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Relatively slow and expensive, the Navia from Induct is nonetheless revolutionary for being the first completely autonomous car to come to market. Built for a campus-shuttle level of transportation, the robotic, electric vehicle speeds to only 20 miles per hour and costs $250K, but Brad Templeton, a consultant to Google’s driverless-car division, explains in a short list why it’s still an important step.

Now 20km/h (12mph) is not very fast, though suitable for a campus shuttle. This slow speed and limited territory may make some skeptical that this is an important development, but it is.

  1. This is a real product, ready to deploy with civilians, without its own dedicated track or modified infrastructure.
  2. The price point is actually quite justifiable to people who operate shuttles today, as a shuttle with human driver can cost this much in 1.5 years or less of operation.
  3. It smashes the concept of the NHTSA and SAE ‘Levels’ which have unmanned operation as the ultimate level after a series of steps. The Navia is at the final level already, just over a constrained area and at low speed. If people imagined the levels were a roadmap of predicted progress, that was incorrect.
  4. Real deployment is teaching us important things. For example, Navia found that once in operation, teen-agers would deliberately throw themselves in front of the vehicle to test it. Pretty stupid, but a reminder of what can happen.

The low speed does make it much easier to make the vehicle safe. But now it become much easier to show that over time, the safe speed can rise as the technology gets better and better.”

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Working the city center in Lyon, France, which is also home to an IBM pilot program for new traffic-management technology:

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Gossip really bothers me on a visceral level, but I have to acknowledge its utility. Before news organs with something to lose will touch a story, whispers carry the day. And most of it’s petty and garbage and untrue, but occasionally it can be an insurgency. Sometimes gossip, the original viral information, is the fastest route to justice.

In 1973, gossipmonger Rona Barrett and Sir Clement Freud, the polymath grandson of Sigmund Freud, got into a dust-up on a program Jack Paar hosted years after he abandoned the Tonight Show.

From Freud’s 2009 obituary in the Telegraph: “In England the bearded Freud, who bore an uncanny resemblance to King Edward VII, became a household name appearing in dog food commercials alongside an equally mournful bloodhound named Henry.

His journalistic output was prodigious, running the gamut from the New Yorker to the pre-Murdoch Sun. He was at his best writing on food and drink (he had been an apprentice at the Dorchester and trained at the Martinez in Cannes). He wrote about recalcitrant head waiters, overrated chefs and curmudgeonly customs officers, waging a ceaseless battle against their arrogance, even though not always free of the trait himself.

Once, having waited 25 minutes for turtle soup, he told the waitress: ‘If you are making fresh turtle soup it is going to take two days, and we do not have the time. If it is canned turtle soup, I do not wish to eat here if it takes you 25 minutes to open a can.’”

A 1968 filming-location video from Lake Powell, Arizona, for Planet of the Apes.

At the nine-minute mark of this 1967 episode of To Tell the Truth, a tale is told of Bronx children’s court probation officer John Carro, who tried desperately if unsuccessfully to aid a deeply troubled 12-year-old boy who would grow to be a Presidential assassin. It’s wasn’t in the best taste to have turned the JFK tragedy into game-show entertainment a mere four years on, but it is fascinating. Carro subsequently became the first Puerto Rican person to be named to the New York State Supreme Court and served there for 25 years. He’s now an accident lawyer.

From Carro’s 1964 testimony before the House Select Committee on Assassinations:

Wesley J. Liebeler:

What else can you remember of your contacts with Lee Oswald?

John Carro:

Let me tell you my recollection of the Oswald case. As you can imagine, from 13 years ago, this was an odd thing, because I did not realize that Oswald was the person that had killed Kennedy the first couple of days. It was only almost – I believe it was after the burial or just about that time, while I was watching the papers, on the day that he actually was killed by Ruby, that I saw some pictures of the mother, and I started reading about the New York situation, that it suddenly tied in, because, you know, something happening in Texas, 1,500 miles, is something you hardly associate with a youngster that you had 10 years prior or 12 years prior.

A friend of mine called me up, a social worker, to tell me, ‘Carro, you know who that case is?’

And he said, ‘That was the case you handled. Don’t you remember?’

And then we started discussing the case, and I remembered then, and what happened then is I felt, you know, it was a kind of a numb feeling, because you know about it and could not know what to do with it. I was a probation officer and despite the fact that I was no longer one, I still felt that this was a kind of a ticklish situation, about something that I knew that no one else knew, and 

I went upstairs and I told the press secretary to the mayor. I told him the information that had just been relayed to me that I had been Oswald’s P.O. and that I should tell the mayor about it, and the mayor had gone to Washington, so he told me, ‘Just sit tight and don’t say anything.’

The story didn’t break in the papers – this was on a Tuesday or Wednesday – until Saturday when someone found out, went to Judge Kelley, and then there were stories Friday, Saturday, and the Post reporter showed up to my house on a Sunday evening. I don’t know how he found out where I lived or anything else, but once he got there, I called city hail again, ‘Look, I got this reporter over here. What do I do with him?’

They said, ‘So apparently the story has broken. So talk to him.’ But the reporter it seemed, had more information than I had. He was actually clarifying my mind, because you can understand that you’re not going to quote, you know, paraphrase 13 years later what happened. I have worked with a great many children during that time, and I have done a great deal of work with youth. What did stand out, you know, that I really recall as a recollection of my own was this fact, that this was a small boy. Most of the boys that I had on probation were Puerto Rican or Negro, and they were New York type of youngsters who spoke in the same slang, who came from the Bronx whom I knew how to relate to because I knew the areas where they came from, and this boy was different only in two or three respects. One, that I was a Catholic probation officer and this boy was a Lutheran, which was strange to begin with, because you normally carry youth of your own background. And secondly that he did dress in a western style with the levis, and he spoke with this southwestern accent which made him different from the average boy that I had on probation.

And, as I said, my own reaction then was that he seemed like a likable boy who did not seem mentally retarded or anything. He seemed fairly bright, and once spoken to, asked anything, he replied. He was somewhat guarded, but he did reply, and my own reaction in speaking to him was one of concern, because he did not want to play with anybody, he did not care to go to school; he said he wasn’t really learning anything; he had brothers, but he didn’t miss them or anything. He seems to have liked his stay at Youth House, and this is not – how do you call it – not odd, because in Youth House they did show the movies and give candy bars and this and the other, and they were paid attention, and this is a boy who is virtually alone all day, and only in that respect did it mean anything to me.

As I told reporters at the time there was no indication that this boy had any Marxist leanings or that he had any tendencies at that age that I was able to view that would lead him into future difficulty.

Actually he came before the court with no prior record, with just the fact that he was not going to school, and the other thing that touched me was that the mother at that time seemed overprotective; she just seemed to think that there was nothing wrong with the boy, and that once we got him back to school, which I told him in no uncertain terms he would have to go back because he was just too young to decide he would not go to school any more, that all his problems were resolved. I think it may have been a threat to her to want to involve her in the treatment for the boy, because I did make a recommendation that he – It seemed to me that he needed help, that he needed to relate to some adult, that he needed to be brought out of this, kind of shell that he was retreating to, and not wanting friends, not wanting to go out, and not wanting to relate to anyone, and that I thought he had the capacity for doing this, and the psychiatric report sort of bore this out in perhaps much more medical terms, and they recommended that he either receive this kind of a support of therapeutic group work treatment at home, if it were possible, or if not, in an institution.

Now, the situation in this kind of case is that treatment has to involve the parent, you know, the whole family setup, not just the child, and I think this is where the mother sort of felt threatened herself. People do not always understand what group work and treatment and psychiatric treatment means. There are all kinds of connotations to it, and she resisted this.

We tried – or even before we came Into the case, before the case came to court, I think she had been referred to the Salvation Army, I believe it was and she had not responded. Actually, when the boy came back with all these reports to the court, he was not put on supervision per se to me. The matter was sort of up in the air where it would be brought back every month while we made referral to various agencies, to see if they would take him into Children’s Village or Harriman Farms, and whatever it was, and it was just looking around, shopping around for placement for him. And the mother, I think, felt threatened about that time, that the boy was back in school, we were looking to get him psychiatric treatment, and she came in and wanted to take the boy out of the State, and we told her she could not take him out without the court’s OK.

As a matter of fact, I recall the case was put on the calendar before Judge Sicher in November of that year, 1953, when she was told, yes, that it was necessary to have the boy remain here, and that that is when the judge ordered a referral to the psychiatric clinic of the court, and to the Big Brothers who subsequently accepted the boy for working with. With that the mother took off in January, without letting us know, and just never came back.”

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John Belushi and Dan Aykroyd, in 1981, months before the former’s death, interviewed by Gene Shalit on the Today Show. They were there to promote Neighbors, but part of the conversation focuses on Belushi’s discomfort with fame. He just wanted to be anonymous in record stores and bars when he wasn’t acting, which obviously wasn’t possible.

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History professors who’ve lectured about Luddites have, in some instances, become Luddites themselves. Massively Open Online Courses (MOOCS) threaten to disrupt universities, largely a luxury good for mostly economy shoppers. It’s a deserved challenge to the system, and that’s the type of challenge that wrankles the most. From Thomas Rodham Wells’ essay on the subject at the Philosopher’s Beard:

“The most significant feature of MOOCs is that they have the potential to mitigate the cost disease phenomenon in higher education, and thus disrupt its economic conventions, rather as the recorded music industry did for string quartets. Of course MOOCs aren’t the same thing as residential degree programme classroom courses with tenured professors. In at least some respects they are a clearly inferior product. But then, listening to a CD isn’t the same experience as listening to a string quartet, nor are movies the same as theatre. But they are pretty good substitutes for many purposes, especially when the difference in price between them is so dramatic. And, like MOOCs, they also have non-pecuniary advantages over the original, such as user control and enormous quality improvements on some dimensions.

I think this cost advantage is the real challenge the opponents of MOOCs have to address. Why isn’t this cheap alternative good enough? Given that one can now distribute recordings of lectures by the most brilliant and eloquent academics in the world for a marginal cost of close to zero, the idea that a higher education requires collecting millions of 18-25 year olds together in residential schools in order to attend lectures by relative mediocrities and read the books collected in the university library needs a justification. Otherwise it will come to seem an expensive and elitist affectation. Like paying for a real string quartet at your party, or a handmade mechanical watch rather than just one that works.”

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“The classroom no longer has anything comparable to the answers outside the classroom”:

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I was on the subway yesterday, and the woman sitting next to me told her friend that she would only eat free-range chicken because that was the ethical thing to do. If I were a chicken, my main objection to slaughterhouses would not be the accommodations. I would be happy to stay in cramped quarters provided that you did not brutally murder my family and I at the end of our visit.

We sometimes rationalize our behavior as “ethical” without changing the worst part of it because we want to believe we’re thoughtful people while still doing exactly what is most enjoyable for us.

Here’s a 1963 clip of Colonel Harland Sanders, the Pol Pot of the chicken world, guesting on What’s My LIne?

From “Demand Grows for Hogs That Are Raised Humanely Outdoors,” by Stephanie Strom in the New York Times:

“Several factors are driving the appetite for pasture-raised pork, grocers and chefs say. Consumers are increasingly aware of and concerned about the conditions under which livestock is raised, and somewhat more willing to pay higher prices for meat certified to have come from animals that were humanely raised.

Big food businesses from McDonald’s to Oscar Mayer and Safeway have promised to stop selling pork from pigs raised in crates over the next decade. Smithfield Farms, one of the country’s largest pork processors, announced this month that it was encouraging all contractors raising hogs on its behalf to move to the use of group pens, which have to be big enough for several pigs to live in comfortably, with space to walk around and bed down.

The restaurant chain Chipotle and some prominent chefs like Dan Barber and Bill Telepan, both of whom have restaurants in Manhattan, have begun using meats from animals that were humanely raised. Whole Foods and Trader Joe’s do a brisk business in such meat.”

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In 1987, when Omni asked Bill Gates and Timothy Leary to predict the future of tech and Robert Heilbroner to speculate on the next phase of economics, David Byrne was asked to prognosticate about the arts two decades hence. It depends on how you parse certain words, but Byrne got a lot right–more channels, narrowcasting, etc. One thing I think he erred on is just how democratized it all would become. “I don’t think we’ll see the participatory art that so many people predict, Some people will use new equipment to make art, but they will be the same people who would have been making art anyway.” Kim and Snooki and cats at piano would not have been making art anyway. Certainly you can argue that reality television, home-made Youtube videos and fan fiction aren’t art in the traditional sense, but I would disagree. Reality TV and the such holds no interest for me on the granular level, but the decentralization of media, the unloosing of the cord, is as fascinating to me as anything right now. It’s art writ large, a paradigm shift we have never known before. It’s democracy. The excerpt:

“David Byrne, Lead Singer, Talking Heads:

The line between so-called serious and popular art will blur even more than it already has because people’s altitudes are changing. When organized religion began to lose touch with new ideas and discoveries, it started failing to accomplish its purpose in people’s lives. More and more people will turn to the arts tor the kind of support and inspiration religion used to of- fer them. The large pop-art audience remains receptive to the serious content they’re not getting from religion. Eventually some new kind of formula — an equivalent of religion — will emerge and encompass art, physics, psychiatry, and genetic engineering without denying evolution or any of the possible cosmologies.

I think that people have exaggerated greatly the effects new technology has on the arts and on the number of people who will make art in the future. I realize that computers are in their infancy, but they’re pretty pathetic, and I’m not the only one who’s said that. Computers won’t take into account nuances or vagueness or presumptions or anything like intuition.

I don’t think computers will have any important effect on the arts in 2007. When it comes to the arts they’re just big or small adding machines. And if they can’t ‘think,’ that’s all they’ll ever be. They may help creative people with their bookkeeping, but they won’t help in the creative process.

The video revolution, however, will have some real impact on the arts in the next 20 years. It already has. Because people’s attention spans are getting shorter, more fiction and drama will be done on television, a perfect medium for them. But I don’t think anything will be wiped out; books will always be there; everything will find its place.

Outlets for art, in the marketplace and on television, will multiply and spread. Even the three big TV networks will feature looser, more specialized programming to appeal to special-interest groups. The networks will be freed from the need to try to please everybody, which they do now and inevitably end up with a show so stupid nobody likes it. Obviously this multiplication of outlets will benefit the arts.

I don’t think we’ll see the participatory art that so many people predict. Some people will use new equipment to make art, but they will be the same people who would have been making art anyway. Still, I definitely think that the general public will be interested in art that was once considered avant-garde.

I can’t stand the cult of personality in pop music. I don’t know if that will disappear in the next 20 years, but I hope we see a healthier balance between that phenomenon and the knowledge that being part of a community has its rewards as well.

I don’t think that global video and satellites will produce any global concept of community in the next 20 years, but people will have a greater awareness of their immediate communities. We will begin to notice the great artistic work going on out- side of the major cities — outside of New York, L.A., Paris, and London.”•

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“Music and performance does not make any sense”:

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A vinyl rarity to be sure, here’s the audio of David Frost Talks to Bobby Kennedy, an LP recording of the British host interviewing the Presidential hopeful just prior to the latter’s 1968 assassination. It’s difficult to understand in retrospect why Frost was considered so suspect when he was preparing to interview the post-resignation Richard Nixon in 1977; he had always been deeply involved in American politics of the era, even convincing Nixon to insinuate himself into a high-stakes 1972 Cold War chess match.

Amusing to note that even a deeply thoughtful politician like Kennedy fell for the myth that the “real America” is located in less-urban small towns. Rubbish. We’re all America, each of us.

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Placing an image from a commercial for Pele’s Soccer Atari video game in a post yesterday reminded of the gag game, George Plimpton’s Video Falconry, a faux ColecoVision cartridge that was hatched in the wonderfully odd mind of John Hodgman a few years ago. What makes the joke so special is that while it’s a ridiculous concept, it feels like it could be real because it plays on truths of both Plimpton (who was a wonderfully wooden Intellivision pitchman) and ’80s gaming (which wasn’t directed only by market research but by hunches, sometimes awful hunches). You have to be of a certain age and culture to get it, but if you are, it may be the most brilliantly specific joke ever. 

It was all over the web in 2011, so many of you are probably familiar with Tom Fulp’s realization of Hodgman’s joke, but have a look at this video in case you missed it or want to relive it.

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Well, this is insane. Gene Wilder and Cloris Leachman, on the set of Young Frankenstein in 1974, being interviewed really badly for Spanish TV.

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In the 1960s, long before Boston Dynamics was creating robotic men and their best friends for the military (and now for Google), GE offered up an elephantine machinery to the Army. It could do some heavy lifting but was a cumbersome thing and not autonomous as an operator was required in the carriage.

From “They’re Robots? They’re Beasts!” Scott Kirsner’s 2004 New York Times article which shows just how much investment in the sector has grown in a decade:

Replicating biology isn’t a breeze, and some think that despite the well-publicized introduction of Sony’s toy dog, Aibo, in 1999, useful biomimetic robots may still be many years off.

‘What has been a surprise to me is how hard it has been to make progress,’ said Shankar Sastry, a professor at the University of California who has been helping to design robotic flies, fish and the wall-climbing gecko.

Another challenge is the sporadic nature of project financing, which predominantly originates with government agencies like the National Science Foundation, NASA and the Defense Advanced Research Projects Agency, better known as Darpa.

‘I hate to gripe, but funding is hard to get these days,’ said Dr. [Howie] Choset, designer of snakebots that can slither up stairways or down drainage pipes.”

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I guess if I could truly know one thing that seems presently unknowable it would be why a person can believe something that is extreme–even completely untrue–and then that same person can believe, at a different time, something that is completely opposed to the original thought. How can we be programmed, deprogrammed and then programmed again? We may now the chemistry behind it, but why are some people more prone to these reactions than others? Why are we more susceptible at certain stages of our lives? Memory isn’t elastic for most of us, but it seems like the part of the brain that governs belief systems is. When I think about those questions it feels to me like AI that truly operates with the understanding of a human being is so far away. It seems that though we know more than nothing, we only know very little.

An example: To the Manson Family members, it seemed perfectly reasonable to follow the orders of a pathetic little man who wanted them to invade homes, murder the occupants in brutal fashion and scrawl horrifying messages on the walls using their victims’ blood. These were the children of good homes who, if circumstances were different, if they came of age in a less-turbulent time, probably would have been filing law-school applications or joining the Peace Corps. Sure, there was a ton of drug use that threw their chemistry out of whack, but plenty of people who haven’t used drugs join cults and or accept cultures with preposterous rules and structures. They enter into a delusion and embrace it. The human brain is such a complex and mysterious thing that it staggers me. I feel bankrupt when trying to comprehend it.

In 1976, former Manson acolyte Susan Atkins, a murderer who died in prison in 2009, who threw her life away and took the lives of others for no good reason, discussed the horrors she’d committed. She had changed her mind by then, but it was far too late.

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Billy James Hargis was a twentieth-century American evangelical entrepreneur writ large: charismatic, ultra-conservative, segregationist, anti-communist, anti-feminist, anti-gay, McCarthy supporter, charged with abusing tax-exempt status, accused of sexual misconduct by male and female students at the Christian college he founded, etc. He sat for an interview with Tom Snyder in the late 1970s to address a number of topics, including his sex scandal. A polished TV presenter, the “hillbilly preacher” comes across well despite everything. During the conversation, the two refer to Pat Robertson as the “Johnny Carson of Evangelism.”

From Hargis’ 2004 obituary in the Economist:For four years, starting in 1953, he launched a million hydrogen balloons from West Germany towards the east. They contained verses of Scripture, sent ‘to succour the poor starved captives of communism.’ Rather less lightly, he himself hit the pulpit across America and in ‘foreign lands,’ perfecting his own style of shouting, flailing and sweating with an energy alarming in a man of his girth.

As televangelists do, he also set up courses and centres of learning: the National Anti-Communist Leadership School, the Christian Crusade Anti-Communist Youth University and, in Tulsa, the American Christian College. A naive reporter once asked him what was taught there. Why, Mr Hargis answered, ‘anti-communism, anti-socialism, anti-welfare state, anti-Russia, anti-China, a literal interpretation of the Bible and states’ rights.’ As if he had needed to ask.

After a while the authorities, stirred up by the Evil One, got interested in him. The Christian Crusade was a supposedly religious charity with tax-exempt status; yet Mr Hargis’s work seemed mostly political. Its purposes were allegedly altruistic; yet Mr Hargis drew a salary of $25,000 from it, besides his utility bills, his house, his clothes, his colour TV, his travelling expenses and his dry-cleaning bills. In 1964 the tax-exemption was withdrawn by the Internal Revenue Service, and his reputation spoiled.

Seven years later, sex reared its head. For Mr Hargis, adopted and brought up in crushing Christian poverty in Texas, fun had meant daily Bible-readings and, once a week, gospel choir. He gave the impression that nothing had ever changed. The targets of his daily wrath were not only homosexuals and women’s libbers but the blatantly sexual pop-gods of the day: ‘When the Beatles thrust their hips forward while holding their guitars and shout, ‘Oh Yeah!!’ who cannot know what they really mean?’

Yet in 1974 both male and female students at the American Christian College, and three male members of the college choir, the All-American Kids, claimed Mr Hargis had deflowered them.”

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Goodyear engineer J. Thomas Blair provides a 1956 demo of the Inflatoplane on I’ve Got A Secret. The experimental aircraft’s design proved a success, but its production ceased when the Army, which had commissioned the project, realized there was little practical use for a flying machine that could be brought down by a hairpin.

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A report from a 1991 episode of Tomorrow’s World about the advent of the touch-screen stylus, a veritable (and needless) eleventh finger, which never made the grade in the Digital Age, in part because of Steve Jobs’ antipathy for it.

For whatever reason, “Mama” Cass Elliot was chosen to demonstrate a Bell Labs innovation in voice-recognition dialing on a 1972 episode of I’ve Got a Secret.

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Frank Zappa as a mystery guest in 1971 on What’s My Line?, in conjunction with the release of his film 200 Motels, which was technologically innovative though I still find it unwatchable.

I’ll be coy and say that one person from this video smoked a lot of dope and attended orgies in the Dominican Republic, and it wasn’t Zappa.

Trailer for 200 Motels:

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In 1957, four years before he died, inventor Lee de Forest, who created the Audion radio tube and competed with Marconi and others in a race to bring remote sounds to the masses, appeared on This Is Your Life.

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Before all the eeeew! in his personal life, Woody Allen used to do quite a bit of press for his films. In 1977, he spoke with a Miami reporter about Annie Hall. Similar to Allen’s Merv Griffin appearances, the interview ends with an awkward kiss.

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A beautiful Charles and Ray Eames long-form ad for the Polaroid SX-70, a great camera by Edwin Land. (Thanks Open Culture.)

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In 1983, a local Miami newscaster pans Scarface and interviews the first local moviegoers to see Al Pacino’s now-iconic and “understated” performance.

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Brief doc about the then-futuristic offices of the Miami Herald in 1961, a time of typewriters, pneumatic tubes and typesetters, when the era of print seemed limitless, before technological efficiency began to destroy the economic model.

A live commercial on a 1956 episode of I’ve Got a Secret from Remington Rand’s computer center featuring a demo of the weather-prediction abilities of the UNIVAC. At the 4:00-minute mark.

Mathematician Janet Norman from the Foster Wheeler company appearing on I’ve Got a Secret in the 1950s to play computer music with the aid of a Bendix G-15.

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