William Shatner Puts in a Long Distance Call to Astronaut Aboard the International Space Station

If his goal is to be tak­en seri­ous­ly, William Shat­ner hasn’t always been his own best friend. His cov­ers of pop hits launched a whole mini-genre of unin­ten­tion­al­ly bad celebri­ty record­ings.

To his cred­it, he made fun of him­self to great effect on Boston Legal but fol­lowed that series up with a Broad­way show It’s Shatner’s World, We Just Live In It, to mixed reviews.

But the man nev­er quits. Ear­li­er this month the Cana­di­an Space Agency orga­nized a Tweet­up with Cana­di­an astro­naut Chris Had­field, who is aboard the Inter­na­tion­al Space Sta­tion orbit­ing the Earth. One space lover who par­tic­i­pat­ed was Shat­ner, who tweet­ed:

@Cmdr_Hadfield: “Are you tweet­ing from space? MBB”

A few hours lat­er Had­field, respond­ed: “Yes, Stan­dard Orbit, Cap­tain. And we’re detect­ing signs of life on the sur­face.”

Shat­ner and Had­field planned a longer con­ver­sa­tion and it was hard to say who was more thrilled by the event: Trekkies the world over, Shat­ner, or Had­field.

For about fif­teen min­utes today, with Hous­ton Mis­sion Con­trol act­ing as galac­tic switch­board oper­a­tor, the two chat­ted about the space pro­gram, the risks of liv­ing in space, and even some exis­ten­tial mat­ters.

Right off the bat, Shat­ner asked Had­field whether the fact that he had used a Russ­ian vehi­cle to get up to the space sta­tion means that Amer­i­ca is “falling behind” in its space pro­gram. The answer—long and upbeat—was, in a word, no.

Then Shat­ner asked Had­field why he’d vol­un­teered for the as-yet unsched­uled mis­sion to Mars.

“Isn’t that a fear­ful endeav­or, fraught with enor­mous dif­fi­cul­ty and dan­ger?”

“Well you’ve tak­en a lot of risks in your life as well,” Had­field replied.

He lat­er went on to say that pro­grams like Star Trek inspired him to study to become an astro­naut.

“Going to Mars is inevitable,” Had­field said, speak­ing into a float­ing, hand-held micro­phone, “just as sail­ing across the Atlantic or going to the moon. We take those visu­al­ized fan­tasies and turn them into real­i­ties.”

The view of Earth from his win­dow on the Space Sta­tion, he added, is just like the view that Sulu and Chekhov had from the Star­ship Enter­prise.

“It’s an enor­mous won­der­ful rolling Earth but all you have to do is flip your­self upside-down and the rest of the uni­verse is under you.”

By the end of their chat, Had­field had invit­ed Shat­ner to vis­it him at his cab­in and watch the satel­lites fly through the sky.

“You know those scenes in Boston Legal at the end of an episode when you were on the veran­da drink­ing a whiskey and smok­ing a cig­ar, you ought to vis­it me in North­ern Ontario. It’s a great place to talk about life.”

Relat­ed Con­tent: 

Nichelle Nichols Tells Neil deGrasse Tyson How Mar­tin Luther King Con­vinced Her to Stay on Star Trek

Leonard Nimoy Nar­rates Short Film About NASA’s Dawn: A Voy­age to the Ori­gins of the Solar Sys­tem

William Shat­ner Nar­rates Space Shut­tle Doc­u­men­tary

Star Trek Celebri­ties, William Shat­ner and Wil Wheaton, Nar­rate Mars Land­ing Videos for NASA

Kate Rix writes about dig­i­tal media and edu­ca­tion. Vis­it her at .

The Centrifuge Brain Project: Scientists Solve Mankind’s Great Problems by Spinning People

What if the very thing that made you feel crazy hap­py also made you smarter? That’s the ques­tion under­ly­ing the work of the Insti­tute for Cen­trifu­gal Research, where sci­en­tists believe that spin­ning peo­ple around at a suf­fi­cient­ly high G‑force will solve “even the trick­i­est chal­lenges con­fronting mankind.”

We fol­low Dr. Nick Laslow­icz, chief engi­neer, as he strolls through amuse­ment parks, wear­ing a hard hat and tak­ing notes, and describes the lib­er­at­ing pow­er of spin­ning and the “mis­take” of grav­i­ty.

The actor is ter­rif­ic. Yes, The Cen­trifuge Brain Project is a joke. Laslow­icz is just zany enough to be believ­able as a sci­en­tist whose research began in the 1970s. The sketch­es on the project’s web­site are fun too and direc­tor Till Nowak’s CGR ren­der­ing of the ride con­cepts are hilar­i­ous.

centrifuge_plan_steam_pressure_catapult

The cul­mi­nat­ing exper­i­ment fea­tures a ride that resem­bles a giant trop­i­cal plant. Rid­ers enter a round car that ris­es slow­ly up, up, up and then takes off sud­den­ly at incred­i­bly high speed along one of the “branch­es.”

“Unpre­dictabil­i­ty is a key part of our work,” says Laslow­icz. After the ride, he says, peo­ple described expe­ri­enc­ing a “read­just­ment of key goals and life aspi­ra­tions.” Though he lat­er adds that he wouldn’t put his own chil­dren on one of his rides.

“These machines pro­vide total free­dom,” Laslow­icz says, “cut­ting all con­nec­tion to the world we live in: com­mu­ni­ca­tion respon­si­bil­i­ty, weight. Every­thing is on hold when you’re being cen­trifuged.”

Relat­ed Con­tent:

Mir­a­cle Mush­rooms Pow­er the Slums of Mum­bai

Dark Side of the Moon: A Mock­u­men­tary on Stan­ley Kubrick and the Moon Land­ing Hoax

Kate Rix writes about dig­i­tal media and edu­ca­tion. Vis­it her work at .

Nichelle Nichols Explains How Martin Luther King Convinced Her to Stay on Star Trek

nichelle-nichols-king

Nichelle Nichols played Lt. Uhu­ra on the orig­i­nal Star Trek series (1966–1969). Dur­ing the days when African-Amer­i­cans were still fight­ing for legal equal­i­ty in Amer­i­ca, her role took on spe­cial impor­tance. Her inclu­sion on the Enter­prise point­ed to a future when Amer­i­cans could live and work togeth­er, putting race aside. And Nichols made his­to­ry when Lt. Uhu­ra and Cap­tain Kirk embraced in the first inter-racial kiss on Amer­i­can tele­vi­sion.

We can part­ly thank Mar­tin Luther King, Jr. for all of this. As Nichols explains below, she gave con­sid­ered leav­ing Star Trek at the end of Sea­son 1, hop­ing to pur­sue a broad­way career. But MLK asked her to recon­sid­er. A big fan of the show, Dr. King under­scored the impor­tance of her char­ac­ter, of what it meant to future African-Amer­i­cans, of how her char­ac­ter, through the pow­er of TV, was open­ing a door that could nev­er be closed. Need­less to say, he per­suad­ed her to stay on the show, and the rest is glo­ri­ous his­to­ry.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

Stephen Col­bert Talks Sci­ence with Astro­physi­cist Neil deGrasse Tyson

Neil deGrasse Tyson Deliv­ers the Great­est Sci­ence Ser­mon Ever

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Isaac Asimov’s Science Fiction Classic, The Foundation Trilogy, Dramatized for Radio (1973)

Tire­less New York Times colum­nist and Nobel-prize win­ning Prince­ton econ­o­mist Paul Krug­man has long played the role of Cas­san­dra, warn­ing of dis­as­ters while the archi­tects of pol­i­cy look on, shake their heads, and ignore him. I’ve some­times won­dered how he stands it. Well, it turns out that, like many peo­ple, Krugman’s long view is informed by epic nar­ra­tive. Only in his case, it’s nei­ther ancient scrip­ture nor Ayn Rand. It’s the Isaac Asi­mov-penned Foun­da­tion Tril­o­gy, which Krug­man, in a recent Guardian piece, dis­sects in detail as a series that informed his views as a teenag­er, and has stayed with him for four and a half decades.

The hero of the tril­o­gy, Hari Sel­don, is a math­e­mati­cian, whose par­tic­u­lar branch of math­e­mat­ics, called psy­chohis­to­ry, allows him to make mas­sive, large-scale pre­dic­tions of the future. This sci­ence informs “The Sel­don Plan” that silent­ly guides the com­ing of a new Galac­tic Empire thou­sands of years into the future. If it sounds a bit arid in para­phrase, it isn’t, even though Asimov’s char­ac­ters tend to be thin and his descrip­tions lack in poet­ry. “Tol­stoy this isn’t,” Krug­man tells us.

But the nov­els work as bril­liant spec­u­la­tive fic­tion, teth­ered to the famil­iar his­to­ry of West­ern civ­i­liza­tion by res­o­nances with ancient Rome, mer­can­tile Europe, and old New York. Instead of space opera or fan­ta­sy, Krug­man describes Asimov’s fic­tion as anti-action, anti-prophe­cy. The protagonist’s “pre­science comes from his math­e­mat­ics.” And this, believe it or not, is fas­ci­nat­ing, at least for Krug­man. Because for him they func­tion as reminders that “it’s pos­si­ble to have social sci­ence with the pow­er to pre­dict events and, maybe, to lead to a bet­ter future.” Krug­man writes:

They remain, unique­ly, a thrilling tale about how self-knowl­edge – an under­stand­ing of how our own soci­ety works – can change his­to­ry for the bet­ter. And they’re every bit as inspi­ra­tional now as they were when I first read them, three-quar­ters of my life ago.

He admits that the sen­ti­ments of Asimov’s fic­tion present us with a “very bour­geois ver­sion of prophe­cy,” but then, eco­nom­ics is a very bour­geois sci­ence, most­ly con­cerned with one emo­tion, “greed.” Nonethe­less, Krug­man believes in the pow­er of “good eco­nom­ics to make cor­rect pre­dic­tions that are very much at odds with pop­u­lar prej­u­dices.” And we could all do with few­er of those.

Asimov’s Hugo-win­ning tril­o­gy was adapt­ed for eight, one-hour radio-dra­ma episodes in 1973. Lis­ten to the first install­ment above, and down­load or stream the remain­ing episodes at the links below:

Part 1 |MP3| Part 2 |MP3| Part 3 |MP3| Part 4 |MP3| Part 5 |MP3| Part 6 |MP3| Part 7 |MP3| Part 8 |MP3|

Or lis­ten to the Spo­ti­fy ver­sion up top.

You can find this audio list­ed in our col­lec­tion of Free Audio Books.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Isaac Asimov Explains His Three Laws of Robots

A hand­ful of futur­ists, philoso­phers, and technophiles believe we are approach­ing what they call the “sin­gu­lar­i­ty”: a point in time when smart machines became much smarter, stronger, and faster than their cre­ators, and then become self-con­scious. If there’s any chance of this occur­ring, it’s worth­while to pon­der the con­se­quences. But we do already, all the time—in exis­ten­tial­ly bleak sce­nar­ios like Blade Run­ner, the Ter­mi­na­tor series, the reboot­ed Bat­tlestar Galac­ti­ca (and its failed pre­quel Capri­ca).

The prospects are nev­er pleas­ant. Robot­ic engi­neers in these worlds hard­ly seem to both­er teach­ing their machines the kind of moral code that would keep them from turn­ing and destroy­ing us (that is, when they aren’t explic­it­ly designed to do so).

I won­der about this con­cep­tu­al gap—convenient as it may be in nar­ra­tive terms—given that Isaac Asi­mov, one of the fore­fa­thers of robot fic­tion invent­ed just such a moral code. In the video above, he out­lines it (with his odd pro­nun­ci­a­tion of “robot”). The code con­sists of three laws; in his fic­tion these are hard­wired into each robot’s “positron­ic brain,” a fic­tion­al com­put­er that gives robots some­thing of a human-like con­scious­ness.

First Law: A robot may not injure a human being, or, through inac­tion, allow a human being to come to harm.
Sec­ond Law: A robot must obey the orders giv­en it by human beings except where such orders would con­flict with the First Law.
Third Law: A robot must pro­tect its own exis­tence as long as such pro­tec­tion does not con­flict with the First or Sec­ond Law.

Isaac Asi­mov devot­ed a good deal of his writ­ing career to the sub­ject of robots, so it’s safe to say, he’d done quite bit of think­ing about how they would fit into the worlds he invent­ed. In doing so, Asi­mov had to solve the prob­lem of how robots would inter­act with humans once they had some degree of free will. But are his three laws suf­fi­cient? Many of Asimov’s sto­ries–I, Robot, for example–turn on some fail­ure or con­fu­sion between them. And even for their chase scenes, explo­sions, and melo­dra­ma, the three screen explo­rations of arti­fi­cial life men­tioned above thought­ful­ly exploit philo­soph­i­cal ambi­gu­i­ties and insuf­fi­cien­cies in Asimov’s sim­ple sys­tem.

For one thing, while Asimov’s robots were hunks of met­al, tak­ing only vague­ly humanoid form, the robots of our cur­rent imag­in­ings emerge from an uncan­ny val­ley with real­is­tic skin and hair or even a genet­ic code and cir­cu­la­to­ry sys­tem. They are pos­si­ble sex­u­al part­ners, friends and lovers, co-work­ers and supe­ri­ors. They can deceive us as to their nature (a fourth law by Bul­gar­i­an nov­el­ist Lyuben Dilov states that a robot “must estab­lish its iden­ti­ty as a robot in all cas­es”); they can con­ceive chil­dren or desires their cre­ators nev­er intend­ed. These dif­fer­ences beg impor­tant ques­tions: how eth­i­cal are these laws? How fea­si­ble? When the sin­gu­lar­i­ty occurs, will Skynet become aware of itself and destroy us?

Unlike Asi­mov, we now live in a time where the ques­tions have direct applic­a­bil­i­ty to robots liv­ing among us, out­side the pages of sci-fi. As Japan­ese and South Kore­an roboti­cists have found, the three laws can­not address what they call “open tex­ture risk”— unpre­dictable inter­ac­tions in unstruc­tured envi­ron­ments. Humans rely on nuanced and often pre­con­scious read­ings of com­plex social codes and the fine shades of mean­ing embed­ded in nat­ur­al lan­guage; machines have no such sub­tle­ty… yet. Whether or not they can devel­op it is an open ques­tion, mak­ing humanoid robots with arti­fi­cial intel­li­gence an “open tex­ture risk.” But as you can see from the video below, we’re per­haps much clos­er to Blade Run­ner or AI than to the clunky, inter­stel­lar min­ing machines in Asi­mov’s fic­tion.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Ray Bradbury: “The Things That You Love Should Be Things That You Do.” “Books Teach Us That”

“I sup­pose you’re won­der­ing why I’ve called you all here,” says Ray Brad­bury above, in a lengthy inter­view with the The Big Read project spon­sored by the Nation­al Endow­ment for the Arts. Break­ing the ice with this stock phrase, Bradbury–author of Fahren­heit 451, The Illus­trat­ed Man, The Mar­t­ian Chron­i­cles, and sev­er­al dozen more fan­ta­sy and sci-fi nov­els and short sto­ry col­lec­tions (and some tru­ly chill­ing hor­ror)–begins to talk about… Love. Specif­i­cal­ly a love of books. “Love,” he says, “is at the cen­ter of your life. The things that you do should be things that you love, and the things that you love, should be things that you do.” That’s what books teach us, he says, and it becomes his mantra.

Brad­bury, who passed away in June, was cer­tain­ly an ear­ly inspi­ra­tion for me, and sev­er­al mil­lion oth­er book­ish kids whose warmest mem­o­ries involve dis­cov­er­ing some strange, life-alter­ing book on the shelf of a library. As he recounts his child­hood expe­ri­ences with books, he’s such an enthu­si­as­tic boost­er for pub­lic libraries that you may find your­self writ­ing a check to your local branch in the first ten min­utes of his talk.  And it’s easy to see why his most famous nov­el sprang from what must have been a very press­ing fear of the loss of books. Brad­bury was large­ly self-taught. Unable to afford col­lege, he pur­sued his fierce ambi­tion to become a writer imme­di­ate­ly out of high school and pub­lished his first short sto­ry, “Hollerbochen’s Dilem­ma,” at the age of nine­teen. As he says above, he became a writer because, “I dis­cov­ered that I was alive.” But I’m not doing it jus­tice. You have to watch him tell it to real­ly feel the thrill of this epiphany.

The Big Read’s mis­sion is to cre­ate a “Nation of Read­ers,” and to do so, it posts free audio guides for clas­sics such as Bradbury’s Fahren­heit 451, Hemingway’s A Farewell to Arms, and Fitzgerald’s The Great Gats­by. They also fea­ture video inter­views with oth­er authors, like Amy Tan, Ernest J. Gaines, and Tobias Wolff. Each of the inter­views is fan­tas­tic, and the read­ers’ guides are superb as well. Bradbury’s, for exam­ple, nar­rat­ed by poet and author Dana Gioia, also fea­tures sci-fi giants Orson Scott Card and Ursu­la K. Le Guin, as well as sev­er­al oth­er writ­ers who were inspired by his work.

Relat­ed Con­tent:

Ray Brad­bury Gives 12 Pieces of Writ­ing Advice to Young Authors (2001)

Ray Brad­bury: Lit­er­a­ture is the Safe­ty Valve of Civ­i­liza­tion

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Star Trek Celebrities, William Shatner and Wil Wheaton, Narrate Mars Landing Videos for NASA

NASA and Star Trek — they’ve been joined at the hip for decades. Back in 1972, when NASA launched its very first space shut­tle, they called it the Enter­prise, a clear nod to the star­ship made famous by the 1960s TV show. In 2011, NASA brought the space shut­tle pro­gram to a close, and they fit­ting­ly asked William Shat­ner to nar­rate an 80 minute film doc­u­ment­ing the his­to­ry of the auda­cious space pro­gram. (Watch it here.)

Now we’re one week away from anoth­er NASA mile­stone — the land­ing of the rover Curios­i­ty on Mars — which can mean only one thing. William Shat­ner’s back, and he’s pre­view­ing the action that lies ahead. First the Curios­i­ty’s dif­fi­cult land­ing, the so-called Sev­en Min­utes of Ter­ror. And then the rover’s mis­sion on the Red Plan­et. Shat­ner’s clip will give geeks north of 40 a lit­tle nerdgasm. For younger geeks (said affec­tion­ate­ly), NASA has Wil Wheaton, the star of Star Trek: The Next Gen­er­a­tion, read­ing the same script. You can watch it below.

Fol­low us on Face­bookTwit­ter and now Google Plus and share intel­li­gent media with your friends! They’ll thank you for it.

 

Miracle Mushrooms Power the Slums of Mumbai

If you want to see rough-and-ready exper­i­ments in res­i­den­tial archi­tec­ture and neigh­bor­hood con­struc­tion, look no fur­ther than the world’s largest slums. Every day, strait­ened con­di­tions and high den­si­ty force the mil­lions upon mil­lions who live in them to impro­vise cre­ative solu­tions to the chal­lenges of urban sur­vival using what­ev­er mate­ri­als and pow­er — both terms broad­ly defined — hap­pen to lay at hand. In his short New Mum­bai, film­mak­er Tobias Rev­ell turns his lens toward India, host to some of the most vast and com­plex slums around, and dis­cov­ers a high­ly uncon­ven­tion­al mate­r­i­al, a sort of organ­ic infra­struc­ture, in use in the knocked-togeth­er neigh­bor­hoods of Dhar­avi: giant mush­rooms.

Actu­al­ly, Rev­ell doesn’t dis­cov­er the mush­rooms; he invents them, telling a sci­ence-fic­tion sto­ry, if not a ter­ri­bly far-fetched one, in the plain­spo­ken, street-lev­el style of a devel­op­ing-world doc­u­men­tary. He even comes up with a semi-plau­si­ble expla­na­tion for how each of these mir­a­cle mush­rooms gen­er­ates enough pow­er to run an entire build­ing: bio­log­i­cal sam­ples leak from Ams­ter­dam into the Mum­bai gang­land, and a few shad­owy types strug­gle to engi­neer them into a new kind of nar­cot­ic. When that doesn’t work, Dharavi’s sci­ence-savvy res­i­dents — refugees from a reli­gious war — get to work on adapt­ing them to a vari­ety of life-improv­ing uses. Rev­ell, no stranger to spec­u­la­tive projects that tap into mod­ern cur­rents of thought, has tak­en the zeitgeist’s notions of a new part­ner­ship between the city and nature, but run them to an intrigu­ing extreme. And you can’t deny how cool those mush­rooms look sprout­ing from the rooftops.

via @cinnamon_carter

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

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