Simulate the Damage Caused by Comet and Asteroid Collisions with Impact: Earth!

impact earthOn Fri­day, the world had its eyes focused on the big aster­oid fly­by. For weeks, we knew it was com­ing, and we watched it buzz by with mild curios­i­ty. But, that same day, we were all caught off guard by a ten-ton mete­orite that blast­ed into the Siber­ian town of Chelyabin­sk, injur­ing 1,200 peo­ple and caus­ing con­sid­er­able struc­tur­al dam­age. (Watch footage here.) This abrupt and unex­pect­ed event has giv­en gov­ern­ments a rea­son to start tak­ing the risk of aster­oid impacts a bit more seri­ous­ly. And it might renew inter­est in a tool cre­at­ed by sci­en­tists at Pur­due Uni­ver­si­ty and Impe­r­i­al Col­lege Lon­don in 2010.

In a nut­shell, Impact: Earth! is an inter­ac­tive tool that lets any­one cal­cu­late the dam­age a comet or aster­oid would cause if it hap­pened to col­lide with our plan­et. You can cus­tomize the size and speed of the incom­ing object, and then find out if mankind sur­vives. (Usu­al­ly it does.) A grainy primer appears below. You can enter the web­site and start run­ning your own sce­nar­ios right here.

via @moseshawk

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From the Annals of Optimism: The Newspaper Industry in 1981 Imagines its Digital Future

“Imag­ine, if you will, sit­ting down to your morn­ing cof­fee, turn­ing on your home com­put­er to read the day’s news­pa­per.” A flam­boy­ant­ly spec­u­la­tive-sound­ing notion, no doubt, were you watch­ing this tele­vi­sion news broad­cast back when it aired in 1981. A pro­duc­tion of San Fran­cis­co’s KRON, the seg­ment takes a look at how the city’s news­pa­pers, dis­play­ing admirable far­sight­ed­ness, were then “invest­ing a lot of mon­ey to try and get a ser­vice just like that start­ed.” We see North Beach res­i­dent Richard Hal­lo­ran (he of  the immor­tal­ly meme-wor­thy onscreen iden­ti­fi­er, “Owns Home Com­put­er”) dial­ing, on his rotary tele­phone, “a local num­ber that will con­nect him with a com­put­er in Colum­bus, Ohio.” We also see the edi­tors of the San Fran­cis­co Exam­in­er “pro­gram­ming today’s copy of the paper into that same Ohio com­put­er.” Hal­lo­ran plops the phone’s receiv­er into his modem’s acoustic cou­pler, pre­sum­ably pours his morn­ing cof­fee, and down­loads the day’s paper — which takes two hours, at a cost of five dol­lars an hour.

“This is only the first step in news­pa­pers by com­put­er,” says KRON sci­ence reporter Steve New­man. “Engi­neers now pre­dict the day will come when we get all out news­pa­pers and mag­a­zines by home com­put­er.” We see footage of a tra­di­tion­al news­pa­per ven­dor: “But that’s a few years off, so for the moment, at least, this fel­low isn’t wor­ried about being out of a job.” That day came over a decade ago, and that fel­low sure­ly wor­ries now, as do the pub­lish­ers of his wares. We who start each day read­ing the news on our “home com­put­ers” laugh at the news­pa­per indus­try’s evi­dent hubris­tic self-destruc­tion by its fail­ure to under­stand the inter­net, much less engage with it. But this report shows us that cer­tain papers — the eight that Hal­lo­ran’s menu offered him, at least — seem­ing­ly had their eyes on the ball long before we did. Do we see here an indus­try sow­ing the seeds of its own inevitable destruc­tion, or evi­dence that things could have turned out dif­fer­ent­ly?

Relat­ed con­tent:

Clay Shirky on the Demise of the News­pa­per

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

The Inter­net Imag­ined in 1969

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Watch the New Pirate Bay Documentary Free Online

Last Fri­day night, TPB AFK: The Pirate Bay Away From Key­board pre­miered at the Berlin Film Fes­ti­val. Moments lat­er, the indie doc­u­men­tary became freely avail­able online, which left the film’s direc­tor, Simon Klose, grin­ning, not grum­bling. It makes sense when you con­sid­er the premise of the film. Pirate Bay is, of course, the web site that allows users to share media (music, movies, games, soft­ware) through a peer-to-peer file shar­ing pro­to­col, some of it copy­right­ed, some of it not. And the new film, writes Wired, doc­u­ments “the hec­tic tri­al of Pirate Bay admin­is­tra­tors Fredrik Neij, Got­tfrid Svartholm Warg, and Peter Sunde, who were even­tu­al­ly con­vict­ed in a civ­il and crim­i­nal copy­right case in Swe­den in 2009 that pit­ted them against the gov­ern­ment and the enter­tain­ment indus­try.”

TPB AFK is avail­able on YouTube and Pirate Bay too. It’s also list­ed in our col­lec­tion of Free Doc­u­men­taries, part of our col­lec­tion of 635 Free Movies Online.

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Walter Cronkite Imagines the Home of the 21st Century … Back in 1967

Liv­ing room, 2001:

In 1967, exec­u­tives at CBS tele­vi­sion made a bold move and changed the net­work’s long-run­ning doc­u­men­tary series, The 20th Cen­tu­ry, from a pro­gram look­ing back at the past to one look­ing ahead to the future. The 21st Cen­tu­ry, as it was renamed, was host­ed by Wal­ter Cronkite and ran for three sea­sons. In one of the ear­ly episodes, “At Home, 2001,” which aired on March 12, 1967, Cronkite cites a gov­ern­ment report pre­dict­ing that by the year 2000, tech­nol­o­gy will have low­ered the aver­age Amer­i­can work week to 30 hours, with a one-month vaca­tion. What will peo­ple do with all that free time? In the scene above, Cronkite makes a fair­ly accu­rate pre­dic­tion of today’s state-of-the-art home enter­tain­ment sys­tems. Although the knobs and dials look a bit archa­ic, the basic prin­ci­ple is there. But what­ev­er hap­pened to that 30-hour work week?

Home office, 2001:

“Now this is where a man might spend most of his time in the 21st cen­tu­ry,” says Cronkite as he walks into the home office of the future, above. “This equip­ment will allow him to car­ry on nor­mal busi­ness activ­i­ties with­out ever going to an office away from home.”

In envi­sion­ing the office of the future as a mas­cu­line domain, Cronkite makes the same mis­take as Stan­ley Kubrick and Arthur C. Clarke of imag­in­ing tech­no­log­i­cal change with­out social change. (Remem­ber the moon shut­tle stew­ardess in 2001: A Space Odyssey?) But he oth­er­wise offers a fair­ly pre­scient vision of some of the home com­put­ing, Inter­net and telecom­mu­ni­ca­tions advances that have indeed come to pass.

Kitchen, 2001:

Cronkite’s pow­ers of pre­dic­tion fail him when he reach­es the Rube Gold­ber­gian “kitchen of 2001,” which mis­takes gra­tu­itous automa­tion for con­ve­nience. As one YouTube com­men­ta­tor said of the clip above, the only thing that resem­bles the kitchen of today is the microwave oven–and microwaves already exist­ed in 1967.

But “At Home, 2001,” is much more thought-pro­vok­ing than a few “gee whiz” pre­dic­tions about the gad­gets of the future. Cronkite inter­views the archi­tect Philip John­son and oth­er lead­ing design­ers of his day for a deep­er dis­cus­sion about the ten­sion that exists between our deep-seat­ed, basi­cal­ly agrar­i­an expec­ta­tions for a home and the real­i­ties of urban con­ges­tion and sub­ur­ban sprawl. You can watch the com­plete 25-minute pro­gram at A/V Geeks. And to read more about it, see Matt Novak’s piece at Pale­o­Fu­ture. “Can we find a com­pro­mise between our increas­ing­ly urban way of liv­ing and the pride and pri­va­cy of the indi­vid­ual home?” asks Cronkite at the end of the pro­gram. “It will take deci­sions that go beyond tech­nol­o­gy, deci­sions about the qual­i­ty of the life we want to lead, to answer the ques­tion ‘How will we live in the 21st cen­tu­ry?’ ”

via Kot­tke

Relat­ed Con­tent:

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

The Inter­net Imag­ined in 1969

Mar­shall McLuhan: The World is a Glob­al Vil­lage

1930s Fash­ion Design­ers Imag­ine How Peo­ple Would Dress in the Year 2000

Neil Gaiman Launches New Crowdsourced Storytelling Project (Sponsored by the New BlackBerry)

The tech-savvi­est among us may greet the news of a new Black­Ber­ry phone with an exag­ger­at­ed yawn, if that. But we have rea­sons not to dis­miss the lat­est iter­a­tion of Research in Motion’s flag­ship prod­uct entire­ly. The Z10 launched to record ear­ly sales in the Unit­ed Kind­gom and Cana­da. Both the device and the fresh oper­at­ing sys­tem that runs on it “rep­re­sent a rad­i­cal rein­ven­tion of the Black­Ber­ry,” writes Wall Street Jour­nal per­son­al tech­nol­o­gy critc Walt Moss­berg. “The hard­ware is decent and the user inter­face is log­i­cal and gen­er­al­ly easy to use. I believe it has a chance of get­ting RIM back into the game.” Even so, build­ing the prod­uct amounts to only half the bat­tle; now the Black­Ber­ry brand has to con­tin­ue gain­ing, and man­age to hold, cus­tomer inter­est. That’s where a cer­tain mas­ter of gain­ing and hold­ing inter­est named Neil Gaiman comes in.

Say what you will about their phones; Research in Motion’s mar­ket­ing depart­ment has shown an uncom­mon degree of lit­er­ary astute­ness, at least by the stan­dards of hard­ware mak­ers. You may remem­ber Dou­glas Cou­p­land, for instance, turn­ing up in adver­tise­ments for the Black­Ber­ry Pearl back in 2006. But the com­pa­ny has recruit­ed Gaiman—the Eng­lish author of every­thing from nov­els like Amer­i­can Gods and Cora­line to com­ic books like The Sand­man to tele­vi­sion series like Never­where to films like Mir­ror­Mask—for a more com­pli­cat­ed under­tak­ing than Cou­p­land’s. Under the aegis of Black­Ber­ry, Gaiman extends his col­lab­o­ra­tion-inten­sive work one domain fur­ther. A Cal­en­dar of Tales finds him sourc­ing ideas and visu­als from the pub­lic in order to cre­ate “an amaz­ing cal­en­dar show­cas­ing your illus­tra­tions beside Neil’s sto­ries.” The short video above recent­ly appeared as the first in a series of episodes cov­er­ing this sto­ry­telling project. Of this we’ll no doubt hear, see, and read much more before 2013’s actu­al cal­en­dar is out.

Relat­ed Con­tent:

Down­load Free Short Sto­ries by Neil Gaiman

Neil Gaiman Gives Grad­u­ates 10 Essen­tial Tips for Work­ing in the Arts

Neil Gaiman Gives Sage Advice to Aspir­ing Artists

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

 

Watch a New Music Video Shot Entirely Within an MRI Machine

It’s not as poignant as The Love Com­pe­ti­tion, a short film that used an MRI machine to visu­al­ize the human brain in love. Nor is it quite as tan­ta­liz­ing as anoth­er clip doc­u­ment­ing brain activ­i­ty when peo­ple expe­ri­ence the highs of sex­u­al inter­course and divine rev­e­la­tion. We’ll give you that. But, per­haps you’ll find it fas­ci­nat­ing to watch British singer Sivu per­form his song “Bet­ter Than He” through the prism of mag­net­ic res­o­nance imag­ing. Or, if you’ve ever spent time enveloped in an MRI machine, you’ll say the oper­a­tive word is “anx­i­ety-pro­duc­ing.” If the reports are true, Sivu spent three hours record­ing the three-minute song. Just imag­ine the amount of Ati­van and com­mit­ment that got him through…

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NASA Sends Image of the Mona Lisa to the Moon and Back

The same super-fast laser tech­nol­o­gy that sent clear images of Mars back to Earth just cleared anoth­er hur­dle clos­er to home by send­ing an image of the Mona Lisa to the sur­face of the moon and back again.

Sci­en­tists at NASA want­ed to know whether they could use laser puls­es to “com­mu­ni­cate” with the lunar sur­face using the same tool that tracks the posi­tion of the Lunar Recon­nais­sance Orbiter.

The team sent a dig­i­tized ver­sion of Leonardo’s famous­ly inscrutable sig­no­ra from the God­dard Space Cen­ter in Mary­land 240,000 miles up to a laser trans­mit­ter aboard the orbit­ing space­craft. Pix­els trav­eled one at a time and were adjust­ed for bright­ness by con­trolled delays in their arrival time. The team cor­rect­ed errors in the image using com­mon DVD and CD tech­niques.

Pret­ty much every­body knows what the Mona Lisa looks like, so maybe that’s why they picked her face, instead of, well, mine. Maybe NASA is hop­ing her name will be changed to Moona Lisa.

The Lunar Recon­nais­sance Orbiter (explained above) began its lunar orbit near­ly four years ago. Laser puls­es beam down to the moon and then bounce back to form images of the sur­face. Like those star­tling pic­tures of Mars, laser tech­nol­o­gy is help­ing devel­op a crys­tal clear topo­graph­i­cal map of the moon, includ­ing the tracks of two astro­nauts’ unsuc­cess­ful trek to the top of a crater and the site of a lost Russ­ian rover.

The Mona Lisa’s trip to the moon is impor­tant because the image was sent at the same time as laser puls­es that track the craft’s position—the first out­er space con­fer­ence call—and it sets the stage for future high-data trans­mis­sions between Earth and its satel­lite explor­ers.

via The Atlantic

Relat­ed Con­tent

NASA Presents “The Earth as Art” in a Free eBook and Free iPad App

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

NASA’s “Spot the Sta­tion” Will Text or Email You When the Space Sta­tion Pass­es Over Your Home

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

“Moon Hoax Not”: Short Film Explains Why It Was Impossible to Fake the Moon Landing

S.G. Collins does­n’t trust the Unit­ed States gov­ern­ment. They “lie all the time, about all kinds of things,” he insists, “and if they haven’t lied to you today, maybe they haven’t had cof­fee yet.” Like some of those who express a sim­i­lar dis­trust, he claims he has no way to ver­i­fy that NASA land­ed on the moon in 1969. But unlike most of that sub­set, he does­n’t think the gov­ern­ment could have pulled off a con­vinc­ing hoax about it. In oth­er words, Amer­i­ca “did have the tech­ni­cal abil­i­ty, not to men­tion the req­ui­site mad­ness, to send three guys to the moon and back. They did not have the tech­nol­o­gy to fake it on video.” Calm­ly, method­i­cal­ly, with a dead­pan wit, Collins uses the thir­teen min­utes of Moon Hoax Not to explain exact­ly why, as improb­a­ble as the real moon land­ing sounds, a fake moon land­ing would have been down­right impos­si­ble.

“The lat­er you were born,” Collins says, “the more all-pow­er­ful movie mag­ic seems.” Hol­ly­wood could now fake dozens of moon land­ings every day, but they did­n’t always have that abil­i­ty. Mar­shal­ing knowl­edge accrued over thir­ty years as a pho­tog­ra­ph­er, he address­es each of the points that moon-land­ing con­spir­a­cy the­o­rists com­mon­ly cite as visu­al evi­dence of the sup­posed fraud. He also brings to bear facts from the his­to­ry of video tech­nol­o­gy, such as 1969’s com­plete lack of the high-speed video cam­eras, need­ed to shoot the sort of slow motion nec­es­sary to cre­ate the illu­sion of low grav­i­ty. And what if they’d shot the entire Apol­lo 11 tele­cast on film instead? Collins also knows, and names, exact­ly the prob­lems even the most ambi­tious, tech­no­log­i­cal­ly advanced char­la­tans would have encoun­tered, even—as in moon-land­ing hoax mock­u­men­tary Dark Side of the Moon—with Stan­ley Kubrick on their side.

Relat­ed Con­tent:

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

Michio Kaku Schools Takes on Moon Land­ing-Con­spir­a­cy Believ­er on His Sci­ence Fan­tas­tic Pod­cast

The Moon Dis­as­ter That Wasn’t: Nixon’s Speech In Case Apol­lo 11 Failed to Return

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

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