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At the Financial Times, Simon Schama presents a portrait of Yoko Ono at 79. An excerpt about the bold performance art she made before she was a Beatle bride, which showed a really good understanding of neuroscience:

“In a cold-water apartment on Chambers Street, New York, she gave a series of performances and concerts in which minimalist ‘instructions’ and transient experiences replaced the static, monumental pretensions of framed pictures. The prompted eye and the receptive brain made the pictures instead. The technique was lovely, liberating and genuinely innovative. ‘I thought art should be like science, always discovering things afresh, and I wanted to be Madame Curie.’

So when she and Lennon had their momentous encounter at Indica in 1966, Ono was already established as an avant-garde conceptual artist. She insists she really had no idea who he was or what he did. ‘I just saw this rather attractive guy who seemed to be taking my work very seriously.’ Of pop music she knew nothing, ‘not even of Elvis Presley; just maybe some jazz.’ Of what was about to hit them both out there in Beatlemania land she had no clue. ‘I was naïve. We both were … we thought that it was going to be really great.’ It wasn’t. ‘My work totally disappeared and John, with all that power he had, was going to go down too.’ She falls quiet for a moment; a flicker of sadness clouding the wide, expressively sunny face. ‘I feel very badly if maybe I was the cause of it.'” (Thanks Browser.)

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“The Cut Piece,” 1965:

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Speaking of the Singularity, a passage from Carole Cadwalladr’s new Guardian article about Peter Diamandis’ ultra-expensive Singularity University:

“There’s a neat circularity to this. Peter Diamandis grew up in Brooklyn, the son of Greek immigrant parents, and was himself inspired to become a scientist by the Apollo mission, doing degrees in medicine and molecular biology and finally a PhD in aerospace engineering at MIT. The Singularity University isn’t even the first university he’s founded. He set up the International Space University while he was still in his 20s and which has now trained an entire generation of NASA scientists. It’s why Buzz Aldrin has come along, and why another astronaut, Dan Barry, teaches the SU’s robotics course (Barry’s big prediction: cyberdildonics. Robot sex. ‘You think it’s funny, right? But I’m also a rehabilitation physician, and sex is a basic human drive robots will be able to fulfil for the disabled, the widowed, the elderly. It’s going to happen. You might as well accept it and get in on the ground floor.’)

The future isn’t all thrilling robo-sex and free solar energy though. Barry’s talk also includes video of some of the other robots in development. If you think drones are scary, it’s because you haven’t yet seen the video on YouTube of autonomous swarming quadrocoptors. Or the hummingbird-shaped drone that can hover in the air and then fly in through a window, or Big Dog, which looks like something from Blade Runner, or, just last week, a new one with legs that can go where no Dalek ever could: up stairs.

None of these are being developed to help with meals on wheels or palliative care nursing, though. They’re war machines, most of which are being developed with funding or support from DARPA.”

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“Preparing humanity for accelerating technological change”:

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A 1969 Dutch report about Space Age tourism at Cape Kennedy. Don’t really need to know the language.

Interesting article in the Economist predicting the decline of the efficacy of doctors in an increasingly wired world with a growing, graying population:

“The past 150 years have been a golden age for doctors. In some ways, their job is much as it has been for millennia: they examine patients, diagnose their ailments and try to make them better. Since the mid-19th century, however, they have enjoyed new eminence. The rise of doctors’ associations and medical schools helped separate doctors from quacks. Licensing and prescribing laws enshrined their status. And as understanding, technology and technique evolved, doctors became more effective, able to diagnose consistently, treat effectively and advise on public-health interventions—such as hygiene and vaccination—that actually worked.

This has brought rewards. In developed countries, excluding America, doctors with no speciality earn about twice the income of the average worker, according to McKinsey, a consultancy. America’s specialist doctors earn ten times America’s average wage. A medical degree is a universal badge of respectability. Others make a living. Doctors save lives, too.

With the 21st century certain to see soaring demand for health care, the doctors’ star might seem in the ascendant still. By 2030, 22% of people in the OECD club of rich countries will be 65 or older, nearly double the share in 1990. China will catch up just six years later. About half of American adults already have a chronic condition, such as diabetes or hypertension, and as the world becomes richer the diseases of the rich spread farther. In the slums of Calcutta, infectious diseases claim the young; for middle-aged adults, heart disease and cancer are the most common killers. Last year the United Nations held a summit on health (only the second in its history) that gave warning about the rising toll of chronic disease worldwide.

But this demand for health care looks unlikely to be met by doctors in the way the past century’s was.”

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“Man…woman…birth…death…infinity”:

Guy Debord directed this 1973 adaptation of his book, Society of the Spectacle. Um, some generalizations.

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Even more lifelike than John Glenn.

A good chunk of a 1963 Monitor program in which Peter O’Toole and Orson Welles discuss Hamlet.

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Richard Feynman at Bell Labs, 1985.

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You’ve probably seen this appearance by Louis C.K. with Conan (whom he wrote for earlier in his career) about a dozen times because it’s arguably the stand-up’s most famous moment. But I post it here anyway because I think when this interconnected and narcissistic age has calmed down, it will be the truest thing anyone has said about us. A compliment it’s not.

From a piece about the need for ethical robots, in the Economist:

“Robots are spreading in the civilian world, too, from the flight deck to the operating theatre. Passenger aircraft have long been able to land themselves. Driverless trains are commonplace. Volvo’s new V40 hatchback essentially drives itself in heavy traffic. It can brake when it senses an imminent collision, as can Ford’s B-Max minivan. Fully self-driving vehicles are being tested around the world. Google’s driverless cars have clocked up more than 250,000 miles in America, and Nevada has become the first state to regulate such trials on public roads. In Barcelona a few days ago, Volvo demonstrated a platoon of autonomous cars on a motorway.

As they become smarter and more widespread, autonomous machines are bound to end up making life-or-death decisions in unpredictable situations, thus assuming—or at least appearing to assume—moral agency. Weapons systems currently have human operators ‘in the loop,’ but as they grow more sophisticated, it will be possible to shift to ‘on the loop’ operation, with machines carrying out orders autonomously.

As that happens, they will be presented with ethical dilemmas. Should a drone fire on a house where a target is known to be hiding, which may also be sheltering civilians? Should a driverless car swerve to avoid pedestrians if that means hitting other vehicles or endangering its occupants? Should a robot involved in disaster recovery tell people the truth about what is happening if that risks causing a panic?”

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Volvo’s autonomous vehicles in Barcelona:

The complete version of the very cool 1974 film, The World of Buckminster Fuller.

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The opening of “Remember This,” Joshua Foer’s excellent 2007 National Geographic piece about people with extreme memories and those of us with more average neural connections governing the data and images we retain:

“There is a 41-year-old woman, an administrative assistant from California known in the medical literature only as ‘AJ,’ who remembers almost every day of her life since age 11. There is an 85-year-old man, a retired lab technician called ‘EP,’ who remembers only his most recent thought. She might have the best memory in the world. He could very well have the worst.

‘My memory flows like a movie—nonstop and uncontrollable,’ says AJ. She remembers that at 12:34 p.m. on Sunday, August 3, 1986, a young man she had a crush on called her on the telephone. She remembers what happened on Murphy Brown on December 12, 1988. And she remembers that on March 28, 1992, she had lunch with her father at the Beverly Hills Hotel. She remembers world events and trips to the grocery store, the weather and her emotions. Virtually every day is there. She’s not easily stumped.

There have been a handful of people over the years with uncommonly good memories. Kim Peek, the 56-year-old savant who inspired the movie Rain Man, is said to have memorized nearly 12,000 books (he reads a page in 8 to 10 seconds). ‘S,’ a Russian journalist studied for three decades by the Russian neuropsychologist Alexander Luria, could remember impossibly long strings of words, numbers, and nonsense syllables years after he’d first heard them. But AJ is unique. Her extraordinary memory is not for facts or figures, but for her own life. Indeed, her inexhaustible memory for autobiographical details is so unprecedented and so poorly understood that James McGaugh, Elizabeth Parker, and Larry Cahill, the neuroscientists at the University of California, Irvine who have been studying her for the past seven years, had to coin a new medical term to describe her condition: hyperthymestic syndrome.

EP is six-foot-two (1.9 meters), with perfectly parted white hair and unusually long ears. He’s personable, friendly, gracious. He laughs a lot. He seems at first like your average genial grandfather. But 15 years ago, the herpes simplex virus chewed its way through his brain, coring it like an apple. By the time the virus had run its course, two walnut-size chunks of brain matter in the medial temporal lobes had disappeared, and with them most of EP’s memory.”

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Oliver Sacks discussing his pen pal Alexander Luria, the neuropsychologist who authored The Mind of a Mnemonist:

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From an L.A. Times piece about the C-1, a self-balancing, enclosed, electric motorcycle from Lit Motors.

Lit Motors calls it the C-1, but the San Francisco start-up’s untippable motorcycle seems nothing short of magic. It uses gyroscopes to stay balanced in a straight line and in turns in which drivers can, in theory, roll down their windows and drag their knuckles on the ground.

Is it a motorcycle? A car? Neither. It’s an entirely new form of personal transportation, presuming it gets off the ground.

The all-electric vehicle is fully enclosed and uses a steering wheel and floor pedals like a car. But it weighs just 800 pounds and balances on two wheels even when stopped, making it more efficient than hauling around a 2-ton four-wheeler and safer than an accident-prone bike.”

The Sonora Desert, which is natural but somehow feels denatured, is the subject of this trippy 1978 short.

A demonstration of Quantum Trapping–and its potential to revolutionize travel–at Tel Aviv University.

Brief 1977 film about laserists and their craft. Dude.

From “The Night the Lights Went Out in Griffith Park,” an L.A. Times article about the first laser-light show for the masses, in 1973: “Before the lights go down, the creator of Laserium, Ivan Dryer, is introduced and receives a lengthy standing ovation. The 62-year-old filmmaker with an astronomy and engineering background saw his first ‘laser light show’ in November 1970, when he was invited to film a demonstration by a Caltech scientist who’d been using a laser in her off hours to create artwork. A month later, he approached officials at the Griffith Park Observatory, where he’d once worked as a guide, with the idea of putting on a show there. For three years, the answer was no, but a new administration warmed to the idea, and Laserium was born.

‘When we first started, there were a whole lot of mistakes to be made,’ recalls Dryer, a tall, wizened, Ichabod Crane of a man. ‘We found that if we made mistakes on cue, on the beat, that was OK with the audience.’There was ‘The John Effect’–if too many toilets were flushed in the bathroom, the water pressure in the water-cooled ion gas laser (which reaches a core temperature of 5,000 degrees) would fail. Dryer also recounts the time his then-partner accidentally touched a high-voltage wire and shocked himself during a show, the audience believing the screaming was part of the entertainment. Similarly, when a fly landed on the lumia lens and began crawling around it, casting a giant sci-fi insect form on the ceiling, the crowd cheered wildly at the clever effect. Rather than swat it away, Dryer says, ‘we wished we could train it and hire it for future shows.’

In the intervening 28 years, laser technology and techniques improved, glitches were removed and new versions came along–Laser Rock, Pink Floyd’s Dark Side of the Moon, Led Zeppelin, Lollapalaser and the final incarnation, Laser Visions, which features ambient/ techno/electronica a la Orb, Enya and Vangelis.”

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RCA initially developed SelectaVision for home video in 1964, but bungled its marketing and distribution for nearly two decades until VHS had rendered it beside the point. Although it contained its content on a disc-shaped object, it was not what we think of as a laser disc that utilizes a beam of light. It was essentially akin to a record player that used a needle to read the info and transmit it to a TV screen. From 1979. before content became invisible:

Fallaci by Scavullo, 1990.

Fun look inside the studio of legendary fashion and portrait photographer, Francesco Scavullo, 1978. Star-crossed model Gia Carangi is his ridiculously beautiful subject.

A needleless injection system, just patented by MIT, delivers medicine to the bloodstream through a hypospray. From Dvice“MIT has developed an injection system that uses a powerful magnetic piston to push a near-supersonic dose of medication straight through your skin into your body. The drugs themselves are carried along on a blast of air that’s skinnier than the proboscis of a mosquito, which means that you can’t feel it at all. In fact, it doesn’t even leave a mark, which means that it can be used on your eardrums or even your eyeballs without causing any damage.”

The opening of “Divine Inspiration,” Jeet Heer’s new article in The Walrus about the religious underpinnings of Marshall McLuhan’s vision:

“APPROPRIATELY ENOUGH, a century after his birth in 1911, Marshall McLuhan has found a second life on the Internet. YouTube and other sites are a rich repository of McLuhan interviews, revealing that the late media sage still has the power to provoke and infuriate. Connoisseurs of Canadian television should track down a 1968 episode of a CBC program called The Summer Way, a highbrow cultural and political show that once featured a half-hour debate about technology between McLuhan and the novelist Norman Mailer.

Both freewheeling public intellectuals with a penchant for making wild statements, Mailer and McLuhan were well matched mentally, yet they displayed an appropriate stylistic contrast. Earthy, squat, and pugnacious, Mailer possessed all the hot qualities McLuhan attributed to print culture. Meanwhile, McLuhan adopted the cerebral and cavalier cool approach he credited to successful television politicians like John F. Kennedy and Pierre Trudeau, who responded to attacks with insouciant indifference.

Early on in the program, McLuhan and Mailer tackle the largest possible issue, the fate of nature:

McLuhan: We live in a time when we have put a man-made satellite environment around the planet. The planet is no longer nature. It’s no longer the external world. It’s now the content of an artwork. Nature has ceased to exist.

Mailer: Well, I think you’re anticipating a century, perhaps.

McLuhan: But when you put a man-made environment around the planet, you have in a sense abolished nature. Nature from now on has to be programmed.

Mailer: Marshall, I think you’re begging a few tremendously serious questions. One of them is that we have not yet put a man-made environment around this planet, totally. We have not abolished nature yet. We may be in the process of abolishing nature forever.

McLuhan: The environment is not visible. It’s information. It’s electronic.

Mailer: Well, nonetheless, nature still exhibits manifestations which defy all methods of collecting information and data. For example, an earthquake may occur, or a tidal wave may come in, or a hurricane may strike. And the information will lag critically behind our ability to control it.

McLuhan: The experience of that event, that disaster, is felt everywhere at once, under a single dateline.

Mailer: But that’s not the same thing as controlling nature, dominating nature, or superseding nature. It’s far from that. Nature still does exist as a protagonist on this planet.

McLuhan: Oh, yes, but it’s like our Victorian mechanical environment. It’s a rear-view mirror image. Every age creates as a utopian image a nostalgic rear-view mirror image of itself, which puts it thoroughly out of touch with the present. The present is the enemy.”

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The full ’68 McLuhan-Mailer debate the article references:

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In honor of the NHL playoffs, here’s a 1985 clip of amateur netminder George Plimpton trying to turn aside the shots of Hall of Famer Bobby Orr.

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Viewtron, an early online service from AT&T and Knight-Ridder, opened its virtual doors in South Florida in 1983, offering email, banking, shopping, news, weather and updated airline schedules. Despite quickly reaching 15 U.S. markets, Viewtron folded in 1986, victim of being ahead of the wave before people had learned how to surf.

David Letterman meets legendary advertising Mad Man, David Ogilvy, 1983.

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MIT reaserchers have created a low-cost virtual-reality system. From Cult of Mac: “Not only can you reach into the virtual world and manipulate the objects you create there, but there’s a way to connect with others, locally or remotely, to collaborate within a shared 3D virtual space. Looks like all that virtual reality stuff from the late 1990s is coming around again, only with the iPad, an off-the-shelf computing system with plenty of power for this application.”

A segment about Marcel Duchamp and his unfinished meta-machine The Large Glass from Robert Hughes’ excellent 1982 program, The Shock of the New.

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