Watch Noam Chomsky & Lawrence Krauss Talk About Education, Political Activism, Technology & More Before a Sold-Out Crowd

Found­ed and direct­ed by physi­cist Lawrence Krauss, Ari­zona State’s Ori­gins Project has for sev­er­al years brought togeth­er some of the biggest minds in the sci­ences and human­i­ties for friend­ly debates and con­ver­sa­tions about “the 21st Century’s great­est chal­lenges.” Pre­vi­ous all-star pan­els have includ­ed Krauss, Neil DeGrasse Tyson, Bill Nye, Bri­an Greene, and Richard Dawkins. Stephen Hawk­ing has graced the ASU Ori­gins Project stage, as has actor and sci­ence com­mu­ni­ca­tor Alan Alda. And this past March, in a sold-out, high­ly-antic­i­pat­ed Ori­gins Project event, Krauss wel­comed Noam Chom­sky to the stage for a lengthy inter­view, which you can watch above.

Although Krauss says he’s wary of hero wor­ship in his lauda­to­ry intro­duc­tion, he nonethe­less finds him­self ask­ing “What Would Noam Chom­sky Do” when faced with a dilem­ma. He also points out that Chom­sky has been “mar­gin­al­ized in U.S. media” for his anti-war, anar­chist polit­i­cal views. Those views, of course, come wide­ly into play dur­ing the con­ver­sa­tion, which ranges from the the­o­ry and pur­pose of education—a sub­ject Chom­sky has expound­ed on a great deal in books and inter­views—to the fate of polit­i­cal dis­si­dents through­out his­to­ry.

Chom­sky also gives us his views on sci­ence and tech­nol­o­gy, par­tic­u­lar­ly in the Q&A por­tion of the talk above, in which he answers ques­tions about arti­fi­cial intel­li­gence—anoth­er sub­ject he’s touched on in the past—and ani­mal exper­i­men­ta­tion, among a great many oth­er top­ics. Krauss most­ly hangs back dur­ing the ini­tial dis­cus­sion but takes a more active role in the ses­sion above, offer­ing views on med­ical and sci­en­tif­ic ethics that will be famil­iar to those who fol­low his athe­ist activism and cham­pi­oning of ratio­nal­i­ty over reli­gious dog­ma.

What you won’t see in the video above is a con­ver­sa­tion Chom­sky and Krauss had with Moth­er­board’s Daniel Ober­haus, who caught up with both thinkers dur­ing the ASU event to get their take on what he calls “anoth­er great space race.” As Ober­haus makes clear, the cur­rent com­pe­ti­tion is not nec­es­sar­i­ly between glob­al super­pow­ers, but—as with so much mod­ern research and development—between pub­lic and pri­vate enti­ties, such as NASA and Space X. As we briefly dis­cussed in a post yes­ter­day on the huge amount of pub­lic domain space pho­tog­ra­phy freely avail­able for use, pri­vate space explo­ration makes research pro­pri­etary, mit­i­gat­ing the poten­tial pub­lic ben­e­fits of gov­ern­ment pro­grams.

As Chom­sky puts it, “the envi­ron­ment, the com­mons… they’re a com­mon pos­ses­sion, but space is even more so. For indi­vid­u­als to allow insti­tu­tions like cor­po­ra­tions to have any con­trol over it is dev­as­tat­ing in its con­se­quences. It will also almost cer­tain­ly under­mine seri­ous research.” He refers to the exam­ple of most mod­ern computing—developed under pub­licly-fund­ed gov­ern­ment pro­grams, then mar­ket­ed and sold back to us by cor­po­ra­tions. Krauss makes a case for unmanned space explo­ration as the cost-effec­tive option, and both thinkers dis­cuss the prob­lem of mil­i­ta­riz­ing space, the ulti­mate goal of Cold War space pro­grams before the fall of the Sovi­et Union. The con­ver­sa­tion is rich and reveal­ing and makes an excel­lent sup­ple­ment to the already rich dis­cus­sion Krauss and Chom­sky have in the videos above.

Relat­ed Con­tent:

The Ori­gins Project Brings Togeth­er Neil DeGrasse Tyson, Richard Dawkins, Lawrence Krauss, Bill Nye, Ira Fla­tow, and More on One Stage

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

Noam Chom­sky Explains Where Arti­fi­cial Intel­li­gence Went Wrong

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The World’s Oldest Surviving Pair of Glasses (Circa 1475)

oldest pair of glasses

Above, we have what The On-Line Muse­um and Ency­clo­pe­dia of Vision Aids believes is the world’s old­est sur­viv­ing pair of glass­es. Dat­ing back to the 15th cen­tu­ry, the glass­es belonged to the Eighth Shogun, Yoshi­masa Ashik­a­ga, who reigned from 1449 to 1473, dur­ing the Muro­machi peri­od of Japan­ese his­to­ry. Both the glass­es and their accom­pa­ny­ing case were made of hand-carved white ivory.

Glass­es were actu­al­ly first invent­ed, how­ev­er, in Italy (some say Flo­rence, to be pre­cise) in 1286 or there­abouts. In a ser­mon from 1306, a Domini­can fri­ar wrote: â€śIt is not yet twen­ty years since there was found the art of mak­ing eye­glass­es, which make for good vision… And it is so short a time that this new art, nev­er before extant, was dis­cov­ered.” In the mid 14th cen­tu­ry, paint­ings start­ed to appear with peo­ple wear­ing eye­glass­es. (Take for exam­ple Tom­ma­so da Mod­e­na’s 1352 por­trait show­ing the car­di­nal Hugh de Provence read­ing.) A gallery of oth­er his­toric eye­wear can be viewed here.

via Erik Kwakkel

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An Animated Margaret Atwood Explains How Stories Change with Technology

From the  video series comes an ani­ma­tion fea­tur­ing Mar­garet Atwood med­i­tat­ing on how tech­nol­o­gy shapes the way we tell sto­ries. Just like the Guten­berg Press did almost 600 years ago, the recent advent of dig­i­tal plat­forms (the inter­net, ebooks, etc.) has cre­at­ed new ways for us to tell, dis­trib­ute and share sto­ries. And Atwood has­n’t been afraid to explore it all, writ­ing sto­ries on Wattpad and Twit­ter. Atwood will appear at The Future of Sto­ry­telling Sum­mit on Octo­ber 7 and 8.

via Matthias Rasch­er

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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:

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Kurt Von­negut Dia­grams the Shape of All Sto­ries in a Master’s The­sis Reject­ed by U. Chica­go

Writ­ing Tips by Hen­ry Miller, Elmore Leonard, Mar­garet Atwood, Neil Gaiman & George Orwell

1,000 Free Audio Books: Down­load Great Books for Free

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The End of an Era: A Short Film About The Last Day of Hot Metal Typesetting at The New York Times (1978)

This is usu­al­ly what hap­pens when I write a piece for Open Cul­ture: As I drink an over­priced cof­fee at my local cof­fee shop, I research a top­ic on the inter­net, write and edit an arti­cle on Microsoft Word and then copy and paste the whole thing into Word­Press. My edi­tor in Open Cul­ture’s gleam­ing inter­na­tion­al head­quar­ters up in Palo Alto gives it a look-over and then, with the push of a but­ton, pub­lish­es the arti­cle on the site.

It’s sober­ing to think what I casu­al­ly do over the course of a morn­ing would require the effort of dozens of peo­ple 40 years ago.

Until the 1970s, with the rise in pop­u­lar­i­ty of com­put­er type­set­ting, news­pa­pers were print­ed the same way for near­ly a cen­tu­ry. Lino­type machines would cast one line at a time from molten lead. Though an improve­ment from hand­set type, where print­ers would assem­ble lines of type one char­ac­ter at a time, lino­type still required numer­ous skilled print­ers to assem­ble each and every news­pa­per edi­tion.

The New York Times tran­si­tioned from that ven­er­at­ed pro­duc­tion method to com­put­er type­set­ting on Sun­day, July 2, 1978. David Loeb Weiss, a proof­read­er at the Times, doc­u­ment­ed this final day in the doc­u­men­tary Farewell — Etaoin Shrd­lu.

The title of the movie, by the way, comes from the first two lines of a printer’s key­board, which are arranged accord­ing to a letter’s fre­quen­cy of use. When a print­er typed “etaoin shrd­lu,” it meant that the line had a mis­take in it and should be dis­card­ed.

Watch­ing the movie, you get a sense of just how much work went into each page and how print­ers were skilled crafts­men. (You try spot­ting a typo on a page of upside down and back­wards type.) The film also cap­tures the furi­ous ener­gy and the cacoph­o­ny of clinks and clanks of the com­pos­ing room. You can see just how much phys­i­cal work was involved. After all, each page was print­ed off of a 40-pound plate made of lead.

The tone of the movie is under­stand­ably melan­choly. The work­ers are bid­ding farewell to a job that had exist­ed for decades. “All the knowl­edge I’ve acquired over my 26 years is all locked up in a lit­tle box now called a com­put­er,” notes one print­er. “And I think most jobs are going to end up the same way.” Some­one else wrote the fol­low­ing on the com­pos­ing room’s chalk­board. “The end of an era. Good while it last­ed. Cry­ing won’t help.”

You can watch the full doc­u­men­tary above. It will also be added to our list of 200 Free Doc­u­men­taries, a sub­set of our meta col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

H/T @Kirstin­But­ler

Relat­ed Con­tent:

Friedrich Nietzsche’s Curi­ous Type­writer, the “Malling-Hansen Writ­ing Ball”

53 New York Times Videos Teach Essen­tial Cook­ing Tech­niques: From Poach­ing Eggs to Shuck­ing Oys­ters

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Mark Twain Wrote the First Book Ever Writ­ten With a Type­writer

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

How to Make Sure You Get Open Culture in Your Facebook Newsfeed: Now You Can Take Control

For the longest time, Face­book gave you no abil­i­ty to con­trol what con­tent you see in your Face­book news­feed. Some 378,000 peo­ple have “liked” our Face­book page. But only a frac­tion actu­al­ly see Open Cul­ture posts in their news­feed. That’s because a Face­book algo­rithm start­ed mak­ing the deci­sions for you, show­ing you mate­r­i­al from some people/publishers, and not oth­ers.

Now, Face­book has final­ly intro­duced a new fea­ture that will let you con­trol what you see. Please check out the instruc­tions below. When you’re done read­ing them, con­sid­er giv­ing us a Like on Face­book, and then set your news­feed accord­ing­ly. (You get bonus points if you Fol­low us on Twit­ter too!)

  • If you’re using a mobile phone, open the Face­book app, click the “More” icon along the bot­tom of the app, then scroll down and click “News­feed pref­er­ences,” then click “Pri­or­i­tize who to see first,” and make your picks. (You can select more than one item.)
  • If you’re using Face­book on a com­put­er, click on the down­ward fac­ing arrow on the top nav bar, then click “News­feed pref­er­ences,” locate one of the peo­ple or pub­lish­ers you fol­low, and change the set­ting from “Fol­low­ing” to “See First.”

Hope all of that makes sense.

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Watch Fear & Loathing in Las Vegas and 2001: A Space Odyssey Get Run Through Google’s Trippy Deep Dream Software

Last week, The Guardian report­ed:

Google has made its “incep­tion­ism” algo­rithm avail­able to all, allow­ing coders around the world to repli­cate the process the com­pa­ny used to cre­ate mes­meris­ing dream­scapes with its image pro­cess­ing neur­al-net­work.

The sys­tem, which works by repeat­ed­ly feed­ing an image through an AI which enhances fea­tures it recog­nis­es, was first demon­strat­ed by Google two weeks ago. It can alter an exist­ing image to the extent that it looks like an acid trip, or begin with ran­dom noise to gen­er­ate an entire­ly orig­i­nal dream­scape.

Since then a coder, Roelof Pieters, began mess­ing around with the pub­licly-avail­able soft­ware, and decid­ed to take the “Great San Fran­cis­co Acid Wave” scene from Ter­ry Gilliam’s Fear and Loathing in Las Vegas (1998) and run it through “Deep Dream,” as the soft­ware is known. The results (below), now going viral across the inter­net, are pret­ty trip­py and intense. Just when you thought Hunter S. Thomp­son could­n’t get more “out there,” this comes along.

We noticed that Pieters ran a sim­i­lar exper­i­ment with pieces of Kubrick­’s 2001: A Space Odyssey, and we could­n’t help but put them on dis­play. Watch above.

via Giz­mo­do

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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:

Free Online: Hunter S. Thompson’s Fear and Loathing in Las Vegas

Read 18 Lost Sto­ries From Hunter S. Thompson’s For­got­ten Stint As a For­eign Cor­re­spon­dent

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

 

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Watch a Needle Ride Through LP Record Grooves Under an Electron Microscope

Last year, we high­light­ed a 1956 video from RCA Vic­tor which demon­strat­ed how vinyl records were made back in the good old days. If you have 23 free min­utes, you can get a pret­ty good look at the pro­duc­tion process — the live audio record­ing, the mak­ing of a mas­ter disc, the pro­duc­tion of a mold, the even­tu­al mass pro­duc­tion of vinyl records, etc.

Almost 60 years lat­er, vinyl is mak­ing a come­back. So why not let Ben Kras­now, a hard­ware engi­neer at Google X, give us a much more mod­ern per­spec­tive on the LP? Above, watch Kras­now’s stop motion ani­ma­tion, made with an elec­tron micro­scope, which shows us a phono­graph nee­dle rid­ing through grooves on an LP. Much of the 9‑minute video offers a fair­ly tech­ni­cal primer on what went into mak­ing this stop motion clip in the first place. So if you want to get to the action, fast for­ward to the 4:20 mark.

If you hang with Kras­now’s video, you can also see him take some micro­scop­ic looks at oth­er media for­mats — CD-ROMs, ear­ly forms of DVDs, and more.

via Devour

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and  share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

Relat­ed Con­tent:

How Vinyl Records Are Made: A Primer from 1956 (That’s Rel­e­vant in 2014)

How to Clean Your Vinyl Records with Wood Glue

World Records: New Pho­to Exhib­it Pays Trib­ute to the Era of Vinyl Records & Turnta­bles

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Fritz Lang Invents the Video Phone in Metropolis (1927)

On Mon­day, we brought you evi­dence that Stan­ley Kubrick invent­ed the tablet com­put­er in 1968’s 2001: A Space Odyssey. Today, we go back forty years fur­ther into cin­e­mat­ic his­to­ry to ask whether Fritz Lang invent­ed the video phone in 1927’s Metrop­o­lis. In the clip above, you can watch a scene set in the home of Joh Fred­er­sen, stern mas­ter of the vast, futur­is­tic, tit­u­lar indus­tri­al city of 2026. In order to best rule all he sur­veys — and to com­plete the image of a 20th-cen­tu­ry dystopia — he lives high above the infer­nal roil of Metrop­o­lis, safe­ly ensconced in one of its ver­tig­i­nous tow­ers and equipped with the lat­est hulk­ing, wall-mount­ed, inex­plic­a­bly paper-spout­ing video phone tech­nol­o­gy.

Fred­er­sen, writes Joe Malia in his notes on video phones in film, “appears to use four sep­a­rate dials to arrive at the cor­rect fre­quen­cy for the call. Two assign the cor­rect call loca­tion and two small­er ones pro­vide fine video tun­ing. He then picks up a phone receiv­er with one hand and uses the oth­er to tap a rhythm on a pan­el that is relayed to the oth­er phone and dis­played as flash­es of light to attract atten­tion.”

Not con­tent to infer the mechan­ics of these imag­i­nary devices, Malia would go on to cre­ate the super­cut below, a sur­vey of video phones through­out the his­to­ry of film and tele­vi­sion, from Metrop­o­lis onward, includ­ing a stop at 2001:

The super­cut also includes a clip from Rid­ley Scot­t’s Blade Run­ner, whose (on the whole, aston­ish­ing­ly time­less) design I called out for using video phones in a video essay of my own. In real­i­ty, con­trary to all these 20th-cen­tu­ry visions of the far-flung future, video phone tech­nol­o­gy did­n’t devel­op quite as rapid­ly as pre­dict­ed, and when it did devel­op, it did­n’t spread in quite the same way as pre­dict­ed. Even the rich world of 2015 lacks bulky video phone box­es in every home and on every street cor­ner, but with voice over inter­net pro­to­col ser­vices like Skype, many in even the poor­est parts of the world can effec­tive­ly make bet­ter video phone calls than these grand-scale sci-fi pro­duc­tions dared imag­ine — then again, they do often make them on tablets more or less straight out of 2001.

Relat­ed Con­tent:

Did Stan­ley Kubrick Invent the iPad in 2001: A Space Odyssey?

A 1947 French Film Accu­rate­ly Pre­dict­ed Our 21st-Cen­tu­ry Addic­tion to Smart­phones

Niko­la Tes­la Accu­rate­ly Pre­dict­ed the Rise of the Inter­net & Smart Phone in 1926

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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