, neutron stars, and gravitational waves could all come into better focus if observed from the moon. One of Burns’s collaborators on LuSEE-Night, astronomer Gregg Hallinan of Caltech, would like such a telescope to further his research on electromagnetic activity around exoplanets, a possible measure of whether these distant worlds are habitable. Burns himself is especially interested in the cosmic dark ages, an epoch that began more than 13 billion years ago, just 380,000 years after the big bang. The young universe had cooled enough for neutral hydrogen atoms to form, which trapped the light of stars and galaxies. The dark ages lasted between 200 million and 400 million years.

timeline visualization

LuSEE-Night will listen for faint signals from the cosmic dark ages, a period that began about 380,000 years after the big bang, when neutral hydrogen atoms had begun to form, trapping the light of stars and galaxies. Chris Philpot

“It’s a critical period in the history of the universe,” says Burns. “But we have no data from it.”

The problem is that residual radio signals from this epoch are very faint and easily drowned out by closer noise—in particular, our earthly communications networks, power grids, radar, and so forth. The sun adds its share, too. What’s more, these early signals have been dramatically redshifted by the expansion of the universe, their wavelengths stretched as their sources have sped away from us over billions of years. The most critical example is neutral hydrogen, the most abundant element in the universe, which when excited in the laboratory emits a radio signal with a wavelength of 21 centimeters. Indeed, with just some backyard equipment, you can easily detect neutral hydrogen in nearby galactic gas clouds close to that wavelength, which corresponds to a frequency of 1.42 gigahertz. But if the hydrogen signal originates from the dark ages, those 21 centimeters are lengthened to tens of meters. That means scientists need to listen to frequencies well below 50 megahertz—parts of the radio spectrum that are largely blocked by Earth’s ionosphere.

Which is why the lunar far side holds such appeal. It may just be the quietest site in the inner solar system.

Advertisement

“It really is the only place in the solar system that never faces the Earth,” says David DeBoer, a research astronomer at the University of California, Berkeley. “It really is kind of a wonderful, unique place.”

For radio astronomy, things get even better during the lunar night, when the sun drops beneath the horizon and is blocked by the moon’s mass. For up to 14 Earth-days at a time, a spot on the moon’s far side is about as electromagnetically dark as any place in the inner solar system can be. No radiation from the sun, no confounding signals from Earth. There may be signals from a few distant space probes, but otherwise, ideally, your antenna only hears the raw noise of the cosmos.

“When you get down to those very low radio frequencies, there’s a source of noise that appears that’s associated with the solar wind,” says Caltech’s Hallinan. Solar wind is the stream of charged particles that speed relentlessly from the sun. “And the only location where you can escape that within a billion kilometers of the Earth is on the lunar surface, on the nighttime side. The solar wind screams past it, and you get a cavity where you can hide away from that noise.”

How Does LuSEE-Night Work?

LuSEE-Night’s receiver looks simple, though there’s really nothing simple about it. Up top are two dipole antennas, each of which consists of two collapsible rods pointing in opposite directions. The dipole antennas are mounted perpendicular to each other on a small turntable, forming an X when seen from above. Each dipole antenna extends to about 6 meters. The turntable sits atop a box of support equipment that’s a bit less than a cubic meter in volume; the equipment bay, in turn, sits atop the Blue Ghost 2 lander, a boxy spacecraft about 2 meters tall.

Advertisement

A person wearing a hairnet, facemask, and vinyl gloves working on a shiny metal apparatus.

A photo of people wearing hairnets, facemasks, and vinyl gloves working on a shiny metal apparatus.

A person wearing a hairnet, facemask, and vinyl gloves working on a shiny metal apparatus. LuSEE-Night undergoes final assembly [top and center] at the Space Sciences Laboratory at the University of California, Berkeley, and testing [bottom] at Firefly Aerospace outside Austin, Texas. From top: Space Sciences Laboratory/University of California, Berkeley (2); Firefly Aerospace

“It’s a beautiful instrument,” says Stuart Bale, a physicist at the University of California, Berkeley, who is NASA’s principal investigator for the project. “We don’t even know what the radio sky looks like at these frequencies without the sun in the sky. I think that’s what LuSEE-Night will give us.”

The apparatus was designed to serve several incompatible needs: It had to be sensitive enough to detect very weak signals from deep space; rugged enough to withstand the extremes of the lunar environment; and quiet enough to not interfere with its own observations, yet loud enough to talk to Earth via relay satellite as needed. Plus the instrument had to stick to a budget of about US $40 million and not weigh more than 120 kilograms. The mission plan calls for two years of operations.

The antennas are made of a beryllium copper alloy, chosen for its high conductivity and stability as lunar temperatures plummet or soar by as much as 250 °C every time the sun rises or sets. LuSEE-Night will make precise voltage measurements of the signals it receives, using a high-impedance junction field-effect transistor to act as an amplifier for each antenna. The signals are then fed into a spectrometer—the main science instrument—which reads those voltages at 102.4 million samples per second. That high read-rate is meant to prevent the exaggeration of any errors as faint signals are amplified. Scientists believe that a cosmic dark-ages signature would be five to six orders of magnitude weaker than the other signals that LuSEE-Night will record.

The turntable is there to help characterize the signals the antennas receive, so that, among other things, an ancient dark-ages signature can be distinguished from closer, newer signals from, say, galaxies or interstellar gas clouds. Data from the early universe should be virtually isotropic, meaning that it comes from all over the sky, regardless of the antennas’ orientation. Newer signals are more likely to come from a specific direction. Hence the turntable: If you collect data over the course of a lunar night, then reorient the antennas and listen again, you’ll be better able to distinguish the distant from the very, very distant.

Advertisement

What’s the ideal lunar landing spot if you want to take such readings? One as nearly opposite Earth as possible, on a flat plain. Not an easy thing to find on the moon’s hummocky far side, but mission planners pored over maps made by lunar satellites and chose a prime location about 24 degrees south of the lunar equator.

Other lunar telescopes have been proposed for placement in the permanently shadowed craters near the moon’s south pole, just over the horizon when viewed from Earth. Such craters are coveted for the water ice they may hold, and the low temperatures in them (below -240 °C) are great if you’re doing infrared astronomy and need to keep your instruments cold. But the location is terrible if you’re working in long-wavelength radio.

“Even the inside of such craters would be hard to shield from Earth-based radio frequency interference (RFI) signals,” Leon Koopmans of the University of Groningen in the Netherlands, said in an email. “They refract off the crater rims and often, due to their long wavelength, simply penetrate right through the crater rim.”

RFI is a major—and sometimes maddening—issue for sensitive instruments. The first-ever landing on the lunar far side was by the Chinese Chang’e 4 spacecraft, in 2019. It carried a low-frequency radio spectrometer, among other experiments. But it failed to return meaningful results, Chinese researchers said, mostly because of interference from the spacecraft itself.

Advertisement

The Accidental Birth of Radio Astronomy

Sometimes, though, a little interference makes history. Here, it’s worth a pause to remember Karl Jansky, considered the father of radio astronomy. In 1928, he was a young engineer at Bell Telephone Laboratories in Holmdel, N.J., assigned to isolate sources of static in shortwave transatlantic telephone calls. Two years later, he built a 30-meter-long directional antenna, mostly out of brass and wood, and after accounting for thunderstorms and the like, there was still noise he couldn’t explain. At first, its strength seemed to follow a daily cycle, rising and sinking with the sun. But after a few months’ observation, the sun and the noise were badly out of sync.

Black and white photo of a man standing in a field in front of a large structure made of crisscrossing segments and resting on wheels. In 1930, Karl Jansky, a Bell Labs engineer in Holmdel, N.J., built this rotating antenna on wheels to identify sources of static for radio communications. NRAO/AUI/NSF

It gradually became clear that the noise’s period wasn’t 24 hours; it was 23 hours and 56 minutes—the time it takes Earth to turn once relative to the stars. The strongest interference seemed to come from the direction of the constellation Sagittarius, which optical astronomy suggested was the center of the Milky Way. In 1933, Jansky published a paper in Proceedings of the Institute of Radio Engineers with a provocative title: “Electrical Disturbances Apparently of Extraterrestrial Origin.” He had opened the electromagnetic spectrum up to astronomers, even though he never got to pursue radio astronomy himself. The interference he had defined was, to him, “star noise.”

Thirty-two years later, two other Bell Labs scientists, Arno Penzias and Robert Wilson, ran into some interference of their own. In 1965 they were trying to adapt a horn antenna in Holmdel for radio astronomy—but there was a hiss, in the microwave band, coming from all parts of the sky. They had no idea what it was. They ruled out interference from New York City, not far to the north. They rewired the receiver. They cleaned out bird droppings in the antenna. Nothing worked.

Black and white photo of a large triangular structure on a frame, with two people looking up at it.  In the 1960s, Arno Penzias and Robert W. Wilson used this horn antenna in Holmdel, N.J., to detect faint signals from the big bang. GL Archive/Alamy

Meanwhile, an hour’s drive away, a team of physicists at Princeton University under Robert Dicke was trying to find proof of the big bang that began the universe 13.8 billion years ago. They theorized that it would have left a hiss, in the microwave band, coming from all parts of the sky. They’d begun to build an antenna. Then Dicke got a phone call from Penzias and Wilson, looking for help. “Well, boys, we’ve been scooped,” he famously said when the call was over. Penzias and Wilson had accidentally found the cosmic microwave background, or CMB, the leftover radiation from the big bang.

Advertisement

Burns and his colleagues are figurative heirs to Jansky, Penzias, and Wilson. Researchers suggest that the giveaway signature of the cosmic dark ages may be a minuscule dip in the CMB. They theorize that dark-ages hydrogen may be detectable only because it has been absorbing a little bit of the microwave energy from the dawn of the universe.

The Moon Is a Harsh Mistress

The plan for Blue Ghost Mission 2 is to touch down soon after the sun has risen at the landing site. That will give mission managers two weeks to check out the spacecraft, take pictures, conduct other experiments that Blue Ghost carries, and charge LuSEE-Night’s battery pack with its photovoltaic panels. Then, as local sunset comes, they’ll turn everything off except for the LuSEE-Night receiver and a bare minimum of support systems.

Image of the moon's surface, with a closeup of one section. LuSEE-Night will land at a site [orange dot] that’s about 25 degrees south of the moon’s equator and opposite the center of the moon’s face as seen from Earth. The moon’s far side is ideal for radio astronomy because it’s shielded from the solar wind as well as signals from Earth. Arizona State University/GSFC/NASA

There, in the frozen electromagnetic stillness, it will scan the spectrum between 0.1 and 50 MHz, gathering data for a low-frequency map of the sky—maybe including the first tantalizing signature of the dark ages.

“It’s going to be really tough with that instrument,” says Burns. “But we have some hardware and software techniques that…we’re hoping will allow us to detect what’s called the global or all-sky signal.… We, in principle, have the sensitivity.” They’ll listen and listen again over the course of the mission. That is, if their equipment doesn’t freeze or fry first.

Advertisement

A major task for LuSEE-Night is to protect the electronics that run it. Temperature extremes are the biggest problem. Systems can be hardened against cosmic radiation, and a sturdy spacecraft should be able to handle the stresses of launch, flight, and landing. But how do you build it to last when temperatures range between 120 and −130 °C? With layers of insulation? Electric heaters to reduce nighttime chill?

“All of the above,” says Burns. To reject daytime heat, there will be a multicell parabolic radiator panel on the outside of the equipment bay. To keep warm at night, there will be battery power—a lot of battery power. Of LuSEE-Night’s launch mass of 108 kg, about 38 kg is a lithium-ion battery pack with a capacity of 7,160 watt-hours, mostly to generate heat. The battery cells will recharge photovoltaically after the sun rises. The all-important spectrometer has been programmed to cycle off periodically during the two weeks of darkness, so that the battery’s state of charge doesn’t drop below 8 percent; better to lose some observing time than lose the entire apparatus and not be able to revive it.

Lunar Radio Astronomy for the Long Haul

And if they can’t revive it? Burns has been through that before. In 2024 he watched helplessly as Odysseus, the first U.S.-made lunar lander in 50 years, touched down—and then went silent for 15 agonizing minutes until controllers in Texas realized they were receiving only occasional pings instead of detailed data. Odysseus had landed hard, snapped a leg, and ended up lying almost on its side.

Color photo of a metal structure inside an open rocket.  ROLSES-1, shown here inside a SpaceX Falcon 9 rocket, was the first radio telescope to land on the moon, in February 2024. During a hard landing, one leg broke, making it difficult for the telescope to send readings back to Earth.Intuitive Machines/SpaceX

As part of its scientific cargo, Odysseus carried ROLSES-1 (Radiowave Observations on the Lunar Surface of the photo-Electron Sheath), an experiment Burns and a friend had suggested to NASA years before. It was partly a test of technology, partly to study the complex interactions between sunlight, radiation, and lunar soil—there’s enough electric charge in the soil sometimes that dust particles levitate above the moon’s surface, which could potentially mess with radio observations. But Odysseus was damaged badly enough that instead of a week’s worth of data, ROLSES got 2 hours, most of it recorded before the landing. A grad student working with Burns, Joshua Hibbard, managed to partially salvage the experiment and prove that ROLSES had worked: Hidden in its raw data were signals from Earth and the Milky Way.

Advertisement

“It was a harrowing experience,” Burns said afterward, “and I’ve told my students and friends that I don’t want to be first on a lander again. I want to be second, so that we have a greater chance to be successful.” He says he feels good about LuSEE-Night being on the Blue Ghost 2 mission, especially after the successful Blue Ghost 1 landing. The ROLSES experiment, meanwhile, will get a second chance: ROLSES-2 has been scheduled to fly on Blue Ghost Mission 3, perhaps in 2028.

Artist\u2019s rendering of a gray surface with parallel zigzagging lines.  NASA’s plan for the FarView Observatory lunar radio telescope array, shown in an artist’s rendering, calls for 100,000 dipole antennas to be spread out over 200 square kilometers. Ronald Polidan

If LuSEE-Night succeeds, it will doubtless raise questions that require much more ambitious radio telescopes. Burns, Hallinan, and others have already gotten early NASA funding for a giant interferometric array on the moon called FarView. It would consist of a grid of 100,000 antenna nodes spread over 200 square kilometers, made of aluminum extracted from lunar soil. They say assembly could begin as soon as the 2030s, although political and budget realities may get in the way.

Through it all, Burns has gently pushed and prodded and lobbied, advocating for a lunar observatory through the terms of ten NASA administrators and seven U.S. presidents. He’s probably learned more about Washington politics than he ever wanted. American presidents have a habit of reversing the space priorities of their predecessors, so missions have sometimes proceeded full force, then languished for years. With LuSEE-Night finally headed for launch, Burns at times sounds buoyant: “Just think. We’re actually going to do cosmology from the moon.” At other times, he’s been blunt: “I never thought—none of us thought—that it would take 40 years.”

“Like anything in science, there’s no guarantee,” says Burns. “But we need to look.”

Advertisement

This article appears in the February 2026 print issue as “The Quest To Build a Telescope That Can Hear the Cosmic Dark Ages.

From Your Site Articles

Related Articles Around the Web

Source link

Advertisement
Continue Reading
Click to comment

You must be logged in to post a comment Login

Leave a Reply

Tech

iPhone hardware engineers allegedly get bonuses as Apple tries to prevent poaching

Published

on

Keen to stop other companies from poaching its engineers, Apple has reportedly approved substantial bonuses for its iPhone hardware engineers.

iPhone 17e pink held in hand in front of a planter filled with colorful flowers
Apple has allegedly approved new bonuses for its iPhone hardware team.

Talk of an AI brain drain at Apple continues even if it is difficult to determine exactly how individual departures affect the company. Over the years, Apple has lost various engineers to rival firms like OpenAI and Meta, with some even being lured in by a massive $200 million pay package.
Equally noteworthy is the departure of Abidur Chowdhury, the industrial designer behind the iPhone Air. He left Apple to become the design lead of an AI startup, which we later learned was known as Hawk AI.
Continue Reading on AppleInsider | Discuss on our Forums

Source link

Continue Reading

Tech

Shonen Knife Announces Expanded 2026 Tour Edition of “Our Best Place” With Bonus Tracks and New Dates

Published

on

In times like these, it’s refreshing to hear new music from a band that still delivers exactly what made them worth following in the first place. That’s the case with Our Best Place, the recent album from Japan’s long running all female power pop punk outfit, Shonen Knife.

shonen-knife-band-jumping

First released in 2023, the album earned strong praise from fans and critics alike. Now, ahead of a 2025 to 2026 U.S. tour with Toad the Wet Sprocket and Men at Work, the band is issuing an expanded edition featuring additional content and an alternate cover design.

“Our Best Place which was released in 2023 became a representative album of Shonen Knife,” says Naoko, founding member and lead vocalist. “It includes many of our punk pop songs. The 2025 vinyl version has fabulous embroidered artwork and will [be] a collector’s item for our fans! “Not only that, I hope this vinyl release will be a good opportunity for other people to know our music!”

shonen-knife-our-best-place-cover-art

While I can’t claim to have been following every step of the band’s career — I became a fan when I purchased their brilliant holiday 45 RPM single “Space Christmas” around the time of its release in the early 1990s (and I still have it and play it each year!) — every Shonen Knife album I’ve picked up randomly over the years has been great fun.

For those of you not familiar with Shonen Knife’s sound, this group effectively bridges the gap between The Ramones and The Ronettes via Osaka, Japan.

shonen-knife-our-best-place-cover-limited

A quick look at the track list reveals one of the running themes in Shonen Knife’s universe: food. “Spicy Veggie Curry” might be the best vegetarian punk rock song you didn’t know you needed. “Afternoon Tea” is not the Something Else by The Kinks cut, but you get the sense Ray Davies would appreciate the spirit. “The Story of Baumkuchen” dives into the German “tree cake” that found a second home in Japan, delivered with a quirky charm that oddly recalls Guided By Voices. And then there’s “Vamos Taquitos,” where acoustic strumming collides with a wall of fuzzy, overdriven electric guitars, and somehow it all works.

But its not all food puns here. “Just A Smile” is a great power pop cover tune, originally recorded by Scotland’s Pilot (of the hit “Magic” fame).

Advertisement
shonen-knife-band

Our Best Place now includes four additional songs: “Nice Day (‘60s Mix),” “The Story of Baumkuchen (Japanese Version),” “Girls Rock (2023 Japanese Version)” and “Green Tea (2025 Naoko Vocal Version).” 

The bonus 60’s mix of “Nice Day” is a hysterical concept which audiophiles of a certain vintage will appreciate as it places all vocals in one channel and the whole band backing track is in the other — ultra extreme early stereo! 

Our Best Place comes pressed on crystal clear vinyl that is well centered and happily very quiet. You can order the CD version with the original cover design for $19.99 at Amazon. It is also available at their Bandcamp page for about $15.95. 

shonen-knife-our-best-place-cd-cover

As far as getting your hands on the vinyl, as far as I can tell it is presently only available at their concerts but some online sources indicate it will be made available online later in the year after the tour. I have inquired with the band’s PR team and if/when we get additional information I’ll be sure to update this section accordingly. 

Advertisement. Scroll to continue reading.

That said, what are you waiting for? Go see Shonen Knife live and grab the album at the merch table while you’re there. Here’s their current tour itinerary. And yes… let’s knife.

Advertisement
shonen-knife-us-tour-dates-2026

Mark Smotroff is a deep music enthusiast / collector who has also worked in entertainment oriented marketing communications for decades supporting the likes of DTS, Sega and many others. He reviews vinyl for Analog Planet and has written for Audiophile Review, Sound+Vision, Mix, EQ, etc. You can learn more about him at LinkedIn.

Source link

Continue Reading

Tech

Hide My Email is great for battling surveillance capitalism, not the FBI

Published

on

Apple’s Hide My Email service lets users generate anonymous, randomized email addresses to help avoid spam, but it isn’t going to protect you from subpoenas — especially if you threaten the FBI directly.

The camera plateau of the iPhone 17 Pro Max in blue
Apple encryption and services can only protect you from so much

End-to-end encryption ensures that your data remains yours on-device and in transit. This applies to things like iMessage and Apple Health, especially when Advanced Data Protection is turned on.
However, that doesn’t mean Apple won’t comply with a subpoena when it is presented with one that fits the scope of the request. Hide My Email might help protect users from spam, but if you’re emailing threats to the FBI director’s girlfriend, there’s nothing to protect you.
Continue Reading on AppleInsider | Discuss on our Forums

Source link

Continue Reading

Tech

Avatar Legends: The Fighting Game comes out in July and it looks pretty slick

Published

on

Avatar fans, this one’s been a long time coming, and it finally has a release date. Announced in a new trailer at the Evo Awards on Saturday, Avatar Legends: The Fighting Game officially drops on July 2, 2026.

The game is coming to pretty much everything, including PS5, Xbox Series X/S, Switch (including Switch 2), and PC. It’ll launch with 12 playable characters, alongside multiple modes like Story, Arcade, Training, and full online multiplayer with ranked and casual play. As for what kind of game it is, think classic 2D fighter… but with bending.

Why does Avatar Legends look so promising?

Avatar Legends is a 1v1 fighting game built around elemental combat, letting players control fan-favorite characters from both Avatar: The Last Airbender and The Legend of Korra. It features hand-drawn 2D animation, which honestly looks straight out of the show, and a unique “Flow System” that focuses on movement, positioning, and expressive combat rather than just button mashing. There’s also a support character system, meaning fights aren’t just about your main pick. You can even tweak your playstyle with assist abilities and special moves.

However, the best part about this game is that it’s not just coasting on nostalgia. The devs are clearly targeting both casual players and fighting game enthusiasts, with features like rollback netcode and full cross-play, which are huge for competitive longevity. Add to that an original story mode and a planned roster expansion via DLC, and it feels like this could stick around for a while.

Advertisement

So… is this the Avatar game we’ve been waiting for?

Avatar Legends looks like it actually gets what makes the series click: fluid movement, expressive combat, and that signature bending chaos. Add in hand-drawn visuals, a solid 1v1 fighting system, and mechanics like the Flow System and support assists, and it’s shaping up to be more than just another licensed fighter.

And that’s the big deal here. This isn’t trying to reinvent the genre. Instead, it’s trying to belong in it, while staying true to Avatar’s identity. If everything clicks, this could easily become the go-to fighter for fans… and maybe even pull in players who’ve never watched the show.

Source link

Advertisement
Continue Reading

Tech

Best 360 Cameras (2026): DJI, Insta360, GoPro

Published

on

Top 5 360 Cameras Compared

Honorable Mentions

Two Insta360 cameras long rectangular black devices on a beachside rock.

Photograph: Scott Gilbertson

Insta360 X4 for $340: I’d recommend skipping this one unless you can get it on sale for under $300. The X4 Air is (usually) cheaper, smaller, and more capable, though the X4 does have a larger screen and the battery life is better (though again, the video quality is not as good as the X4 Air). If you can find a killer deal under $300, the X4 is worth nabbing. Otherwise though, stick with the X4 Air.

Advertisement

Qoocam 3 Ultra for $539: It’s not widely available, and we have not had a chance to try one, but Kandao’s Qoocam 3 Ultra is another 8K 360 camera that looks promising, at least on paper. The f/1.6 aperture is especially interesting, as most of the rest of these are in the f/2 and up range. We’ll update this guide when we’ve had a chance to test a Qoocam.

360 Cameras to Avoid

Insta360 One RS: Insta360’s interchangeable-lens action-camera/360-camera hybrid was a novel idea that just didn’t seem to catch on. Now it’s a bit dated. The video footage isn’t as good as the other cameras in this guide, but you can swap the lens and have an action camera in a moment, which is the major selling point. Ultimately I’d say skip this, get the X4 Air and if you want to use it like a GoPro, just shoot in single lens mode.

GoPro Max: You’ll still run across GoPro’s original Max sometimes, but again, there are better options.

Advertisement

Insta360 One X3: Insta360’s older X3 is not worth buying at this point.

Insta360 One RS 1 360 Edition: Although I still like and use this camera, it appears to have been discontinued, and there’s no replacement in sight. The X5 delivers better video quality in a lighter, less fragile body, but I will miss those 1-inch sensors that managed to pull a lot of detail, even if the footage did top out at 6K. These are still available used, but at outrageous prices. You’re better off with the X5.

Advertisement

Frequently Asked Questions

There are two reasons you’d want a 360-degree camera. The first is to shoot virtual reality content, where the final viewing is done on a 360 screen, e.g., VR headsets and the like. So far this is mostly the province of professionals who are shooting on very expensive 360 rigs not covered in this guide, though there is a growing body of amateur creators as well. If this is what you want to do, go for the highest-resolution camera you can get. Either of our top two picks will work.

For most of us though, the main appeal of a 360 camera is to shoot everything around you and then edit or reframe to the part of the scene we want to focus on, or panning and tracking objects within the 360 footage, but with the result being a typical, rectangular video that then gets exported to the web. The video resolution and image quality will never match what you get from a high-end DSLR, but the DSLR might not be pointed at the right place, at the right time. The 360 camera doesn’t have to be pointed anywhere, it just has to be on.

This is the best use case for the cameras on this page, which primarily produce HD (1080p) or better video—but not 4K—when reframed. I expect to see 12K-capable consumer-level 360 cameras in the next year or two (which is what you need to reframe to 4K), but for now, these are the best cameras you can buy.

Advertisement

Whether you’re shooting virtual tours or your kid’s birthday, the basic premise of a 360 camera is the same. The fisheye lens (usually two very wide-angle lenses combined) captures the entire scene around you, ideally editing out the selfie stick if you’re using one. Once you’ve captured your 360-degree view, you can then edit or reframe that content down to something ready to upload to YouTube, TikTok, and other video-sharing sites.

Why Is High Resolution Important in 360 Cameras?

Camera makers have been pushing ever-higher video resolution for so long it feel like a gimmick in many cases, but not with 360 cameras. Because the camera is capturing a huge field of view, the canvas if you will, is very large. To get a conventional video from that footage you have to crop which zooms in on the image, meaning your 8K 360 shot becomes just under 2.7K when you reframe that footage.

How Does “Reframing” Work?

Advertisement

Reframing is the process of taking the huge, 360-degree view of the world that your camera capture and zooming in on just a part of it to tell your story. This makes the 360 footage fit traditional movie formats (like 16:9), but as noted above it means cropping your footage, so the higher resolution you start with the better your reframed video will look.

If you’re shooting for VR headsets or other immersive tools, then you don’t have to reframe anything.

I’ve been shooting with 360 cameras since Insta360 released the X2 back in 2020. Early 360 cameras were fun, but the video they produced wasn’t high enough resolution to fit with footage from other cameras, limiting their usefulness. Thankfully we’ve come a long way in the last five years. The 360 camera market has grown and the footage these cameras produce is good enough to mix seamless with your action camera and even your high end mirrorless camera footage.

To test 360 cameras I’ve broken the process down into different shooting scenarios, especially scenes with different lighting conditions, to see how each performs. No camera is perfect, so which one is right for you depends on what you’re shooting. I’ve paid special attention to the ease of use of each camera (360 cameras can be confusing for beginners), along with what kind of helpful extras each offers, HDR modes, and support for accessories.

Advertisement

The final element of the picture is the editing workflow and tools available for each camera. Since most people are shooting for social media, the raw 360 footage has to be edited before you post it anywhere. All the cameras above have software for mobile, Windows and macOS.

Power up with unlimited access to WIRED. Get best-in-class reporting and exclusive subscriber content that’s too important to ignore. Subscribe Today.

Source link

Advertisement
Continue Reading

Tech

Stop holding out hope, Liquid Glass will be mandatory in iOS 27

Published

on

The Liquid Glass design that rolled out with iOS 26 isn’t going anywhere, according to a recount of an Apple Developer workshop.

Close-up of a modern smartphone screen showing blue app icons, the front camera pill-shaped cutout, time 4:20, SOS and WiFi indicators, on a textured gray fabric surface
Developers will be required to use Liquid Glass once Xcode 27 debuts.

With the debut of iOS 26 at WWDC 2025, Apple made significant alterations to the look and feel of the iPhone operating system. The fairly straightforward flat design, used from iOS 7 to iOS 18, was replaced with a more rounded, translucent aesthetic dubbed “Liquid Glass.”
Six months after launch, the new design language remains as divisive and controversial as ever, with developers in particular lacking adjustment options for Liquid Glass. Still, that doesn’t mean Liquid Glass will be abandoned anytime soon, and Apple has seemingly even said so outright.
Continue Reading on AppleInsider | Discuss on our Forums

Source link

Continue Reading

Tech

Save big with the INIU Spring Sale

Published

on

Spring is usually when plans start filling up again, from quick city breaks to longer outdoor trips, and it often highlights how quickly devices run out of power when you are away from a charger.

That is where INIU’s Spring Sale campaign becomes more compelling, with discounts applied across its portable charging range and the INIU Pocket Rocket P50 leading the offer, now reduced to £28.05 from £32.99 as its smallest and fastest everyday power solution.

A power bank built for moving around, not staying plugged in

The INIU Pocket Rocket P50 is designed around portability first, packing a 10,000mAh capacity into a compact form that is 45% more compact than standard models, making it small enough to slip into a pocket or lightweight travel bag.

Weighing around 160 grams, it is 63% lighter than the average power bank, which often feels bulky when you are already packing for a trip or commute, making it particularly useful for short trips, festivals, or long days out where extra weight quickly becomes noticeable alongside other essentials.

Advertisement

Charging performance is another key part of the appeal, with 45W fast charging allowing compatible devices to reach a significant percentage of battery in under half an hour.

In practical terms, the INIU Pocket Rocket P50 can fully charge your phone an average of two times. This gives you more time actually using them without worrying about conserving battery life, whether you are navigating, taking photos, or staying connected while travelling.

Advertisement

The INIU Pocket Rocket P50 is now under £30The INIU Pocket Rocket P50 is now under £30

The INIU Pocket Rocket P50 is now under £30

Advertisement

View Deal

Spring savings that go beyond a single product

The INIU Spring Sale campaign runs across both the official store and Amazon, covering a wide range of portable charging products rather than focusing on just one device.

Advertisement

Across the lineup, you can get up to 30% off, with additional tiered discounts applied automatically at checkout, including $5 off orders over $50, $10 off over $80, and $20 off over $100.

That structure makes it easier to pick up multiple essentials at once, whether you are adding extra cables, upgrading to higher-capacity power banks, or simply building a more reliable everyday carry setup.

The campaign also lines up closely with how people actually use these products, leaning into travel, outdoor plans, and day-to-day movement rather than desk-bound charging or fixed setups.

Timing plays a role here too, with the INIU Official Store promotion running from March 20 to April 20, 2026, while the Amazon deals are available for a shorter window from March 25 to March 31, 2026, giving you a clear window to take advantage of the savings.

Advertisement

Advertisement

Source link

Continue Reading

Tech

Why OpenAI really shut down Sora

Published

on

OpenAI’s decision last week to shut down Sora, its AI video-generation tool, just six months after releasing it to the public raised immediate suspicions. The app had invited users to upload their own faces — so was this some kind of elaborate data grab? According to a new WSJ investigation, the real explanation is considerably more boring: Sora was a money pit that nobody was using, and keeping it alive was costing OpenAI the AI race.

So what happened? After a splashy launch, Sora’s worldwide user count peaked at around a million and then collapsed to fewer than 500,000. Meanwhile, the app was burning through roughly a million dollars a day — not because people loved it, but because video generation is extraordinarily expensive to run. Every user who dropped themselves into a fantastical chase scene was drawing down a finite supply of AI chips.

While a whole team inside OpenAI was focused on making Sora work, Anthropic was quietly winning over the software engineers and enterprises that drive revenue. Claude Code, in particular, was eating OpenAI’s lunch.

So CEO Sam Altman made the call: kill Sora, free up compute, and refocus. If you want to understand just how sudden this was, consider what happened to Disney, per the WSJ: the entertainment giant had committed $1 billion to the partnership, yet found out Sora was being shut down less than an hour before the public. The deal died with it.

Advertisement

Source link

Continue Reading

Tech

YouTube CEO says the best YouTubers will ‘never leave their home’

Published

on

YouTube CEO Neal Mohan recently insisted that he isn’t worried about Netflix and other streaming services luring away the service’s most popular creators.

Mohan’s comments came during a long interview with The New York Times series The Interview — which, as Mohan noted, streams on YouTube. Indeed, he seemed to play the magnanimous winner for much of the conversation; when asked about Oscar host Conan O’Brien’s poking fun at YouTube, Mohan simply replied that O’Brien is “very funny” and that his “Team Coco channel does really well on YouTube.”

As for popular podcasts like “The Breakfast Club” and “My Favorite Murder” moving to Netflix, Mohan said it’s “flattering” that competitors “see us as the center of culture.” But he said that when he speaks to popular YouTubers, they tell him that “no matter what they look to do, they understand that YouTube is their home.”

“I have not come across YouTubers that have completely yanked their content off YouTube,” Mohan said. He added that when YouTubers negotiate with other platforms, those streamers will always “acquiesce to what our YouTubers ultimately know is the right decision for them in the long term, which is to never leave their home.”

Advertisement

Source link

Continue Reading

Tech

Why this week’s moon mission is so special for Jeremy Hansen

Published

on

NASA is engaged in the final preparations for the much-anticipated Artemis II mission that will send astronauts toward the moon for the first time in more than five decades.

The space agency is targeting 6:24 p.m. ET on Wednesday, April 1, for the launch from the Kennedy Space Center in Florida.

The four crew members — NASA astronauts Reid Wiseman, Victor Glover, and Christina Koch, together with CSA (Canadian Space Agency) astronaut Jeremy Hansen — will travel aboard an Orion spacecraft launched by NASA’s formidable SLS (Space Launch System) rocket.

After a couple of days in low-Earth orbit checking the spacecraft’s systems, the crew will send the Orion on course for a rendezvous with our nearest neighbor. The 10-day voyage won’t touch down on the moon but instead fly around it before returning home.

Advertisement

The mission is of course super special for every single one of those crew members, but for Hansen it comes with added personal impact as the flight will mark his very first time in space.

While Wiseman, Glover, and Koch each flew to the International Space Station (ISS) on their first orbital experience, Hansen will be traveling several hundred thousand miles further from Earth for his debut space ride.

Hansen will also become the first non-American, and first Canadian, to travel to the moon, a historic achievement that will cement his place in history and make him a national hero.

“I just want Canadians to feel that pride,” Hansen told CBC when he was announced as one of the Artemis II crew members in 2023. “I just want Canadians to realize, hey, we are up to big things here in Canada and can accomplish the seemingly impossible if we believe in ourselves.”

Advertisement

Artemis II is also a groundbreaking mission for Glover and Koch, who are about to become the first Black person and the first woman to travel to the moon — major milestones in their own right.

With only days to go before the targeted launch date, the four crew members are now in quarantine, poring over the flight plan and making sure they’re all set for the mission of a lifetime.

Want to know more about the mission? Then watch NASA’s video showing exactly how it expects the flight to unfold.

Advertisement

Source link

Continue Reading

Trending

Copyright © 2025