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<v Announcer>The New Tech Times, a video magazine for the electronic age. <v Announcer>In this edition, computer's console couples creating a new twist in therapy. <v Announcer>Also, ?micros? debut on Broadway in Cats and Sunday in the park with George. <v Announcer>Later, in Napa Valley. Chips turn grapes to wine. <v Announcer>And Chicago's Second City irreverently looks at living in the computer age. <v Announcer>All this and more in this edition of The New Tech Times. <v Announcer>[music plays] <v Announcer>The New York Times is brought to you through a grant from Wausau Insurance Companies. <v Announcer>Times change. Wausau works. <v Announcer>And by the collective voice of the Consumer Electronics Industry, C.E.G. <v Announcer>the Consumer Electronics Group an Electronic Industries Association. <v Announcer>[theme song plays]
<v Mort Crim>Hello, I'm Mort Crim. Welcome to this edition of The New Tech Times. <v Mort Crim>This week, we'll explore the computer from a number of perspectives through the eyes of <v Mort Crim>wine makers in Napa Valley, in the satire of Chicago's Second City comedy troupe, and <v Mort Crim>by way of the Broadway stage. <v Mort Crim>We'll also explore some interesting gadgetry we found at the Summer Consumer Electronics <v Mort Crim>Show. We begin this week's trip through the New Tech Times with a look at the computer as <v Mort Crim>therapist. People in Minneapolis-St. <v Mort Crim>Paul aren't exactly lying down on the computer sofa just yet, but they are getting a <v Mort Crim>chance to try councelling microchip style. <v Mort Crim>Here's a report produced by Brett Johnson. <v Brett Johnson>What do you get when you cross a computer connected to a videotape machine and any two <v Brett Johnson>people who want to improve their relationship? <v Brett Johnson>M.A.G.G.I.E., Minnesota Automated Guided Interaction Enhancement. <v Brett Johnson>M.A.G.G.I.E. is the brainchild of Jim Ayres. <v Brett Johnson>Jim was a psychologist in the University of Minnesota School of Public Health. <v Brett Johnson>He used M.A.G.G.I.E. as a research tool in his study of human interaction, something we <v Brett Johnson>know very little about. Now, Jim is taking M.A.G.G.I.E.
<v Brett Johnson>out into the community to see how she can help other people work on their relationships. <v Mother>Sometimes that is kind of scary for me because I see you growing up pretty fast. <v Mother>But, I think it's healthy as long as we can talk about it. <v Dr. Jim Ayres>The beauty of the technology in terms of learning and usefulness is that it's automated. <v Dr. Jim Ayres>So that means you don't have to have a a human facilitator in the room. <v Dr. Jim Ayres>And when you eliminate that third person, and replace it with a machine uh <v Dr. Jim Ayres>and give people control over that, they get a lot more comfortable <v Dr. Jim Ayres>because it means they can turn the button off. <v Dr. Jim Ayres>They can stop it if they don't like it. <v Mother>You ready? <v Child>Yep. <v Brett Johnson>Here's how, M.A.G.G.I.E.. Computer Counseling works. <v Brett Johnson>Instructions appear on the screen. <v Brett Johnson>Questions are asked about how you would characterize yourself and your relationship to <v Brett Johnson>your partner. You have a conversation which is recorded on videotape. <v Mother>I guess I get concerned when I think um that <v Mother>you'd be that sometimes you'd rather play with the machines rather than
<v Mother>you know, be with friends or talk with people. <v Child>Well, it goes half and half. Sometimes I might want to play a video game more. <v Recording>I know that we can talk about it. <v Brett Johnson>Your conversation is played back to you, at the same time, each of you is asked individualized questions <v Brett Johnson>about how you were feeling at that particular time. <v Brett Johnson>Then the computer tabulates the results and puts up graphic information comparing how <v Brett Johnson>anxious, attentive, nervous, or fatigued each of you felt. <v Brett Johnson>The computer can then take you back to any point in the tape so you can explore why it is <v Brett Johnson>that you were feeling the way you were. <v Dr. Jim Ayres>Up until now, when somebody wanted to improve their relationship, they would go to a <v Dr. Jim Ayres>class or they would observe an expert doing it. <v Dr. Jim Ayres>They'd observe other people and then they go ahead and try to do it, assuming <v Dr. Jim Ayres>that they were doing the right thing. <v Dr. Jim Ayres>And if something didn't work, they'd give up on it. <v Dr. Jim Ayres>What M.A.G.G.I.E. allows is for people to apply their learning in regards to relationship <v Dr. Jim Ayres>enhancement and to observe that learning and do it collaboratively.
<v Patient>I guess that's part of the conflict now that coming when we both come home and we're both <v Patient>tired and we both want to ?read the mail? and no one wants to make dinner. <v Brett Johnson>Most people who use M.A.G.G.I.E. have no computer experience, so it was critical that <v Brett Johnson>M.A.G.G.I.E. be user friendly. <v Dr. Stewart Haight>Probably the hardest part about using the system is having to type in your name. <v Dr. Stewart Haight>The idea is to get the computer to the point where it's a tool and not a technological <v Dr. Stewart Haight>instrument that you don't understand. <v Brett Johnson>Stuart and Jim are not advocating doing away with counselors or friends to help bring <v Brett Johnson>people closer together. But they do believe that there is a place for machines like <v Brett Johnson>M.A.G.G.I.E. to help facilitate human interaction. <v Dr. Jim Ayres>I've made a claim that uh people are more honest <v Dr. Jim Ayres>with machines than with people. <v Dr. Jim Ayres>And uh uh a machine doesn't get impatient. <v Dr. Jim Ayres>It doesn't get embarrassed. It's reliable. <v Dr. Jim Ayres>If it's not working, at least you know it. It might not work when you want it to, but at <v Dr. Jim Ayres>least you know it doesn't work. And most importantly, you can turn a machine off.
<v Dr. Jim Ayres>And all of those things we can't predict about, about people. <v Brett Johnson>Jim is also the first person to acknowledge that his machine has its limits. <v Brett Johnson>It's still up to you to act on what you learn about yourself from M.A.G.G.I.E.. <v Dr. Jim Ayres>Machine can't love, a machine can't experience courage. <v Dr. Jim Ayres>A machine can't reach out to another human being. <v Dr. Jim Ayres>And it's precisely those things that we're aiming at facilitating with this technology. <v Brett Johnson>Jim and Stewart claim they have only scratched the surface of M.A.G.G.I.E.'s <v Brett Johnson>applications. They plan to package and sell M.A.G.G.I.E. <v Brett Johnson>Systems to businesses, hospitals, and law schools. <v Brett Johnson>And ultimately, Jim hopes M.A.G.G.I.E. and future machines like her will help us gain a <v Brett Johnson>better understanding of our most common yet one of the least understood human <v Brett Johnson>experiences, face to face interaction. <v Mort Crim>If Jim Ayres and his colleagues are right, the computer may help us overcome problems in <v Mort Crim>personal relationships through M.A.G.G.I.E. <v Mort Crim>type counseling. These microchip therapists are springing up all over. <v Mort Crim>To find out more about computer therapy, get in touch with the mental health association
<v Mort Crim>in your community. Well, a visit to Broadway might be therapeutic for those of us who <v Mort Crim>want to escape to the world of fantasy. <v Mort Crim>The computer hasn't made it to the center stage yet, but it is getting a workout behind <v Mort Crim>the scenes as we see in this report produced by Anna Ray Jones. <v Anna Ray Jones>[music plays] There's a bright new star on Broadway. <v Anna Ray Jones>Not the kind in red shoes and spangled tights. <v Anna Ray Jones>This is one performer the audience never sees. <v Anna Ray Jones>The backstage computer. <v Anna Ray Jones>Computers have come to Broadway not only to transform the art of lighting, but also to <v Anna Ray Jones>create many special effects that are fast becoming part of the set designers' repertoire, <v Anna Ray Jones>such as the flying scenery and paintings that come to life in the latest Stephen Sondheim <v Anna Ray Jones>musical, Sunday in the Park with George. <v Actor>Composition. Balance. Light and harmony.
<v Anna Ray Jones>[welding] [hammering] Much of the magic behind this computerized scenery starts life in <v Anna Ray Jones>the set building shop of Pete Fella associates in New York. <v Pete Fella Jr.>On Sunday in the Park with George, uh the <v Pete Fella Jr.>it was not a matter of uh space in the theater. <v Pete Fella Jr.>Our problems mainly had to do with uh the coordination <v Pete Fella Jr.>of the moving scenery. <v Actor>More ?inaudible?. More trees. <v Pete Fella Jr.>There were so many things moving at once. <v Pete Fella Jr.>The traveling trees and wagons moving on and the pop ups coming in, <v Pete Fella Jr.>that uh the only way to do it repeatedly, night after night was to <v Pete Fella Jr.>put everything on computers. <v Speaker>[laughing] [singing] [audience laughs and claps] <v Anna Ray Jones>For Broadway producer and president of the Schubert organization, Bernard Jacobs, <v Anna Ray Jones>the computers and special effects are here to stay.
<v Bernard Jacobs>As automation and as technology develops, that the theater is going <v Bernard Jacobs>to keep pace with that development. <v Bernard Jacobs>I mean, what you're seeing now is you're seeing the theater uh to some <v Bernard Jacobs>extent copy and to some extent enhance the things that have been done <v Bernard Jacobs>in motion picture such as Star Treks and Close Encounters of the Third <v Bernard Jacobs>Kind and things of that sort. <v "Cats" Cast>[music plays] [singing] <v Bernard Jacobs>We are much more efficient about it. The effects are much more dramatic and lighting has <v Bernard Jacobs>really become an art form, which was not, say, 30 or 35 years ago. <v Bernard Jacobs>Usually the lighting design was also the scenic design. <v Bernard Jacobs>The lighting was uh was just something that uh was used to light <v Bernard Jacobs>up the stage rather than create magic on the stage. <v "Cats" Cast>[singing]
<v Bernard Jacobs>You're going to see more and more special effects. ?You're? uh some people will say that <v Bernard Jacobs>that's because you're compensating for the fact the creative people can't write as well <v Bernard Jacobs>as they used to. I don't believe that to be true at all. <v Bernard Jacobs>I think that we we have the means to do things we never were <v Bernard Jacobs>able to do before. <v "Cats" Cast>[singing] <v Anna Ray Jones>Cats, another major Broadway hit, has all its lighting effects governed by the <v Anna Ray Jones>?inaudible? computerized light boards. <v Anna Ray Jones>The effects for the show's two acts are programed by taped cassettes that contain <v Anna Ray Jones>digital signals and pre coded commands for every scene. <v Anna Ray Jones>Large mobile pieces of the set are activated by advanced hydraulic systems <v Anna Ray Jones>and given some manual assistance by stage mechanic John Schwanke. <v John Schwanke>When you see the tire effect at the end of cats, you'll see this tire going <v John Schwanke>up in the air and hopefully you're not going to see any of the things that make it work <v John Schwanke>because that's all magic.
<v John Schwanke>And in a lot of cases, people come to see the spectacle. <v John Schwanke>They come to see the lights. They come to see the costumes, the scenery. <v John Schwanke>Um and they try to top each other. <v John Schwanke>And each designer tries to do something different and unto himself. <v "Cats" Cast>[singing] <v John Schwanke>It's a craft, it's an art. All the people are specialists that that work in this uh <v John Schwanke>this end of the business and everything is fabricated from scratch. <v John Schwanke>It's it's new. It's hopefully never been done before. <v John Schwanke>And they uh have got something that they've created that is unusual and it will <v John Schwanke>bring in people to sell tickets. <v John Schwanke>[music playing] <v Anna Ray Jones>This spectacular finale of Cats is only the beginning of what computers <v Anna Ray Jones>can do for Broadway theater. <v Anna Ray Jones>It's predicted that before long, computers will control sound effects, move all
<v Anna Ray Jones>scenery and project deceptively three dimensional images onto the stage. <v Anna Ray Jones>Computers, take a bow. <v Mort Crim>If you have story, ideas, suggestions or comments about The New Tech Times, get in touch <v Mort Crim>with us electronically through The Source, log on with public 125 direct. <v Mort Crim>On CompuServe, use go N.T.T. <v Mort Crim>or contact us directly through The New Tech Times Electronic Bulletin Board by dialing 6 <v Mort Crim>0 8 2 6 3 2 7 8 4. <v Mort Crim>After that dazzling example of computer wizardry, it's hard to imagine where the folks on <v Mort Crim>Broadway will go next. The microchip certainly has made an impact in Manhattan's
<v Mort Crim>Theater District. It's also making an impact in the Napa Valley of California, just <v Mort Crim>a short distance from Silicon Valley. <v Mort Crim>Where winemakers and wine experts are taking advantage of the chip to make better wine. <v Mort Crim>Here's Tom Tomaszewski's report. [music plays] <v Tom Tomaszewski>For those who enjoy and understand their language, wines write histories, <v Tom Tomaszewski>volumes about winemakers and methods, grape growing regions and climates. <v Tom Tomaszewski>Wine lovers comb this vineyard of variables in their search for the right blend. <v Tom Tomaszewski>Gail Keller and Alex Dierkhising consult their own computer connoisseur, <v Tom Tomaszewski>a silicon sipper of sorts for this information. <v Alex Dierkhising>Before the computer, there's just so much that you can handle. <v Alex Dierkhising>3 years ago, there were maybe 200 wineries in California producing Cabernet or maybe 5 <v Alex Dierkhising>years ago, and now there's well over 500. <v Alex Dierkhising>And of those 500, most of them usually make at least 2 different cabarets <v Alex Dierkhising>or a winery like Phelps to make 5 different Cabernets.
<v Alex Dierkhising>Times 500, 2,500 times one year, times 5 vintages, thousands of wines. <v Gail Keller>So this will be sort of the master of the house, all the <v Gail Keller>I.D. numbers, location numbers, etc. <v Gail Keller>They call this information concoction of wines on chips, online <v Gail Keller>wine. <v Tom Tomaszewski>It's a bulletin board service centered in the heart of the Napa Valley. <v Tom Tomaszewski>This service is part of their wine bar business in Calistoga, California. <v Tom Tomaszewski>The computer offers access to their expertise for a wider audience of wine <v Tom Tomaszewski>lovers. <v Gail Keller>I don't know how we manged to do this before. <v Gail Keller>[laughing] I honestly don't. It's so much easier now and it's still a lot of work. [music plays] <v Tom Tomaszewski>Urging the first buds on young spring vines into bottled, capped, and <v Tom Tomaszewski>labled wines is a delicate, painstaking process.
<v Tom Tomaszewski>Tens of thousands of gallons of wine are produced through an inexact <v Tom Tomaszewski>organic fermentation process laced with the almost uncontrollable <v Tom Tomaszewski>variables of time, temperature and sugar content. <v Pete Mondavi Jr.>If you go a little bit too dry on one tank, you ?stop? <v Pete Mondavi Jr.>For another tank a little bit sweeter and you blend them out so you have your proper <v Pete Mondavi Jr.>sugar content. We like to make all the tanks the exact sugar content. <v Tom Tomaszewski>There are probes in 77 new wine tanks monitoring the sugar and temperature <v Tom Tomaszewski>levels, critical to keeping tabs on the wines' fermentation. <v Tom Tomaszewski>Yeast turns the sugar juice into alcohol, producing heat. <v Tom Tomaszewski>A fiber optic system links the probes with this Hewlett-Packard 1000. <v Pete Mondavi Jr.>The reason we monitor it so carefully and record it so carefully is that many of <v Pete Mondavi Jr.>the flavors developed in wines, especially in the whites, <v Pete Mondavi Jr.>'cause they're very light and fruity, are really a function of the temperature. <v Tom Tomaszewski>And those graphs and charts do what? <v Pete Mondavi Jr.>What they do is they indicate to uh ?system?
<v Pete Mondavi Jr.>winemakers, to myself, and my father, and other lab techs, the progress <v Pete Mondavi Jr.>of it. <v Pete Mondavi Sr.>This speeds up the uh the information that you need and of course, that's <v Pete Mondavi Sr.>just information. And then you have to make your decision which is ?going to? <v Pete Mondavi Sr.>organoleptically as far as the quality of the wine. <v Tom Tomaszewski>Organoleptic is the unromantic word for the romantic component in wine making. <v Tom Tomaszewski>The part dependent on the senses, especially those senses of taste and smel. <v Gail Keller>Mm, it's really full. <v Alex Dierkhising>Still bit ?tannic?. <v Gail Keller> Definitely, definitely a lot of tannin in the wine. <v Gail Keller>It should hold up really nicely, though. It's a good healthy young wine. <v Tom Tomaszewski>Each bottle says Master Winemaker Pete Mondavi Senior carries a bit of that <v Tom Tomaszewski>winemaker's character inside. <v Pete Mondavi Sr.>So ?is? a palate and it's uh and it's what you like and what you think <v Pete Mondavi Sr.>makes good, good balanced wine. <v Alex Dierkhising>It's so complex that, you know, they need all that help, but still it's still an art, you <v Alex Dierkhising>know. But it's more than just a little old winemaker, they're <v Alex Dierkhising>trying to make wine. <v Tom Tomaszewski>Wines can write a new chapter in that special language they speak to wine lovers,
<v Tom Tomaszewski>histories of wine makers and methods, grape growing regions and climates, and <v Tom Tomaszewski>now computers. Refining the inexact science, mixing wine <v Tom Tomaszewski>with chips. [music plays] <v Mort Crim>Winemaking is an art form that spans the centuries, even though the microcomputer <v Mort Crim>is lending a hand. It's still nice to know that a longtime winemaker such as Pete Mondavi <v Mort Crim>Senior, is passing his knowledge along. <v Mort Crim>We continue our travels this week with a stop in Chicago, where we found some interesting <v Mort Crim>new mini electronic gadgets at the Consumer Electronics Show. <v Mort Crim>They weren't headlining at the summer exhibition, but were tucked away in the recesses of <v Mort Crim>the CES showplace. <v Mort Crim>[music plays] Coming back for another Consumer Electronics Show can mean success in this <v Mort Crim>business. For O.W.I. of Japan, a second appearance at CES brought
<v Mort Crim>the showing of an expanded line of move it robot toys. <v Mort Crim>These popular do-it-yourself electronic kids turn into real life automatons. <v Mort Crim>[beeping] [music plays] <v Mort Crim>Fashionably from Taiwan and now available at a stereo store near you comes <v Mort Crim>a redesigned boombox that you wear. <v Speaker>This ?inaudible? is a sound jacket. It's a stereo. Put a speaker here, there is a <v Speaker>?inaudible?. My ?full name? is ?inaudible?. <v Speaker>My company name's ?inaudible?, made in Taiwan. <v Speaker>[music plays]. <v Mort Crim>Wear this AM radio from Sports Bug in your ear. <v Mort Crim>[beeps]. <v Mort Crim>This gadget is worn behind <v Mort Crim>your ear. <v Woman>The Sleeper Beeper is a safety warning device. <v Woman>It makes the driver alert. You turn it on right here.
<v Woman>It weighs less than an ounce and it fits very comfortably behind your <v Woman>ear. <v Woman>You're driving down the road and you begin to fall asleep. <v Woman>Your head tilts forward and it beeps and wakes you up. <v Woman>[music plays] <v Speaker>Dial. [phone dials] <v Mort Crim>Here's the first telephone you actually talk back to. <v Speaker>?Weather?. Dial. <v Mort Crim>The Command Dialer <v Mort Crim>is a voice recognition telephone. <v Speaker>If you watch Star Trek and where Mr. Spock said computer and the computer says yes, <v Speaker>and he went on and gave it commands, this is what ultimately <v Speaker>will come about. We're at the beginning of it now with with something like this. <v Mort Crim>If Dr. McCoy puts Spock on a diet, he'd probably prescribe something like this <v Mort Crim>personal activity computer.
<v Speaker>It has a small device called an accelerometer built into it that actually measures <v Speaker>the activity you have relative to the body and relative to the earth. <v Speaker>[music plays] <v Mort Crim>The products you've just seen may never make it to the main aisles of the CES or even to <v Mort Crim>the top 10 product list. <v Mort Crim>But they do offer a look at the diverse number of products to be found at the twice <v Mort Crim>yearly Consumer Electronics Bonanza. Another bonanza tucked away <v Mort Crim>in Chicago, is the Second City comedy troupe. <v Mort Crim>It's become famous for satire since the early 70s. <v Mort Crim>Carol Larson paid a visit to the folks at Second City during the Consumer Electronics <v Mort Crim>Show. She watched as they premiered Up Your Computer. <v Mort Crim>Here's her report. <v Actor>My problems basic. I started with my son. <v Actor>See, I'd bought him the ?inaudible?
<v Actor>Computer. <v Actor>Oh, you found one that worked? <v Actor>Yeah. [audience laughs] <v Actor>Uh well, then a, well he moved up to the ?inaudible? ?vision?, you know, he's up there in <v Actor>his room, just completely remote for me. <v Actor>He's joined a hacker's club. <v Actor>He he broke into Continental Bank. <v Actor>What a mistake. <v Carol Larson>A meeting of Computer-holics Anonymous. <v Carol Larson>A pretty effective bit of social satire because of course, satire is only <v Carol Larson>effective when it contains more than a bite of truth. <v Actress>Fit in with the other kids, you know. <v Actor>Yeah, my son he's like that. <v Actress>Yes! Exactly. I used to go down to the video game arcade just to feel like one of the <v Actress>gang. You know, I didn't even like the games. <v Actress>But-. <v Actor>No one does. <v Actor>They weren't very good. <v Actress>There was this one day I I'd tried one of them and all of a sudden I got <v Actress>this surge of power, you know? <v Actor>It gets that way when you're conquering the universe. <v Actress>Yeah. Just to have my hand on that joystick. <v Actress>And then all of the boys started asking me out.
<v Actress>Oh, oh! But then I got off of that crazy merry go round and it's been <v Actress>194 days for me. [clapping] <v Carol Larson>Think Computer-holics is a pretty absurd idea? <v Carol Larson>Well, good satire starts with a realistic idea and then expands on that <v Carol Larson>to a point of what appears to be absurd. <v Carol Larson>And with the way we've been obsessed with technology nowadays, that is a pretty short <v Carol Larson>trip. You see, we've never been able to look at machines as the cold, lifeless <v Carol Larson>tools they're supposed to be. <v Carol Larson>We give cute names to our cars, to airplanes, and to boats. <v Carol Larson>We assign to them human characteristics like stubborn, lazy, <v Carol Larson>or friendly. We are not too far from the point of believing that Lisa <v Carol Larson>Macintosh and Adam may have lives and love affairs of their own. <v Actor>Underneath all that hardware, I'll bet you there's some soft, compatible software. <v Actor>You know, I can tell you have such a nice monitor. <v Actor>Did you know that?
<v Actress>Garbage in, garbage out. <v Actor>C'mon, I mean it. <v Actress>Don't bug me. <v Actor>Hey, am I getting to you? <v Actress>I don't copy. <v Actor>If I find the right code, will you talk to me? <v Actress>Look, I'm not the kind of computer that outputs, if that's what you compute. <v Actor>Look, I just want to exchange a little data with you, that's all. <v Actress>I don't exchange data with an overgrown pocket calculator. <v Actor>Well, you glitch. [audience laughs] <v Actor>[singing] Well, I thought our ?inaudible? was something sacred. <v Actor>'Til I caught her sharing down time to <v Actor>my face, with sales- <v Carol Larson>A two timing terminal. It wouldn't be far from absurd to some day hear are misplaced <v Carol Larson>affections for the computer turn up in a mournful country ballad. <v Actor>[singing] Oh, where is my computer respond to my I.D.? <v Actor>I was first in, first out 'til my sweetie said goodbye to me. <v Actor>Can't pull myself up by my bootstraps, no one to feed and ?load?, so don't go
<v Actor>bite the hand that feeds you as you log on down the road. <v Carol Larson>Pretty heart rendering stuff, but the benefit of satire without getting too philosophical <v Carol Larson>about all of this. The benefit has always been to keep us from taking ourselves too <v Carol Larson>seriously, and we do tend to be very serious and obsessive and emotional <v Carol Larson>about technology. One might almost think we were to the point of making <v Carol Larson>it our religion. <v Choir>[singing] Open access ?inaudible?, we're perfect, ?pace? maker, the most amazing thing, ?inaudible? speller, ?inaudible? Frogger, ?inaudible?, smart modem, ?inaudible? <v Mort Crim>Second City's Up Your Computer, by the way, was a special performance for the folks at <v Mort Crim>CES, presented by Family Computing Magazine. <v Mort Crim>From microchip therapy and high tech special effects to silicon winemaking and Second
<v Mort Crim>City satire. This week's reports continue to show the many ways technology <v Mort Crim>affects us. We continue our journey together through that ever changing world next week, <v Mort Crim>with a look at these subjects. <v Announcer>In the next edition of The New Tech Times, disc jockeys go live via satellite and AM <v Announcer>radio plays the hits in stereo. <v Announcer>Also, Peter Brandt, brocker and fisherman, trades commodities from the Northwoods and <v Announcer>explore the world in your mind with 3-D computer animation. <v Announcer>This and more in the next edition of The New Tech Times. <v Mort Crim>From The New Tech Time staff, I'm Mort Crim. <v Mort Crim>Thanks for watching. [music plays] <v Announcer>The New Tech Times has been brought to you through a grant from Wausau Insurance <v Announcer>Companies. Times change. <v Announcer>Wausau works. And by the collective voice of the Consumer Electronics Industry,
<v Announcer>the CEG, the Consumer Electronics Group. <v Announcer>Electronic Industries Association. <v Announcer>To communicate electronically with The New Tech Times on CompuServe, use go NTT. <v Announcer>Through The Source, log on with public 125 Direct or contact us directly <v Announcer>through The New Tech Times Electronic Bulletin Board by dialing 6 0 8 2 6 <v Announcer>3 2 7 8 4.
Series
The New Tech Times
Episode Number
No. 204
Producing Organization
WHA-TV (Television station : Madison, Wis.)
Contributing Organization
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
PBS Wisconsin (Madison, Wisconsin)
AAPB ID
cpb-aacip-29-8380gksn
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Description
Episode Description
In this program, topics of advancing technology are discussed in many fields. These include therapy and counselling with a machine, computers being used for Broadway musicals, technology in winemaking in Napa Valley, and a comedy troupe in Chicago performing satire about this rise in technology.
Series Description
"THE NEW TECH TIMES is broadcast weekly on public television and is currently in its second season. Each program focuses on new technology and consumer electronics with 5-6 minute segments in a half-hour program. The mission of the series is to help the consumer cope by presenting the products, services and issues that are pertinent to the public for moving comfortably into the electronics age. "Underwriters for the series are Wausau Insurance Companies and the Electronic Industries Association/Consumer Electronics Group. "The second season is hosted by veteran broadcaster, author and [lecturer] Mort Crim and is produced on location around the country and in the studios of WHA-TV in Madison, Wisconsin. Executive Producer is Jeff Clarke. "THE NEW TECH TIMES ONLINE is an information service that gives viewers the unique opportunity to suggest ideas for future programs and to obtain more information about a product or person featured on a show. The service[,] found on CompuServe, The Source and THE NEW TECH TIMES Bulletin Board[,] can be used by anyone with access to a home computer. "Programs #204 and #212 are enclosed that represent the series along with format sheets which describe each segment of the program in detail."--1984 Peabody Awards entry form.
Broadcast Date
1984
Created Date
1984
Asset type
Episode
Rights
Content provided from the media collection of Wisconsin Public Broadcasting, a service of the Board of Regents of the University of Wisconsin System and the Wisconsin Educational Communications Board. All rights reserved by the particular owner of content provided. For more information, please contact 1-800-422-9707
Media type
Moving Image
Duration
00:28:35.092
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Credits
Host: Crim, Mort
Producing Organization: WHA-TV (Television station : Madison, Wis.)
AAPB Contributor Holdings
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
Identifier: cpb-aacip-8fe7538d7c9 (Filename)
Format: U-matic
Wisconsin Public Television (WHA-TV)
Identifier: cpb-aacip-eb89a9bef4e (Filename)
Format: U-matic
Generation: Master
Duration: 00:30:00
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Citations
Chicago: “The New Tech Times; No. 204,” 1984, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, PBS Wisconsin, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 28, 2022, http://americanarchive.org/catalog/cpb-aacip-29-8380gksn.
MLA: “The New Tech Times; No. 204.” 1984. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, PBS Wisconsin, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 28, 2022. <http://americanarchive.org/catalog/cpb-aacip-29-8380gksn>.
APA: The New Tech Times; No. 204. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, PBS Wisconsin, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-29-8380gksn