The town of Oshkosh, Wisconsin is not generally thought of as one of the innovative centers of America. Children's clothing, yes. Trucks? You betcha. But Oshkosh doesn't typically jump to mind as a powerful counter-argument to those who worry that the computerized, modern era has obliterated backyard tinkering, craftsmanship, and forward-thinking innovation.
Except for one week a year.
Each year, at the end of July, the Experimental Aircraft Association has its annual convention at the Wittman Airport in Oshkosh, Wisconsin. 12,000 airplanes and hundreds of thousands of people attend, making the airport, for that one week, the busiest airport in America. Lots of private and commercial pilots fly in to the convention in standard general aviation planes that range from the 1920s to the latest and most current models. There are graceful biplanes that are as much works of art as machines of the air. There are WWI and WWII fighters, tiny little trainers, gliders, seaplanes, and huge military transports. But the show is also a hotbed of innovation and inventive craftsmanship; reassuring to anyone who wonders, or worries, whether we've lost that hands-on, Thomas Edison-like inventor's edge.
The "Experimental" Aircraft Association, after all, was founded to support those who wanted to design and build their own planes. Many of those innovators have gone on to produce and sell hundreds, or thousands, of standardized "kits" of their designs, which are then built by individual owners in their garages. Even in 2009. And the results are often far beyond what exists in "factory-built" airplanes. Some kitplanes go 200 miles an hour or more, on only a few gallons of gas per hour.
But really, the fun part; the remarkable part (and the most inspiring part), is seeing the vast array of new ideas made real in prototypes spanning a broad range of shapes, sizes and levels of complexity. To illustrate, here are just a few:
The ICON -- portable, light, amphibious sport fun
Park in your garage, take off from a runway, and land in the local lake for a morning of fishing--and look cool while you're doing it. ICON has high-tech design and looks, aimed at pilots who want a plane that's relatively simple but as modern-looking as their stereo systems. It's still in test flight, and the plane is limited to two passengers, and 120 mph. But it's clearly not your father's Oldsmobile.
Terrafugia--a high-tech flying car
One of the longstanding problems of using planes for transportation is that you arrive at a destination airport without a good way to get around on the ground. So ever since the early post-war era, designers have tried to figure out how to make a hybrid vehicle that would both fly and drive. Nobody so far has had a lot of success with the concept of a flying car (the requirements of the two types of transport are pretty different, after all), but a team of MIT engineers has entered the market with a high-tech design called the Terrafugia, which they call a "roadable aircraft." (Wings fold to drive on roads.) Will it work? Hard to say. It has flown, but it's had some problems in flight testing that the team is now struggling to work out. But it's a bold try at applying new technology to an old problem.
The Maverick -- a low-tech flying car
Innovation isn't purely the domain of high-techengineers, as evidenced by this bare-bones flying dune buggy. Designed by a missionary pilot named Steve Saint (author of End of the Spear), it's a grass-roots solution to a very common problem in remote third-world areas: washed out, impassable roads. As a dune buggy, it navigates rough dirt roads well. But if a driver encounters an impassable section of land or road, he or she can open a parafoil atop its long center pole, start the pusher propeller behind the buggy, get a 100-foot headstart, and literally "puddle-jump" the washed-out section. It flies 40 miles an hour (so it drives faster than it flies), and is simple enough to be easily repairable in the bush ... even by indigenous people with limited mechanical or pilot training.
The All-Electric Plane
The problems with an all-electric airplane are more complex than a hybrid or electric car, but there are several companies working on the concept. "It's the future," says Jeremy Monnett, whose Sonex company is working on the electric engine/aircraft pictured above. "It's not the near-term future, but it's definitely the long-term future. You know that Chinese saying about "a journey of a thousand miles begins with a single step? Well, this is our first step." Sonex, a kitplane manufacturer, is testing the 55 kw (75 hp) brushless DC cobalt motor on an existing Sonex kitplane, but Monnett envisions the engine being used eventually to extend the flight time of a motor-glider design or power a much lighter, purpose-designed airframe. (Sonex is also working to develop a single-engine kit jet (see below). When? Ah. Well, when they find a new engine manufacturer, because the original supplier went out of business.)
The Vision Jet
But while Sonex is years away from a flyable, single-engine kitplane jet, Alan Klapmeier has one already flying. Klapmeier is the founder and mastermind behind the Cirrus Design Company (whose Cirrus aircraft James Fallows has written about numerous times). But not content to rest on his laurels, he's designed, and is working to market, a very sleek but practical single-engine, five+2-seat, factory-produced personal jet for the speed-seeking traveler.
Some of the ideas on display are astoundingly simple; others rely on sophisticated computer design and control. And they may not all work or prove viable, of course. The history of aviation, like any field, is littered with ideas that proved better in concept than in reality. But the EAA show is a reminder, once a year, that that the "old" backyard, hands-on, bold spirit of invention is still alive and kicking, even in the video-game and digital age. And that alone is worth something.
Note--offline: I'll be offline for the next week. Returning August 6th.
Even when a dentist kills an adored lion, and everyone is furious, there’s loftier righteousness to be had.
Now is the point in the story of Cecil the lion—amid non-stop news coverage and passionate social-media advocacy—when people get tired of hearing about Cecil the lion. Even if they hesitate to say it.
But Cecil fatigue is only going to get worse. On Friday morning, Zimbabwe’s environment minister, Oppah Muchinguri, called for the extradition of the man who killed him, the Minnesota dentist Walter Palmer. Muchinguri would like Palmer to be “held accountable for his illegal action”—paying a reported $50,000 to kill Cecil with an arrow after luring him away from protected land. And she’s far from alone in demanding accountability. This week, the Internet has served as a bastion of judgment and vigilante justice—just like usual, except that this was a perfect storm directed at a single person. It might be called an outrage singularity.
The new version of Apple’s signature media software is a mess. What are people with large MP3 libraries to do?
When the developer Erik Kemp designed the first metadata system for MP3s in 1996, he provided only three options for attaching text to the music. Every audio file could be labeled with only an artist, song name, and album title.
Kemp’s system has since been augmented and improved upon, but never replaced. Which makes sense: Like the web itself, his schema was shipped, good enough,and an improvement on the vacuum which preceded it. Those three big tags, as they’re called, work well with pop and rock written between 1960 and 1995. This didn’t prevent rampant mislabeling in the early days of the web, though, as anyone who remembers Napster can tell you. His system stumbles even more, though, when it needs to capture hip hop’s tradition of guest MCs or jazz’s vibrant culture of studio musicianship.
A leading neuroscientist who has spent decades studying creativity shares her research on where genius comes from, whether it is dependent on high IQ—and why it is so often accompanied by mental illness.
As a psychiatrist and neuroscientist who studies creativity, I’ve had the pleasure of working with many gifted and high-profile subjects over the years, but Kurt Vonnegut—dear, funny, eccentric, lovable, tormented Kurt Vonnegut—will always be one of my favorites. Kurt was a faculty member at the Iowa Writers’ Workshop in the 1960s, and participated in the first big study I did as a member of the university’s psychiatry department. I was examining the anecdotal link between creativity and mental illness, and Kurt was an excellent case study.
He was intermittently depressed, but that was only the beginning. His mother had suffered from depression and committed suicide on Mother’s Day, when Kurt was 21 and home on military leave during World War II. His son, Mark, was originally diagnosed with schizophrenia but may actually have bipolar disorder. (Mark, who is a practicing physician, recounts his experiences in two books, The Eden Express and Just Like Someone Without Mental Illness Only More So, in which he reveals that many family members struggled with psychiatric problems. “My mother, my cousins, and my sisters weren’t doing so great,” he writes. “We had eating disorders, co-dependency, outstanding warrants, drug and alcohol problems, dating and employment problems, and other ‘issues.’ ”)
Some say the so-called sharing economy has gotten away from its central premise—sharing.
This past March, in an up-and-coming neighborhood of Portland, Maine, a group of residents rented a warehouse and opened a tool-lending library. The idea was to give locals access to everyday but expensive garage, kitchen, and landscaping tools—such as chainsaws, lawnmowers, wheelbarrows, a giant cider press, and soap molds—to save unnecessary expense as well as clutter in closets and tool sheds.
The residents had been inspired by similar tool-lending libraries across the country—in Columbus, Ohio; in Seattle, Washington; in Portland, Oregon. The ethos made sense to the Mainers. “We all have day jobs working to make a more sustainable world,” says Hazel Onsrud, one of the Maine Tool Library’s founders, who works in renewable energy. “I do not want to buy all of that stuff.”
The Vermont senator’s revolutionary zeal has met its moment.
There’s no way this man could be president, right? Just look at him: rumpled and scowling, bald pate topped by an entropic nimbus of white hair. Just listen to him: ranting, in his gravelly Brooklyn accent, about socialism. Socialism!
And yet here we are: In the biggest surprise of the race for the Democratic presidential nomination, this thoroughly implausible man, Bernie Sanders, is a sensation.
He is drawing enormous crowds—11,000 in Phoenix, 8,000 in Dallas, 2,500 in Council Bluffs, Iowa—the largest turnout of any candidate from any party in the first-to-vote primary state. He has raised $15 million in mostly small donations, to Hillary Clinton’s $45 million—and unlike her, he did it without holding a single fundraiser. Shocking the political establishment, it is Sanders—not Martin O’Malley, the fresh-faced former two-term governor of Maryland; not Joe Biden, the sitting vice president—to whom discontented Democratic voters looking for an alternative to Clinton have turned.
Writing used to be a solitary profession. How did it become so interminably social?
Whether we’re behind the podium or awaiting our turn, numbing our bottoms on the chill of metal foldout chairs or trying to work some life into our terror-stricken tongues, we introverts feel the pain of the public performance. This is because there are requirements to being a writer. Other than being a writer, I mean. Firstly, there’s the need to become part of the writing “community”, which compels every writer who craves self respect and success to attend community events, help to organize them, buzz over them, and—despite blitzed nerves and staggering bowels—present and perform at them. We get through it. We bully ourselves into it. We dose ourselves with beta blockers. We drink. We become our own worst enemies for a night of validation and participation.
The authors in the running for Britain's most prestigious literary award come from seven countries and include seven women writers.
The longlist for the Man Booker Prize, one of the most prestigious literary awards, was announced Wednesday. For the second year, the prize was open to writers of any nationality who publish books in English in the U.K., and this year five American writers made the list of 13 contenders, chosen by five judges from a pool of 156 total works.
The U.S. is, in fact, the most well-represented country, with other entrants hailing from Great Britain, Jamaica, New Zealand, Nigeria, Ireland, and India. There are three debut novelists and one former winner on the list, and women writers outnumber men seven to six. From dystopian and political novels to a multitude of iterations on the family drama, the selections capture the ever-changing human experience in very different ways.
A controversial treatment shows promise, especially for victims of trauma.
It’s straight out of a cartoon about hypnosis: A black-cloaked charlatan swings a pendulum in front of a patient, who dutifully watches and ping-pongs his eyes in turn. (This might be chased with the intonation, “You are getting sleeeeeepy...”)
Unlike most stereotypical images of mind alteration—“Psychiatric help, 5 cents” anyone?—this one is real. An obscure type of therapy known as EMDR, or Eye Movement Desensitization and Reprocessing, is gaining ground as a potential treatment for people who have experienced severe forms of trauma.
Here’s the idea: The person is told to focus on the troubling image or negative thought while simultaneously moving his or her eyes back and forth. To prompt this, the therapist might move his fingers from side to side, or he might use a tapping or waving of a wand. The patient is told to let her mind go blank and notice whatever sensations might come to mind. These steps are repeated throughout the session.
The Islamic State is no mere collection of psychopaths. It is a religious group with carefully considered beliefs, among them that it is a key agent of the coming apocalypse. Here’s what that means for its strategy—and for how to stop it.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
Forget credit hours—in a quest to cut costs, universities are simply asking students to prove their mastery of a subject.
MANCHESTER, Mich.—Had Daniella Kippnick followed in the footsteps of the hundreds of millions of students who have earned university degrees in the past millennium, she might be slumping in a lecture hall somewhere while a professor droned. But Kippnick has no course lectures. She has no courses to attend at all. No classroom, no college quad, no grades. Her university has no deadlines or tenure-track professors.
Instead, Kippnick makes her way through different subject matters on the way to a bachelor’s in accounting. When she feels she’s mastered a certain subject, she takes a test at home, where a proctor watches her from afar by monitoring her computer and watching her over a video feed. If she proves she’s competent—by getting the equivalent of a B—she passes and moves on to the next subject.