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: Image courtesy VintagecomputerConsidered to be the first working robot hand, the Handyman, developed in 1960 by General Electric's Ralph Mosher, was a two-fingered, heavily jointed claw that set up the foundation for later hands.
The design looks rudimentary now, but the five-pivot segment design in each finger was innovative in its attempt to replicate the human hand's flexible joint structure. A human hand is made up of a set of rigid links (bones and muscles) connected at joints. Each joint can have one degree of freedom (hinging or sliding) or two (rotating or cylindrical). We have four degrees of freedom in each finger, giving us enormous flexibility and the ability to make complex motions.
The Handyman's fingers had three degrees of freedom. But it was the attached mechanical forearm that provided most of the wrist action, as mechanical "tendons" pushed and pulled on the fingers. A technician had to manipulate the hand by placing his arm inside the apparatus like a puppet.
The Handyman's capabilities were limited: It could pinch and hold, but had no sensitivity to what it was holding, limiting it to clawing indiscriminately at things.
: Image courtesy University of RochesterBuilt to study the reaction times of robot muscles, the Utah/MIT hand, built in the early 1980s, is a tendon-based (forearm) system. Electric signals are sent to the knuckles through a complicated cable setup, where one tendon moves each joint, as opposed to the dueling and matching motors of earlier models.
The tendon system was precise because air cylinders allowed knuckle sensors to monitor the angle of the fingers, as well as the tension in the wrists. In addition, the tendons were strong and made the fingers move much faster than previous versions -- the seven pounds of force exerted at the fingertip was the strongest at the time.
But that power sacrificed control and range of the whole hand. If you wanted to move it with any regularity, you had to set up a complicated plan to move the 288 pulleys.
Designed in the early 1990s by Mark Rosheim, the Omni-Hand is dexterous, rugged and hand-powered by an electric gearbox in the palm. It also was the most life-like and reliable hand that NASA made in the '90s. The space agency's researchers even put a glove on it.
Like the human hand, closing and opening the fingers together laterally (as if you're making Spock's 'V' sign, also known as adduction and abduction) was made possible by a ball-and-socket joint design. This design was also used in the wrist, which enabled pitch (at 110 degrees) and yaw motions (at 70 degrees). Also, each knuckle had built-in stops that limited backwards movements, or hyperextension, just like human fingers.
By using the palm's gear box for sensor placement, tendons became unnecessary and led Rosheim to use stronger hinge materials, like double bearings supporting stronger motor shafts, and he placed flexible sensor wires near the fingers. Finally, every finger was the same as any other, so they could be easily replaced one at a time.
: Photo: Courtesy Gabriel GomezBy 2007, scientists had developed the technology of robot hands to such a degree that they could attach a robot hand to a human forearm. Much of recent research has been split between developing hand dexterity and bridging the connection between flesh and machine.
The robotic hand created by the University of Tokyo's Hiroshi Yokoi is such an arm, and it is tendon-based, similar to the Utah arm. But this time, the tendons don't drive the movements. Instead, the wire currents inside the tendons do the job.
The Zurich/Tokyo hand has 13 degrees of freedom, and each finger is laced with powerful sensors that give it specific joint commands, enabling it, for instance, to simultaneously set a 75-degree angle for one finger and set a specific pressure for another. When the hand was finally attached as a prosthetic device, electromyography signals were used to "interface the robot hand non-invasively" to a male patient. To mimic the tactile feedback of a real hand, scientists sent electrical stimulation through the wires to the test subject's own (organic) sensor and motor system.
: Photo: Glenn MatsumuraThe BH8 BarretHand, built in 2007, is a three-fingered programmable "grasper" known for its great flexibility. Two of the multijointed fingers rotate around the palm (at 180 degrees), and switch positions easily, giving the hand two opposable thumbs.
The hand has its own processor and is controlled by a PC through a serial port. It's also completely self-contained and quite durable, which means scientists no longer have to worry about the force of the tendons or the grippiness of the fingers. It also comes with a clutch mechanism that determines the strength of the grasp.
Robotics experts at Stanford are currently using the BH8 for their Stair 2.0 autonomous robot project, fetching everything from wine glasses to toothbrushes through speech-recognition techniques.
: Image courtesy TouchbionicsThis $65,000 prosthetic robot hand has supersmall motors and five fully articulated digits powered by a two-input myoelectric signal. Doctors place electrodes on the surface of the hand's "skin," which connects to the electrical signal generated by muscles in the remaining portion of a patient's limb.
The i-Limb enables different grips that had not been available to amputees before, such as the key grip (thumb to index finger), and power, precision and index grips (the "we're #1' grip.")
But its realistic dexterity isn't the only good thing about it. Fingers can be easily swapped out with one another, which makes servicing a little bit easier and less expensive.
: Image courtesy SensopacCreated by the EU-funded SENSOPAC group in 2005, the "Robo Habilis" is managed by a software program modeled on the human cerebellum. Now we're really getting somewhere.
An advanced software program coordinates sensations and movements picked up by the hand, getting us a bit closer to intelligent, self-aware robot arms. The SENSOPAC is also covered by sensitive skin made out of a thin, flexible carbon-based material whose resistance changes with pressure. This allows hundreds of tiny sensors to be used as the hand's main information conduits, providing more detailed information on a touch or grip than ever before.
In addition, the attached arm has 58 motors (in opposing pairs) that it uses to create a large range of force. The fingers have 38 opposing motors, allowing it to snap its fingers and even pick up an egg without breaking it.
Kamen created the Segway, an invention so far ahead of the game that it makes its users look, well, rather dorky. Not so with his robot arm.
Kamen's arm is light-years ahead of the clamping "claws" amputees are used to. It's a fully articulated appendage, with flexible joints and detailed user manipulation called "Gen X - Separate Exo Control." It gives the user the same range of motion (14 degrees of freedom) as a natural arm, and is sensitive enough to pick up a piece of paper, a wineglass or even an olive in a martini.
The Anatomically Correct Testbed (ACT) hand is all about the accuracy of the human hand's bone/muscle/nerve structure. Yoky Matsuoka, director of the Neurobotics Lab at the University of Washington, designed the autonomous ACT hand to respond to sensors that mirror the brain's neural commands. To do so, she created neuromusculoskeletal copies of the arm's anatomy, including tendon insertion points, specific bone shapes and weight, and supersmall motors that duplicate muscle contraction behaviors. As a result, it is the most human-looking and -moving arm out there.
Like the Handyman and the Utah/MIT hand, the ACT is based on cable "tendons," but those tendons are arranged and attached in a much more human-like manner, giving it a full range of motion.
There's also an uncommon focus on the palm, which is about as important to the human hand's multifaceted nature as its fingers.
: Image courtesy ElumotionThe Sheffield Hand, built in 2002, focuses on the development of "artificial muscle" and sophisticated joints. Powered by telescopic rods throughout the palm of the hand, fingers are pulled and bent in a rotating motion. But it's the detailed phalanges that make it one the most flexible hands and arms, through simple cylindrical disks that produce realistic abduction and adduction.
The hand includes haptic sensors and its hard plastic muscles mimic the flexibility of real human arms. In the process of testing, the scientists conducted arm-wrestling contests between a human and three different versions of the arm.
The Sheffield was also used by NASA's Jet Propulsion Laboratories as a early prototype for the Discovery space mission's 50-foot arm.
: Photo: Jon Snyder/Wired.comYes, this hand looks like it's about ready to start sewing up your undies. But it's actually a very sophisticated Intel project that smartly senses the shape of objects through the magic of electrolocation, used by sharks and other marine animals to detect objects and prey via faint electric fields.
Called the "Shark Hand" or "The Sixth Sense" because of these sonar-like powers of perception, the tips of its fingers emit an "electrical impulse" that detects objects and gives the hand an sense of the shape of objects it is about to grasp.
The hand is part of a larger Intel project on "Pre Touch" technologies, where robots are being laced with internal sensors that are more long-range than the sense of touch, but more short-range than vision.
Check out the video of Wired Science's Alexis Madrigal and Intel researchers playing with the Intel shark hand.
: Image courtesy Shadow RobotThe Shadow Hand has integrated sensors all over its palm and fingers, and can be controlled by different computer systems, which is why several university robotics programs and private contractors are using it. It even has a network option, which means you can torture your coworkers with crazy hand gestures even when you're taking a sick day.
But it is special because it's got more moves than a Moonwalker-era Michael Jackson. Its integrated bank of 40 "Air Muscles" allow it to perform 24 different, large-angle moves, and the fingertips are so sensitive that they can even detect a quarter on the floor. Not only that, but the muscles are soft and acquiescent, which allows it to play with soft and fragile objects.
Despite almost 50 years of development, these hands are only the beginning. Like notebook computers and MP3 players before them, robot hands will get tinier and ever more complex.
Intuitive Surgical's EndoWrist Instruments are small surgical tools, with 5 mm- and 8 mm-diameter options. With seven degrees of freedom and 90 degrees of articulation, they are the most precise robotic appendages in the medical world. They are widely used by surgeons because they improve the surgeons' own world-renowned dexterity and allows them to perform minimally invasive surgery through teeny incisions.
A doctor manipulates the hand through fingertip controls from a few feet away from the patient, looking into a micro lens. It's hard to believe, but the Endowrist is also strong, and it can handle a variety of forceps, needle drivers, scalpels and any other things needed to cut up a person carefully and safely.
1982: At precisely 11:44 a.m., Scott Fahlman posts the following electronic message to a computer-science department bulletin board at Carnegie Mellon University:
19-Sep-82 11:44 Scott E Fahlman :-)
From: Scott E Fahlman
I propose that the following character sequence for joke markers:
:-)
Read it sideways. Actually, it is probably more economical to mark things that are NOT jokes, given current trends. For this, use:
:-(
With that post, Fahlman became the acknowledged originator of the ASCII-based emoticon. From those two simple emoticons (a portmanteau combining the words emotion and icon) have sprung dozens of others that are the joy, or bane, of e-mail, text-message and instant-message correspondence the world over.
Fahlman was not, however, the first person to use typographical symbols to convey emotions. The practice goes back at least to the mid-19th century, when Morse code symbols were occasionally used for the same purpose. Other examples exist as well.
In 1881, the American satirical magazine Puck published what we would now call emoticons, using hand-set type. No less a wordsmith than Ambrose Bierce suggested using what he called a "snigger point" -- __/ -- to convey jocularity or irony.
But the modern emoticon does trace its lineage directly to Fahlman, who says he came up with the idea after reading "lengthy diatribes" from people on the message board who failed to get the joke or the sarcasm in a particular post -- which is probably what "given current trends" refers to in his own, now-famous missive.
To remedy this, Fahlman suggested using :-) and :-( to distinguish between posts that should be taken humorously and those of a more serious nature.
Fahlman's original post was lost for a couple of decades and believed gone for good, until it was retrieved from an old backup tape, thus cementing his claim of priority.
Source: Various
With three simple keystrokes, Scott Fahlman brought a smile to the internet.
In a 1982 message board post, Fahlman, a computer scientist at Carnegie-Mellon University, proposed using typographical smiley faces to mark jokes and clear up confusion about writers' intentions. With his simple proposal, the emoticon was born.
Fahlman's smiling shorthand (and its frown-face equivalent) started a wave of internet expression that's spilled over into the real world. The emoticon has been upgraded and animated, loved and hated. Emoticons have graced gadgets, T-shirts and more.
Witness the emoticon's lasting impact, and smile if you can.
Left:
Father of the emoticon Scott Fahlman shows off his happy handiwork. His proposal to use smiley and frowney faces is credited with launching the emoticon in the internet age. Now, Carnegie-Mellon hands out an annual Smiley Award for "innovation in technology assisted person-to-person communication."
Emotibles' Emotibuds slip onto classic iPod earbuds, giving Apple's bland white gear a colorful geek upgrade. The company also makes "strangely expressive" emoticon stickers, pins and more.
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Wear a freaky-looking Mask of Emotion and you'll really light up a room. The bubble-shape mask, developed by designers at Hongik University in Korea, uses LEDs to put emoticon expressions on its wearer's "face."
An unknown visionary (or maybe a time traveler) used typographical symbols to mimic human expressions in an 1881 edition of Puck magazine.
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Did the person or persons who installed the locks and handle on this door realize the statement they were making? London graphic designer Peter Gibbons spotted the happy hardware on a door in Copenhagen.
Old-school methods for inter-vehicular communication -- flipping the bird at the tailgating bastard behind you or mumbling "sorry" to yourself after cutting somebody off -- aren't exactly effective.
Cruise into the 21st century with the Driving LED Emoticon, which lets you express your true feelings in a straightforward fashion. Just mount the LED message sign in your rear window, then use the remote control to transmit one of five messages (smiling face, winking face, "Thanks," "Back Off" and "Sorry") to the driver on your bumper.
Feeling a little remote from your loved one? Drop a clue about your current mood with the Web Are You? networked emoticon device from Mauricio Melo Design. Connect the thing to the internet, then ping it via a web page or cellphone. One of the four emoticons will light up to give your significant other a visual representation of your state of mind.
Wear your emotion on your lapel (or anywhere else) with one of these colorful emoticon pins. The set includes "Roll Eyes (Sarcastic)," "Mad," "Smilie," "Cool," "Frown," "Wink," "Big Grin" and "Eek."
Emoticons aren't just for the internet. With the Emoticon Transforming Stamp, you can ink a piece of paper with a standard smiley in nothing flat. The $6 silicone stamp is flexible -- squish it for variations on the theme.
Screw e-mail -- use an actual mailbox to send a message with these emoticon letterpress cards from Lizard Press.
Endless mutations on the smiley face, as popularized by AOL Instant Messenger and other services that use animated emoticons, show up all over the place. Smiley World, which registered the '60s-era smiley face as a trademark in 1971, sells customizable T-shirts that will look familiar to anybody who's ever used AIM.
One beautiful thing about emoticons: The keystroke expressions can be put to virtually limitless creative uses. These boobtastic potholders by CrochetandCrafts owe a clear debt of gratitude to Fahlman's very first smiley.
A vast wall of swirling static dances on a giant screen as Trent Reznor and his band launch into their song, "Only." Initially obscured by this sea of visual white noise, the Nine Inch Nails front man intermittently appears to push through the particles of snow with his hands and body, popping in and out of view and opening up random tunnels in the chaos.
"Sometimes, I think I can see right through myself," he sings.
Nine Inch Nails fans are accustomed to such sonic and visual feasts whenever Reznor and company go out on tour. But this time around, NIN has pulled out all the stops, creating a groundbreaking, fully interactive visual display that is as much a part of the show as the band's instruments.
"I'm not really a purist," admits Reznor. "If I'm in the studio working on an album, I try to only please myself. But when it's a tour, it feels a bit more like I have a responsibility to some degree to entertain people."
Reznor and other band members use Lemurs during the "electronic set." The touchscreen devices can be used to control a range of audio and visual aspects of the show on the fly.
For the band's current Lights in the Sky tour, Reznor has not only raised the bar for what's possible in an arena tour, but has also produced what could arguably be one of the most technologically ambitious rock productions ever conceived. Unlike most rock shows, the visuals for about 40 percent of the show (including "Only") aren't pre-rendered. There's no staging, no pantomiming by band members: It's all interactive, live and rendered on the fly.
With more than 40 tons of lighting and stage rigging, hundreds of LED lights, a daunting array of professional and custom-built machinery running both archaic and standard commercial VJ software, three different video systems and an array of sensors and cameras, the tour is nothing if not a lavish display of techno wizardry.
According to Reznor, it all started with a relatively simple idea.
"I wanted to see how I could use video as an instrument," he says, "and try to really make the stage feel like it's organic -- like it's part of the overall set."
Judging from initial reactions to the show, the band has done just that.
Reviews have called LiTS everything from a "vision of splendor" to "the pinnacle of video art," and nowhere is Reznor's showmanship and willingness to tinker with new technologies more apparent than in the band's current tour.
NIN programmer and keyboardist Alessandro Cortini stands in back of the giant stealth screen during sound check.Transparent Screens
The core of the show is a sophisticated trio of transparent "stealth" screens, which are raised and lowered during the performance.
Using one high-resolution (1024 x 288) Barco D7 screen -- basically, an opaque, computer-controlled screen comprised of a tiny LED system on modular panels -- and two lower-resolution semitransparent screens up front, Reznor and other band members are able to trigger and control various video loops and effects directly from the stage. The musicians can also interact directly with those visuals onscreen during the show, thanks to a sophisticated array of sensors and cameras.
For the most part, those visuals come from Reznor and Rob Sheridan, Reznor's creative partner and the art director for NIN. But the two had considerable help from a few outside parties in putting together the production.
Roy Bennet, a veteran lighting designer who worked with Reznor on the Downward Spiral and Fragile tours, designed and put together the LiTS set according to Trent's initial specs.
It was also Bennet who suggested bringing in the other key part to the show, a company called Moment Factory.
Responsible for the technology driving most of the interactive tech elements, Moment Factory is a boutique Canadian outfit that's worked on a number of Cirque du Soleil shows and has produced other industrial visual installations.
For the interactive portions of the show, all the onscreen video is rendered by Moment Factory's custom rig, a trio of Linux-based devices collectively known as "the brain."
"They build what they call games," Reznor explains. "Each [interactive] song might have two or three settings ... or games. It's basically particle-based animation."
Those particles can interact with any of the various inputs Reznor and the band have selected.
Known simply as "the brain," this rig is Moment Factory's custom-built Linux machine that runs all of the interactive visuals audience members see during the show.Interactive Lasers
With the song "Only," for instance, the front, convex screen starts out as solid static. On Reznor's side of the display, a laser above him detects whenever he crosses a vertical plane paralleling the screen. On the floor, a piece of tape and two tiny LED lights let him know exactly where that plane is.
As Reznor intersects that plane with his hand or body, the laser tracks his X and Y coordinates. The "brain" box then tells the particles to spread out to a predetermined dispersal pattern. Reznor says: "Then it follows me around. If I leave the plane, it fills back in. If I push through, it comes back out."
The band uses the same tech for another song later in the show called "Echoplex," from The Slip album.
Like many other NIN songs, it's based around a drum machine beat. After rehearsing live a few times with real drums, Reznor realized it sounded better sounded with a machine.
"We recreated a grid drum sequencer," he says. "[Drummer Josh Freese] is actually touching and turning them on and off. But he's not really touching the screen. He's crossing the same laser on the back screen, which gets calibrated at sound check."
The end effect is so seamless, most people assume the band is simply pantomiming to a pre-rendered video, or has actually somehow installed a gigantic touchscreen sequencer on a backstage wall.
"We went through so much effort to make this stuff interactive and people still think it's all staged," jokes Sheridan.
Reznor pushes through a cloud of static onscreen during the band's performance of "Only."Problems With the Hippotizer
As with any production of this magnitude, there are also the inevitable glitches and hiccups. According to Reznor and Sheridan, many of those can be traced back to an archaic Windows machine known as the Hippotizer, as well as an antiquated lightning console that it interacts with called the Grand Ma.
At one point, during the band's recent Red Rocks, Colorado, performance the Hippotizer choked and spit out some text from the machine's video-labeling system. NIN fans immediately began dissecting still shots from a video someone had taken, and a three-page discussion ensued on NIN forums trying to decipher what the secret text meant.
"It was all just that stupid fucking Hippotizer getting the wrong trigger ... something from the lighting desk just misfired," Sheridan says.
But Reznor, who is an unabashed Mac fan, is also playful about having to partially rely on Windows boxes for some of the show's visuals.
"We purposefully put one frame of the Blue Screen of Death in this collage of static that comes up at the end of 'Great Destroyer,' and right away people caught it," he says.
For the next leg of the tour, Sheridan is working to permanently move the entire lighting and visual system over to a Mac rig running ArKaos VJ software.
Moment Factory's world of cameras. During a performance of "Terrible Lie," one camera directly records the stage and then runs that video through a special effect. That video is then re-projected back onto one of the screens, producing a cool real-time ghosting effect of the band members.Tying Everything Together
While work on the arena show didn't officially begin until last fall, Reznor says the bones of the tour date back to his 2005 With Teeth tour.
"A trap I realized with NIN was that I could go out and play aggressive music where everyone jumps up and down. But if I wanted to try to bring in some of the other stuff I've been doing -- whether it be electronic or something ambient sounding -- it's tough to take an audience that's been trained to bang their heads to then sit back and think for a minute," he says.
So with the help of Sheridan, Reznor stumbled on the idea of using transparent screens. That system allowed him to augment his wide-ranging portfolio of music with visuals he and Sheridan created. In turn, those visuals helped tie everything together -- or at least kept people from whipping out their cellphones or walking off to grab a beer during the "slow songs."
Reznor appears backstage before the Oakland show.Currently, Reznor and the band are on a brief two-week hiatus, before taking the Lights in the Sky tour down to South America and then weaving back up through the States, where they'll finish up the American portion in mid-December.
There are also talks between NIN and director James Cameron to film the show in 3-D ("to at least have proof when U2 rips us off next year that we did it first," Reznor says), and the band also has been in ongoing discussions with HBO for a Year Zero miniseries which would launch in conjunction with a second album and an alternate-reality game.
When asked about his future plans for touring, after the Lights in the Sky wraps up, Reznor says the next series of shows may be a different beast altogether.
"Next time might just be white lights in a club and it's about the music," he says. "Because I'll be broke and that's all I'll have."
: YouTube's biggest tear-jerker may soon be wrenching sobs from big-screen viewers.
Sony Pictures has its claws in Christian the Lion, a clip of grainy footage showing a pair of animal lovers reuniting with their adopted cub in Africa. John Rendall and Anthony Bourke, the duo who adopted the cat from a high-end London department store in the late '60s, are currently in negotiations with the studio to option their book detailing the experience.
From the lightsaber role-playing of the Star Wars Kid to the brawl on the savannah in Battle at Krueger, here are some of the viral video hits ripe for release in theaters.
Which short destined-for-the-silver screen did we skip over? Submit your picks in the comments below.
Left: Miss South Carolina 2007
Beauty queen Lauren Upton's bungled response to a question about education during 2007's Miss Teen USA competition drew gasps from the audience -- and more than 30 million views on YouTube. Upton's on-camera gaffe won her instant internet fame and notoriety, but she still managed to nab third runner-up in the contest (and high-profile gigs like a cameo in Weezer's "Pork and Beans" music video and the 2007 MTV's Video Music Awards). Her public embarrassment and rebound are prime for a Hollywood makeover a la Legally Blonde.
DVD Bonus Features: Behind-the-scenes featurette with contest host Mario Lopez on his point-of-view; mumble-along music video of the mangled speech.
: Charlie Bit My Finger
Chubby-cheeked baby Charlie's penchant for nibbling big brother Harry's finger has captured the hearts -- and eyes -- of more than 50 million YouTubers. It's also led us to wonder if the internet clip could serve as inspiration for a good, old-fashioned horror flick about a baby gone bad -- like Pet Cemetery, Children of the Corn or The Omen.
DVD Bonus Features: Sequel to Charlie Bit My Finger -- Charlie Bit My Finger ... Off.
: Star Wars Kid
The trials and tribulations of an awkward teenager sound like something out of a Judd Apatow feature, so why not give it the full treatment -- starring the likes of Michael Cera (who already spoofed the video on Arrested Development), Jonah Hill and Seth Rogen?
DVD Bonus Features: Ghyslain speaks.
: Charlie the Unicorn
Who knew unicorns could be surly? Charlie's psychedelic voyage to Candy Mountain feels all too short at four minutes. Hollywood could turn his subterranean battle with kidney snatchers into a horror flick -- kind of The Descent meets Turistas.
DVD Bonus Features: What really happened in Candy Mountain featurette.
: Shoes
Foul-mouthed valley girl Kelly and her curmudgeonly family would make a great feature-length film a la Welcome to the Dollhouse. We’d cast funnyfolk Amy Sedaris and Will Ferrell to play the twins.
DVD Bonus Features: Liam Sullivan performs live as Kelly.
: Brokeback to the Future
Of the slew of parodies and mashups inspired by Ang Lee's 2005 Oscar-winning drama Brokeback Mountain, Brokeback to the Future is the most entertaining. Which is exactly why we propose a feature-length fourth installment of the Back to the Future franchise -- just add a couple scenes featuring Hoverboards, Crispin Glover and a souped-up DeLorean sporting a flux capacitor, and Brokeback to the Future might just give Dark Knight a run for its money.
DVD Bonus Features: Deleted scenes -- including steamy DeLorean make-out sesh where overzealous groping accidentally depresses the gas pedal, sending Marty and Doc into the future to confront the tree of life a la The Fountain.
: Chocolate Rain
YouTube keyboardist Tay Zonday, nee Adam Nyerere Bahner, wowed audiences in 2007 with a keyboard-fueled baritone rendition of his original song, Chocolate Rain. His dorm room-to-Dr. Pepper endorsement deal is a success story that would make for a compelling tale for the after-school set.
DVD Bonus Features: All the Chocolate Rain covers that have surfaced on the net --- from Chad Vader to Green Day drummer Tre Cool.
: Battle at Kruger
The nearly nine-minute home video of nature gone wild would be even better in Imax. Think March of the Penguins meets Planet Earth, but with more action and narrated by excitable tourists seeing animals for the first time.
DVD Bonus Features: Whatever Happened to Baby Buffalo? follow-up finds him crashing with friends in Park Slope auditioning for Hepatitis PSAs and lampooning the entertainment business as "so phony."
: Potter Puppet Pals
No Harry Potter until 2009? No problem. Potterphiles could get their Hogwarts fix with these twisted marionette substitutes tackling a host of subjects, from sensuous potions lectures to wizardy angst. That is, until puberty makes the finger that plays Harry Potter too big to be believable and a success-induced identity crisis leads to some risqué hand modeling.
DVD Bonus Features: Behind the Couch featurette.
: Evolution of Dance
A bleak look into dancer Judson Laipply's fictionalized early life, called Dancer in the Dark, reveals loss, drug abuse and an early adulthood spent in a desolate Russian work camp, wrongfully accused. As the film's narrative finds Laipply rebuilding his life through his love of dance, leading towards the cathartic performance that would bring joy to almost a billion viewers across the world, the film suddenly cuts to the video for Rick Astley's "Never Gonna Give You Up." The first feature length Rick Roll is born and audiences delight in encouraging friends to see it by saying it's "Oscar-worthy."
DVD Bonus Features: Clips of audience reactions in theaters as they are rolled.
1958: New hire Jack Kilby shows his Texas Instruments colleagues a little something he's built. A very little something: a working integrated circuit on a piece of semiconductor material. The world will soon change.
Electronics had relied on vacuum tubes for half a century before Bell Labs invented the transistor in 1947. Transistors were tinier, more reliable, longer-lasting, cooler and more energy-efficient. But connecting hundreds or thousands of them in a complex circuit required wire and solder. That cost money, took time and created thousands of ways for the circuit to fail.
Texas Instruments, or TI to insiders, was working on the U.S. Army Signal Corps' Micro-Module program when Kilby joined the firm in 1958. Micro-Modules proposed to make all components the same size, so they could be snapped together to create circuits without wire or solder. Most of the company's employees went on a two-week vacation in July, but Kilby hadn't earned any vacation time yet.
He used his solitude to good effect.
"Further thought led me to the conclusion that semiconductors were all that were really required," Kilby later wrote. "[R]esistors and capacitors [passive devices], in particular, could be made from the same material as the active devices [transistors]. I also realized that, since all of the components could be made of a single material, they could also be made in situ interconnected to form a complete circuit."
Kilby constructed a prototype of the integrated circuit by September. It was a sliver (a chip, you might say) of germanium with wires sticking out, glued to a glass slide about the size of a thumbnail.
The stakes were high for the new guy. Among those assembled for the Sept. 12 demonstration were then-chairman Mark Shepherd and other execs.
Kilby connected his device to an oscilloscope and threw the switch. There on the screen, a continuous sine curve pulsed, and a new era began.
As recounted many times in This Day in Tech and elsewhere, there's often an unheralded precursor or prior claim. In Kilby's case, that would be British radar scientist Geoffrey W.A. Dummer, who presented the concept of a miniaturized, integrated circuit at a 1952 electronics symposium in Washington, D.C. He wanted to put an entire circuit on a piece of silicon just half-an-inch square. But his prototype failed, the Ministry of Defense was unimpressed, and the idea died on the organizational vine.
And as is often the case -- again, oft recounted here -- scientific and technological advances frequently occur with nearly simultaneous independent discovery or invention. In this case that would be Fairchild Semiconductor engineer Robert Noyce, who was working on an integrated circuit using silicon instead of germanium.
Kilby and TI were first to file for a patent for "miniaturized electronic circuits" in February of 1959. Noyce and Fairchild filed their application for a silicon-based integrated circuit six weeks later in April. It was granted in 1961, and TI didn't get its patent until 1964.
Fairchild and TI engaged in a lengthy legal battle before agreeing to cross-license their technologies. Noyce's silicon chip eventually triumphed over Kilby's germanium. Noyce went on to co-found Intel with Gordon Moore.
Kilby went on to share the 2000 Nobel Prize in Physics. The Nobel website acknowledges that "Kilby and Noyce are considered to be co-inventors of the integrated circuit." However, Noyce died in 1990, and Nobel rules prohibit granting the prize posthumously. Earth to earth, ashes to ashes, dust to dust, germanium to silicon.
Kilby died in 2005 in a world where microchips permeate every aspect of our daily life, from the inner space of our bodies to the outer space of the cosmos, at home, at play and on the job, in our cars, in our ears ... indispensable.
Source: Texas Instruments, Today in Science

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Subscribe to Portfolio magazineJeff Bezos seems to be running out of retail categories to move Amazon.com into. (What's next? Puppies? Frozen steaks? Escort services?), In its latest expansion, the web's largest retailer will become another place for you to not buy wine from online.
The story of the online wine business and the arcane interstate commerce laws that continue to thwart it is a long and boring one, so we'll try our best to summarize. Eric Asimov of the New York Times offers a more detailed examination here.
About half the states in the country allow interstate wine shipments. A 2005 Supreme Court ruling struck down bans preventing shipments from out-of-state wineries, but wine retailers didn't benefit from the ruling.
Online wine merchants face many hurdles. It's still not possible to ship legally to many states, and for others, it requires investment, such as having a brick-and-mortar etail outlet in that state.
Naturally, Bezos is unfazed. Amazon.com is reportedly working with a non-profit group called Napa Valley Vintners that is helping the 315 wineries it represents learn how to sell wine through Amazon.
Given that Amazon will be doing business directly with vintners, perhaps the online retailer could argue that the sales constitute transactions between customers and wineries (rather than a retailer); that would get them around the state shipping bans.
But reports indicate that Amazon.com plans to ship from only 26 states, so it appears that for now at least Amazon is playing it safe.
But all legal issues aside, even if online wine sellers were able to ship to all 50 states unimpeded, Amazon would still have to face the fact that people just do not seem to want to buy wine online.
Reuters reports that e-commerce accounts for only 7 percent of the $2.8 billion of wine is sold through retail formats in the U.S. -- that amounts to a $196 million opportunity right now, split between a number of players.
And it's not for reasons Amazon.com is well-positioned to fix, like pricing, or selection, or shipping speed. Dedicated online wine sellers like Wine.com and Vinfolio.com are sophisticated operations with good execution, and yet they continue to face the problem of courting customers.
Wine buying isn't like book buying, where you're likely to have a specific product in mind from the start. How often, when you buy wine, do you go in looking for a specific bottle? Can you even name three specific vineyards and vintages that you like?
Most of us have little enough wine literacy that the limited selection and personalized service of a neighborhood wine store is an ideal buying environment. We are not sophisticated enough judges of pricing to turn to a Web retailer for better value, and we're more likely to need a bottle of wine an hour from now than to plan the purchase in advance.
Of course, all of this goes out the window in the case of an experienced wine buyer, who may very well be looking for a specific bottle and will be thrilled to let his or her fingers do the walking to find it -- no carrying heavy cases of wine, no calling around to wine stores, easy price comparisons across sites.
But unfortunately for Amazon.com, and fortunately for the rest of us, wine snobs come in limited quantities.