Frank Beacham's Journal

Rube Goldberg was born 138 years ago

Rube Goldberg was born 138 years ago.

A cartoonist, sculptor, author, engineer and inventor, Goldberg is best known for a series of popular cartoons depicting complicated gadgets that perform simple tasks in indirect, convoluted ways.

Goldberg received many honors in his lifetime, including a Pulitzer Prize for his political cartooning in 1948 and the Banshees' Silver Lady Award in 1959. He was a founding member and the first president of the National Cartoonists Society, and he is the namesake of the Reuben Award, which the organization awards to the Cartoonist of the Year.

He is the inspiration for various international competitions, known as Rube Goldberg Machine Contests, which challenge participants to make a complicated machine to perform a simple task.

Here’s a video of a Rube Goldberg contraption

The most famous UFO sighting happened in Roswell, New Mexico 74 years ago

U.F.O. sightings have been reported around the world, but arguably none are more famous than one 74 years ago.

In June, 1947, W. W. Brazel, a rancher in New Mexico, came across some odd debris. A few days later, he whispered “kinda confidential-like” to the local sheriff that it might have been remnants of a “flying disk.”

A local military base, the Roswell Army Air Field, issued a news release about the debris, prompting a newspaper article with the headline “RAAF Captures Flying Saucer.”

Officials changed their story the next day, saying the debris came from a weather balloon, but Roswell has since been nearly synonymous with tales of alien visitations.

Almost 20 years ago, the Air Force tried to end the speculation. In “The Roswell Report: Case Closed,” officials wrote that any “aliens” spotted in the desert “were actually anthropomorphic test dummies” carried aloft by high-altitude Air Force balloons.

As for Mr. Brazel, he didn’t believe the debris was a weather balloon, but he regretted setting off the furor. In the future, he said, “If I find anything else besides a bomb, they are going to have a hard time getting me to say anything about it.”

Thanks, New York Times!

On this day in 1633, Galileo renounced what we now accept as fact: that the Earth orbits the sun. He was tried for challenging the status quo

The story of Galileo Galilei demonstrates many things, not least that science keeps evolving.

It was on this day in 1633 that the Italian scholar renounced what we now accept as fact: that the Earth orbits the sun, not the other way around.

Galileo’s discovery of Jupiter’s larger moons in 1610 made him question the prevailing assumption that the Earth was at the universe’s center. His advocacy of the heliocentric theory earned him mockery, censure and — in 1633 — a trial in Rome, at which he was forced to recant before a jury of cardinals. He vowed that he would “abjure, curse and detest” his findings.

The declaration saved him from being burned at the stake, but led to house arrest for the rest of his life. It took the Roman Catholic Church more than 350 years to acknowledge that Galileo had been wronged — though astronomers now tell us that the sun is not immobile, but orbits within the galaxy, pulling the planets along with it.

Today, Galileo’s discoveries seem obvious. But all things are easy to understand once they have been discovered, he wrote. “The point is in being able to discover them.”

Tell that to the deniers of climate change.

Thanks New York Times!

A bust of Galileo at a museum dedicated to him in Florence, Italy.

Photo by Kathryn Cook

Jacques Cousteau was born 111 years ago today

Jacques Cousteau was born 111 years ago today.

Cousteau was a French naval officer, explorer, conservationist, filmmaker, innovator, scientist, photographer, author and researcher who studied the sea and all forms of life in water. He co-developed the Aqua-Lung, pioneered marine conservation and was a member of the Académie française.

After an automobile accident cut short his career in naval aviation, Cousteau indulged his interest in the sea. In Toulon, where he was serving on the Condorcet, Cousteau carried out his first underwater experiments, thanks to his friend Philippe Tailliez who in 1936 lent him some Fernez underwater goggles — predecessors of modern swimming goggles.

His two sons, Jean-Michel (born 1938) and Philippe (1940–1979), took part in the adventures of the Calypso. In 1975, John Denver released the tribute song, "Calypso," on his album "Windsong," and on the B-side of his hit song, "I'm Sorry."

"Calypso" became a hit on its own and was later considered the new A-side, reaching #2 on the charts. Cousteau's legacy includes more than 120 television documentaries, more than 50 books and an environmental protection foundation with 300,000 members. He liked to call himself an "oceanographic technician."

Cousteau was, in reality, a sophisticated showman, teacher and lover of nature. His work permitted many people to explore the resources of the oceans. His work also created a new kind of scientific communication, criticized at the time by some academics.

The so-called "divulgationism," a simple way of sharing scientific concepts, was soon employed in other disciplines and became one of the most important characteristics of modern television broadcasting.

Cousteau died on June 25, 1997 at age 87.

Here is a short film on Cousteau’s work

On Cousteau’s birthday, here’s a personal remembrance of shooting video for his television show onboard the Calypso.

Cousteau had long recorded his documentaries and television programs on film, but in the mid-1970s he began using video.

While based in Miami, I formed one of the first small format video production companies. I got a call to shoot video for Jacques Cousteau and his son, Philippe, on the Calypso for The Cousteau Society.

Over a few months, we shot several segments with Jacques Cousteau on the Calypso. The main producer on the shoots was Philippe, who worked closely with his father on his film and video production.

On June 28, 1979, while the Calypso was on an expedition to Portugal, Philippe — Cousteau’s preferred and designated successor and with whom he had co-produced all his films since 1969 — died in a PBY Catalina flying boat crash in the Tagus river near Lisbon.

Jacques Cousteau was deeply affected by Philippe’s death and it was the last I worked with him. He then called his eldest son, the architect Jean-Michel Cousteau, to be at his side. Their collaboration lasted 14 years.

In the photos are Philippe Cousteau with his Eclair 16mm camera and Cousteau with his diving saucer.

The 1964 World’s Fair opened 57 years ago today

When the 1964 World’s Fair opened 57 years ago today, the architectural star of the show was Philip Johnson’s soaring, futuristic New York State Pavilion.

“A sophisticated frivolity,” The Times’s architecture critic Ada Louise Huxtable raved, “seriously and beautifully constructed. This is ‘carnival’ with class.”

Standing inside the pavilion’s Tent of Tomorrow, a multicolored canopy supported by 100-foot concrete towers, was like looking up at a spacecraft taking off. For years, the pavilion has been shuttered and in disrepair, slowly crumbling. The pavilion was listed on the National Register of Historic Places in 2009.

In the fall of 2013, New York City's Department of Parks and Recreation announced plans to restore the pavilion with new landscaped paths and event spaces at an estimated cost of $73 million, as opposed to the $14 million cost to demolish the structure.

Renewed interest was shown in the pavilion's restoration in early 2014, the 50th anniversary of its opening.

In July, 2014, the pavilion received about $5.8 million for restoration. The New York Mets also donated some money for the preservation effort. However, the pavilion was damaged the same month by arsonists.

In May, 2015, the New York Structural Steel Painting Contractors Association, in conjunction with the New York City Parks department and members of the International Union of Painters and Allied Trades (District Council 9, Local 806), announced a project to repaint the rusty steel framework of the Tent of Tomorrow.

After testing paint chips, the color "American Cheese Yellow" was selected as the best match for the original color. The majority of the labor was done by union trainees, and materials were supplied by the contractors, constituting a $3 million donation. All work was completed by August 15th, 2015.

The Pavilion is the subject of a documentary film titled, Modern Ruin: A World's Fair Pavilion, produced by filmmaker and teacher Matthew Silva. The documentary premiered on May 22, 2015 in the Queens Theatre which was formerly the theaterama, the third component of the New York State Pavilion.

In March, 2016, People For the Pavilion and the National Trust for Historic preservation launched an international ideas competition to allow the public to reimagine possibilities for what is possible for the pavilion.

Two proposed designs for the New York State Pavilion's restoration won New York City's 2018 Annual Awards for Excellence in Design. As of June 2018, the New York City government planned to award contracts for the pavilion's restoration, set to be worth $14.25 million. The restoration was planned to take one and a half years but was delayed due to construction and pandemic issues. It is uncertain when it will be finished.

Below, Observatory Towers of the New York State Pavilion, 1964 World's Fair

Photo by Erik S. Lieber

Fifty-seven years ago today, folk singer Oscar Brand provided the music for this "film poem," a day in the life of the 1964 World's Fair in Queens, New York.

All major areas of the fair are represented — international, industrial, federal and states, transportation and amusements. The narration form gives the film its title — Oscar Brand sings the "Ballad." The song was specially written for the film.

Some of the construction leading up to opening day is contrasted to the finished appearance of the grounds later in the film. Many pavilions and the Unisphere are shown, but the Bell Pavilion is the main focus.

The "Floating Wing" pavilion of the Bell System is given a quick tour, as people ride the 17-minute moving, Disney-style slow ride through telecommunications history (with music by Morton Gould), and visit such exhibits as The Vocoder, Patterns of your Voice, Electronic Switching and the Picturephone.

The film closes with the fireworks and water show that was produced nightly in front of the Bell Pavilion at the Pool of Industry.

While the Unisphere still exists on the Queens fairgrounds (now the Flushing Meadows park), most buildings were torn down or removed following the Fair. The giant tire ferris wheel for Royal Tire is a landmark along I-94 west of Detroit, Michigan. The Skyway tower structures and gondolas were moved to Six Flags Great Adventure (at that time called Great Adventure) in New Jersey. "It's a Small World" was transferred to Disneyland.

Nothing remains of the Bell Pavilion. But many of the ideas in this pavilion about communications and the future were later transferred to the "Spaceship Earth" building at Epcot Center, which opened in 1982 sponsored by Bell, then sponsored by AT&T from 1984 to 2004.

William Gibson is 73 years old today

William Gibson is 73 years old today.

An American-Canadian speculative fiction novelist and essayist who has been called the "noir prophet" of the cyberpunk sub-genre, Gibson coined the term "cyberspace" in his short story "Burning Chrome" (1982) and later popularized the concept in his debut novel, Neuromancer (1984).

In envisaging cyberspace, Gibson created an iconography for the information age before the ubiquity of the Internet in the 1990s. He is also credited with predicting the rise of reality television and with establishing the conceptual foundations for the rapid growth of virtual environments such as video games and the World Wide Web.

Having changed residence frequently with his family as a child, Gibson became a shy, ungainly teenager who often read science fiction. After spending his adolescence at a private boarding school in Arizona, Gibson evaded the draft during the Vietnam War by emigrating to Canada in 1968, where he became immersed in the counterculture.

After settling in Vancouver he eventually became a full-time writer. He retains dual citizenship.

Gibson's early works are bleak, noir near-future stories about the effect of cybernetics and computer networks on humans — a "combination of lowlife and high tech." The short stories were published in popular science fiction magazines.

The themes, settings and characters developed in these stories culminated in his first novel, Neuromancer, which garnered critical and commercial success, effectively initiating the cyberpunk literary genre.

Although much of Gibson's reputation has remained associated with Neuromancer, his work has continued to evolve.

After expanding on Neuromancer with two more novels to complete the Sprawl trilogy, Gibson became an important author of another science fiction sub-genre — steampunk — with the 1990 alternate history novel The Difference Engine, written with Bruce Sterling.

Gibson has written more than twenty short stories and ten critically acclaimed novels (one in collaboration), and has contributed articles to several major publications and collaborated extensively with performance artists, filmmakers and musicians.

His thought has been cited as an influence on science fiction authors, design, academia, cyberculture and technology.

On March 14, 1879 — 142 years ago today — Albert Einstein was born in Ulm, Germany

On March 14, 1879 — 142 years ago today — Albert Einstein was born in Ulm, Germany.

Einstein's theories of special and general relativity drastically altered man's view of the universe, and his work in particle and energy theory helped make possible quantum mechanics and, ultimately, the atomic bomb.

After a childhood in Germany and Italy, Einstein studied physics and mathematics at the Federal Polytechnic Academy in Zurich, Switzerland. He became a Swiss citizen and in 1905 was awarded a Ph.D. from the University of Zurich while working at the Swiss patent office in Bern.

That year, which historians of Einstein's career call the annus mirabilis — the "miracle year" — he published five theoretical papers that were to have a profound effect on the development of modern physics.

In the first of these, titled "On a Heuristic Viewpoint Concerning the Production and Transformation of Light," Einstein theorized that light is made up of individual quanta (photons) that demonstrate particle-like properties while collectively behaving like a wave.

The hypothesis, an important step in the development of quantum theory, was arrived at through Einstein's examination of the photoelectric effect, a phenomenon in which some solids emit electrically charged particles when struck by light. This work would later earn him the 1921 Nobel Prize in Physics.

In the second paper, he devised a new method of counting and determining the size of the atoms and molecules in a given space, and in the third he offered a mathematical explanation for the constant erratic movement of particles suspended in a fluid, known as Brownian motion. These two papers provided indisputable evidence of the existence of atoms, which at the time was still disputed by a few scientists.

Einstein's fourth groundbreaking scientific work of 1905 addressed what he termed his special theory of relativity. In special relativity, time and space are not absolute, but relative to the motion of the observer.

Thus, two observers traveling at great speeds in regard to each other would not necessarily observe simultaneous events in time at the same moment, nor necessarily agree in their measurements of space. In Einstein's theory, the speed of light, which is the limiting speed of any body having mass, is constant in all frames of reference.

In the fifth paper that year, an exploration of the mathematics of special relativity, Einstein announced that mass and energy were equivalent and could be calculated with an equation, E=mc2.

Although the public was not quick to embrace his revolutionary science, Einstein was welcomed into the circle of Europe's most eminent physicists and given professorships in Zýrich, Prague and Berlin. In 1916, he published "The Foundation of the General Theory of Relativity," which proposed that gravity, as well as motion, can affect the intervals of time and of space.

According to Einstein, gravitation is not a force, as Isaac Newton had argued, but a curved field in the space-time continuum, created by the presence of mass. An object of very large gravitational mass, such as the sun, would therefore appear to warp space and time around it, which could be demonstrated by observing starlight as it skirted the sun on its way to earth.

In 1919, astronomers studying a solar eclipse verified predictions Einstein made in the general theory of relativity, and he became an overnight celebrity. Later, other predictions of general relativity, such as a shift in the orbit of the planet Mercury and the probable existence of black holes, were confirmed by scientists.

During the next decade, Einstein made continued contributions to quantum theory and began work on a unified field theory, which he hoped would encompass quantum mechanics and his own relativity theory as a grand explanation of the workings of the universe. As a world-renowned public figure, he became increasingly political, taking up the cause of Zionism and speaking out against militarism and rearmament.

In his native Germany, this made him an unpopular figure. After Nazi leader Adolf Hitler became chancellor of Germany in 1933, Einstein renounced his German citizenship and left the country. He later settled in the United States, where he accepted a post at the Institute for Advanced Study in Princeton, New Jersey.

He would remain there for the rest of his life, working on his unified field theory and relaxing by sailing on a local lake or playing his violin. He became an American citizen in 1940.

In 1939, despite his lifelong pacifist beliefs, he agreed to write to President Franklin D. Roosevelt on behalf of a group of scientists who were concerned with American inaction in the field of atomic-weapons research. Like the other scientists, he feared sole German possession of such a weapon. He played no role, however, in the subsequent Manhattan Project and later deplored the use of atomic bombs against Japan.

After the war, he called for the establishment of a world government that would control nuclear technology and prevent future armed conflict.

In 1950, he published his unified field theory, which was quietly criticized as a failure. A unified explanation of gravitation, subatomic phenomena and electromagnetism remains elusive today.

Albert Einstein, one of the most creative minds in human history, died in Princeton in 1955.

Thanks History.com

The 30th Anniversary of Apple's Macintosh

The 30th anniversary of the Macintosh computer probably means little to most young people today. But to me, it was a pivotal moment in my working life—one that allowed me to ditch the office job forever and truly operate independently as a productive freelancer.

I bought the first 128K Macintosh right after seeing IBM pummeled in that famous Apple Super Bowl commercial in 1984. I was angry with computers in general at the time and that commercial hit the right spot. Before that day, I owned a Xerox 820. It was a truly awful machine.

The Xerox was an 8-bit clunker that cost me about $4,000 plus the freelance consultant it took to set it up to do anything of value. It used what was known as a CP/M operating system with an unintuitive word processor called Wordstar. It had big eight-inch disks to store data. The operating manuals (there were several) took up an entire bookshelf. It was definitely BIG IRON.

The Macintosh changed all that forever. First, the money-grubbing consultant was shown the door. I had all the software I needed and it was easy to use. The mouse was pure genius. I could write documents, work with numbers and even manipulate pictures with ease.

The Mac was small, light and simple to understand and that room full of arcane documents was replaced with a very basic manual written in language “for the rest of us.” Apple had hit a chord with me.

I once thanked Steve Jobs in person for the Mac. I told him it enabled me to do what I wanted to do. He responded that’s exactly what it was designed to do. Since 1984, I’ve been through dozens of Macs and never once has a Mac let me down. It has been one hell of a run.

When I first bought my Mac, I had a professional video edit suite in Los Angeles that was valued at more than $1 million. Today, with iMovie and Final Cut Pro, my Macintosh does far more than that edit facility ever did in 1984. You just can’t beat that.

This is why the 30th anniversary of the Mac matters to me. The Mac set me free and there are few other things you can compare to it in today’s world.

The Man Who Took the Great Pictures from Outer Space

After a talk by astronaut Don Pettit at a photography conference in New York City this week, someone in the audience tweeted: “For someone who spent a year in space, Dr. Pettit is a down to earth guy.”

When the message was read, the audience burst into applaud. Many had already had one-on-one talks with Pettit at lunch at the Luminance conference and found him an incredibly accessible, ready to answer any question, and well—as said—a genuinely “down to earth guy.”


Pettit is a chemical engineer and astronaut who, in three stays over the past decade, spent more than a year on the International Space Station. He worked as a scientist at the Los Alamos National Laboratory until 1996, when he was selected as an astronaut candidate. In addition to all his other skills and adventures, Pettit is a passionate amateur photographer.

Yes, NASA trains all astronauts in photography, but doesn’t assign photography duties in space. “It’s more of a hobby thing,” Pettit said. “There are some astronauts who—if the camera wasn't set to "P"—would never be able to take a picture. It's a personal thing for me. I enjoyed photography before becoming an astronaut and continued to grow and learn the photo equipment."


At NASA, Pettit said, the photo trainers badger the trainees by showing all of these hundreds of awful pictures that previous astronauts have taken. “They say don't take a picture like that,” he said. “Up the nose shots, where you can see how many hairs are there, are frowned upon.”


The problem with the above shot, Pettit said, is it's not reality. In a weightless environment, the members of the station crew are everywhere—attached to walls, on the ceiling and in coffin-sized beds in the floor. “You get used to seeing a humbo jumbo of crewmates in all these positions. So you might be looking into somebody's nose. As creatures on Earth, we are not used to seeing this. The pictures you take of your crewmates look perfectly normal to you, but when a normal picture gets to Earth, you get instructed to take pictures like this.

“Of course, you’d be hard pressed looking at that picture to know whether the group is in space or not. We only have some fancy backdrop.”


Pettit likes to shoot inside the cramped spacecraft with a Nikkor 8mm fisheye lens. “We have six people living in space and an Android which we are working the bugs out of. We refer to it as him or possibly her. I've been back on earth for about two months from a 192-day space mission. We started the mission referring to the Robonaut as him and somewhere in the mission we began referring to it as her.” (Big laugh from the audience.)


Among his favorite photo subjects are the approaching unmanned supply vehicles that bring food and other necessities on a periodic basic. “These are fire breathing creatures,” Pettit said. “They will belch fire and I try to record these images.

“These supply vehicles dock automatically unless the automatics break down and then we have to manually dock it. They are filled full of goodies—a chamber about two and half meters in diameter. We unload all the stuff and then fill the chamber with all of our garbage, which are mostly buckets filled with poop. You gotta do something with that stuff, right? You just don't flush it. We put it in the spacecraft and undock it and it blows up in the atmosphere. So at least it’s a sanitary way of getting rid of this stuff.”


To take pictures outside, Pettit uses the station’s Cupola, a seven window observatory module in the station that looks at Earth. It was launched aboard a Space Shuttle mission on Feb. 8, 2010 and attached to the Tranquility Node 3. The Cupola's 31-inch window is the largest ever used in space.


“We fill it with as many as eight different cameras,” Pettit said.“Earth goes by really fast. You go 24,000 miles in 90 minutes. If you want to take a picture of your hometown or whatever, you have three to five seconds to get that shot. Or you'll have to wait another 11 days before you're over your hometown again. We have all these cameras set-up because there is no time to change lenses or settings. They are never turned off.


“You have this amazing perspective of Earth—you can see it on the length-scale of half a continent. It's definitely a wide angle view. If you are over central Australia, you can see the east coast and west coast at the same time. The truly unique thing through my eyes is to capture the wide angle nature of what your views are.

“We have all kinds of telephoto lenses, but if you're not careful, you get images not as good as Google Earth. In my view, you want to capture something different from what a satellite can capture.”

Infrared

“I was able to talk NASA into taking a perfectly fine Nikon D3F body and pulling the IR blocking filter out. The reason is we stopped shooting film in my first flight in 2002. With that, we lost the ability to do color infrared photography. It was all film based. Now we can do infrared digitally with this modified Nikon camera.


"This is the Ganges river delta (a trans-boundary river of India and Bangladesh). The deep red is the mangrove wilderness. You can see on the left side where agriculture is starting to infringe into the wilderness area. 


"This is in the Bahamas. Coral reef and turquoise water and sediments give these amazing colors in the near infrared.


“If you want to go for a jaunt outside, and we all do, you'd be better be wearing a set of clothes that look like this.

"Shadows in space are really stark.


"You are either in full blown sunlight or pitch black. There is almost nothing in between. Even when you bring the camera outside, you have these shadows you have to deal with. I sent a picture home to my boy and said we had found Godzilla in space.


"One of my favorites are star trail pictures. Nighttime doesn't really look like this, but it has all of these elements in it. These are multiple 30 second exposures stacked to show the orbital motion as well as the star trail motion. The circle is made by the pitch access of the spacecraft. These are fun pictures primarily for data."

Cities at Night

“Cities at night are fascinating. You look at how human beings sprinkle their light bulbs at night. It's amazing from an orbital perspective. Nobody on earth designs their cities by how they look to space. They just happen to turn out that way. Until 2002, all these pictures were soft focused due to orbital motion.


“I was unhappy about that. So I cobbled this piece of equipment up with spare parts that were on the space station. The big black thing is an IMAX movie camera mount. It wasn't being used because we no longer had film on the station. So I figured no one would mind if I used it. I got out our drill driver. I needed a long bolt. I found one in the progress vehicle. I figured no one will miss just one bolt.” (More laughter.)

“So you drive that bolt and it pushes against the platform and you can move one axis of a gimbel in a controlled manner depending on how much you squeeze the trigger. I took a Hasselblad camera with a 70 mm film back, though we had no film anymore. I put the 350mm lens on it. It became a fancy spotting telescope. You look through that camera and squeeze the trigger on the drill driver until the images are stationary and then you take a picture with the other camera mounted on the mount.

“If you're an amateur astronomer, you realize this is nothing more than a barn door tracker. Barn door trackers are used to take pictures of space to counter Earth motion. I was in space countering orbital motion so I could take a picture of Earth.

"Times have changed. The space agency has built a computer controlled tracker. This is New Orleans taken from the mission I just got back from. Taken with a Nikon D3F we can now get down to 10 meter resolution. You can see the Mississippi River and the French Quarter and see it's a pretty hopping place at this time of night."

Pettit said it turns out there is a triangle between culture, technology and geography that dictates how humans move lighting around. One can see different types of lighting by region, he said. “Embedded in this data about our cities is something about who we are as a species. Cities at night may be one of the most beautiful unintentional consequences of human activity.”

Pettit was asked if he had ever used Photoshop on his images while in space. “Most images are downloaded from space. During my mission, we had six hard drives fail. Hard drives somehow fail when they get into weightlessness. They don't last like they do on Earth. Nobody understands why, but they just do.

So the quicker you can get your images off of a hard drive and downloaded, the better. NASA does a good just of ferreting out all the RAW files, which are stored as NEF files. I do hold some of my favorites and I do have a copy of Photoshop and I work with some of them in my spare time just because I can.

But I'd rather spend my time taking the pictures while in orbit than doing image processing. You have plenty of time to do that when you're back on Earth.”

Finally, with all the usage of his images being manipulated on YouTube, Vimeo and Facebook over the past year, Pettit was asked if had ever seen them online and what is his opinion.

“I have seen many of these time lapse movies and it does me good that people are actually using the pictures that I take,” he said. “I think whatever art form you enjoy creating the best compliment is to see somebody take it and enjoy it themselves. At NASA, I can't use copyright music unless we can arrange with the musician. But people on YouTube do that. So they make these marvelous film clips that I can't do. Some of these are so beautiful, it brings a tear to my eye.”

Don Pettit with Frank Beacham at the Luminance Conference sponsored by Photoshelter in New York City

Information Without Knowledge

Information everywhere. We are drowning in it. We are assured that information is wealth. To succeed in the new economy, we are told, we must be connected.

Why then—with so much information—are we in an age of such unenlightenment? Why is virtually any idea of substance "dumbed down" for public consumption? Why is instant gratification so important to so many of us?

Easy access to information, it would seem on the surface, should be leading to a better educated, more knowledgeable population. So why is it that as information technology improves, most people move down, not up, the knowledge chain?

Some answers to these questions emerged from a symposium where a group of major American artists tried to grapple with creative issues facing them in the age of digital media. The session, called "Digital Expression," was held at the Media Laboratory at the Massachusetts Institute of Technology in Cambridge.

Peter Sellars, a director of theater, opera and film, offered some insight on modern information overload.

Hundreds of years ago, Sellars said, people in search of knowledge went on personal pilgrimages for information. The process, he said, could take years. By not having the information easily available, there was experience attached to the search that made the finding of the information far more meaningful to the recipient.

"The actual act of finding something had value," he said. "It was a beautiful thing because when you found something it meant something.

"Now we are getting all this information with no experience attached to it," Sellars continued. "Where there is no pilgrimage the information itself is debased, devalued and dehumanized. In a sense the ratio of experience to information content is radically altered today. What's irritating about the age of information is that it creates this yuppie denial of experience. We have everything at our fingertips but we don't value anything."

Unlike some others attending the symposium, Sellars embraced the "untamed quality" of the current Internet structure because it allows the user to wander and discover information through his or her own personal experience. 

"To just meander is one of the pleasures of life," Sellars said. "To have the user making wrong turns through the information is exactly the point. That's where the juice is."

Today's mass media, said Sellars, reflects only a single voice, not the broad range of human experience. "You get the feeling that huge parts of human experience are going undocumented and unrecognized. A very narrow group of people are creating this insane (communications) gridlock," he said. "We are aware there are many, many voices that we don't hear today at all. The CBS Evening News represents only one voice."

Artists, he said, "must break out of the official information structure" to find new ways to express important subjects that mainstream media refuses to address.

"Aristotle wrote about the attempts to touch the totality of an experience," said Sellars. "As human beings, we are complex, divided and multilayered. Therefore, what satisfies us is complex, multilayered and has all these built-in conflicts just as we do. How do with set up (new media) structures that show how we really feel?"

The issue of experience was also addressed by the actress Jane Alexander.  She embraced information technology as an important artist's tool but was clearly troubled by those who would use it as a substitute for experiencing reality.

"Seeing the Mona Lisa on a compact disc is not the same as seeing the real thing," she said. "Hearing 'If I Had A Hammer' on your computer speakers is not the same as hearing Pete Seeger singing it. There is no way to actually create live theater in a box or a game.

"The whole point about virtual reality is that it is virtually real, not really real," Alexander continued. "Technology cannot replace the seeing, the hearing and the experiencing of art. It doesn't replicate the doing of art. There's a big difference between a paint brush and a canvas and a mouse and a screen."

Perhaps one of the significant lessons we'll one day learn from this computer era is that information should never be confused with knowledge. Having instant access to all the world's databanks has little to do with genuine cultural progress.

Despite all the information age hype, the real information—the information that matters in life—comes only when we as human beings are ready to open ourselves to accept it. For most of us, this comes through living life, acquiring personal experience and searching for knowledge out of genuine curiosity.

---

(I wrote this column in October of 1994. I was reminded of it last night in a discussion about younger people who often use the Internet to substitute information (say from Wikipedia) for genuine knowledge. When I re-read it, it seemed as timely as ever. When it was written, Jane Alexander was chairwoman of the National Endowment for the Arts.)