You don't want to overload your Vulcan! But then, Riker wasn't popular with the Bobs. So he went to just "Will."Take enough bridge jobs away from Spock and you get ... Riker.![]()
You don't want to overload your Vulcan! But then, Riker wasn't popular with the Bobs. So he went to just "Will."Take enough bridge jobs away from Spock and you get ... Riker.![]()
I love that game. Got pretty good at it.Piffle. The following Star Trek game is more exciting:
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Yep, good ol' Baby Daft Punk. Presumably, those screens on the outside are so the captain (or whoever) can still check out what's going on over her shoulder, just like the people at the normal stations.Weren't there bridge crew in VR headsets (or some future version of) on the USS Shenzhou at the very start of Discovery?
Yep, good ol' Baby Daft Punk. Presumably, those screens on the outside are so the captain (or whoever) can still check out what's going on over her shoulder, just like the people at the normal stations.
On topic, the concept that the bridge is radial specifically so the captain can see what anyone is doing without leaving their chair is an important functional concept I feel like too many Trek bridge designs have lost in favor of a more filmicly straightforward arrangement that points everyone toward the viewscreen (or rather, the camera).
The more I learn about AI, the more I think that in TOS in-universe they've limited their use of it, and that this is or may have been a conscious choice even in the 1960's. Computers keep records and implement man-made decisions in TOS, but computer's don't "manage" anything. There's still a guy who looks at life-support readings all day. Clearly, the crew does not seem to want to trust that decision making to AI.TOS can't be bent too far out of shape before it is no longer TOS. That is, the original Star Trek falls into what I call the "World War II" mindset. Granted, it does not have one-manned ships dogfighting through the vastness of space, but even capital ships slugging it out is olde fashioned.
@matthunter pointed out that there is no need for a panel for an automated system—unless that panel has hard, fixed controls for those times when the system needs to be addressed. But would there be dedicated controls anywhere? A computer user might have a local KVM for a single workstation, and remote access software for other machines. Many of us do that today in our day-to-day work. Witness TNG's Web browser-like touch-screen control panels.
@Cancel Culture pointed out a NASA Mission Control approach where the person manning a station might be the leader of a team of technicians and experts scattered in other places. But even that might be growing long in the tooth. People might still be in the loop, but automation will free up crew to do other things. I know, the M5 didn't fare so well, but that story was about more than technical realism.
In James P. Hogan's The Gentle Giants of Ganymede, character Victor Hunt notes how streamlined the alien bridge appears, so few controls. He realizes that the ship's AI takes care of most things, and all a crewman needs to do is talk to the AI. For this purpose, the alien giants wear headbands with small cameras and earpieces, and a wrist unit to maintain constant communication with the AI and each other. Today's readers would brush it off as little more than "smartphones." (That puts Space:1999 ahead of its time with their commlocks.)
Shiro Masamune's Ghost in the Shell and John Scalzi's Old Man's War both posit "cyberbrain" implants which upgrade the "smartphone" idea so that audio-visual material is fed directly into the brain, and a mere effort of will is enough to control weapons, a ship, one's own "smartblood." But before I get carried away in that direction, it is just another way to streamline communication between the ship and crew, further reducing the need for physical controls, except as backups.
TOS falls into a "zeitgeist." A writer doesn't want to alienate the audience, or do things that require too much exposition to understand. Also, Gene Roddenberry was mindful of short-circuiting too many stories by making the technology too easy, like an emergency beam-back button right in the communicators.
So... the TOS bridge is readily understood, and works well on camera. In fact, TOS would work even as a radio show. Almost anything visual is backed up by dialog. And that makes for good storytelling.
There's nothing in TOS to suggest a "Dune-like" crisis in its history. I think it was simply the modest forecast of the '60s writers. Having the computer talk, even with a stilted accent, probably seemed highly advanced at the time. Assigning someone to stare at life support monitors all day sounds both tedious and wasteful. It is better to have a machine do it, with instructions to alert a human, should the monitors fall outside of accepted ranges. But giving a machine "permission" to execute a specified set of routines is not surrendering entirely to the machine.The more I learn about AI, the more I think that in TOS in-universe they've limited their use of it
Talking machines were not unheard-of in pre-'60s sci-fi, although most tended to be humanoid robots, like Adam Link. Voder tech, which synthesizes human speech, began as early as the late 1930s, and research into speech recognition started even earlier. If such research was published in popular media, it would have been to a niche audience.Having a computer that could listen and speak was pure science fiction in the 1960s. The makers of Star Trek can be excused for not anticipating what we can dream about today as science fiction.
Computers keep records and implement man-made decisions in TOS, but computer's don't "manage" anything. There's still a guy who looks at life-support readings all day. Clearly, the crew does not seem to want to trust that decision making to AI.
Talking machines were not unheard-of in pre-'60s sci-fi, although most tended to be humanoid robots, like Adam Link. Voder tech, which synthesizes human speech, began as early as the late 1930s, and research into speech recognition started even earlier. If such research was published in popular media, it would have been to a niche audience.
Star Trek was a generic framework into which many existing sci-fi stories might be adapted. An action element was required, especially if the original pilot was rejected for being "too cerebral." I don't hold it against the creators of TOS for any short-sightedness as futurists. That was not the purpose of the series. As is, many of the ideas were completely novel to a TV audience, and overloading the viewers would only scare them away. The "hand-wavium" that was introduced, like the transporter, was purely for the sake of moving the story along.
I was simply arguing against @Mres_was_framed! 's suggestion that automated systems were deliberately minimized in-universe.
From the late 1930s, the Voder:Talking machines were not unheard-of in pre-'60s sci-fi, although most tended to be humanoid robots, like Adam Link. Voder tech, which synthesizes human speech, began as early as the late 1930s, and research into speech recognition started even earlier. If such research was published in popular media, it would have been to a niche audience.
Star Trek was a generic framework into which many existing sci-fi stories might be adapted. An action element was required, especially if the original pilot was rejected for being "too cerebral." I don't hold it against the creators of TOS for any short-sightedness as futurists. That was not the purpose of the series. As is, many of the ideas were completely novel to a TV audience, and overloading the viewers would only scare them away. The "hand-wavium" that was introduced, like the transporter, was purely for the sake of moving the story along.
I was simply arguing against @Mres_was_framed! 's suggestion that automated systems were deliberately minimized in-universe.
No worries. I was being overly brief, but the operative word was intended to be "listen," with everything that entails.Ah! Comprehension is another matter. When you said listen and speak, I assumed you meant little more than a verbal interface. That much has been available to consumers since the '90s.
I recall one YouTuber starting a video with, "Alexa, order a dozen cases of Moose brand beer!" Pause while he grinned, then continued, "Now, while you're dealing with that, let's talk about computer security!"
Right—giving the audience what they expect, or as a cue to the audience that "this is a machine." I've read that Lucas opted for vector graphics of the Death Star plans in Star Wars, although he had been shown raster graphics. He wanted to insure that audiences understood that they were looking at a computer sim. Didn't take long to supersede that threshold in reality.I mean conservative in the sense of depicting an automated voice in a way in which it would clearly seem automated
It is better to have a machine do it, with instructions to alert a human, should the monitors fall outside of accepted ranges.
There's nothing in TOS to suggest a "Dune-like" crisis in its history. I think it was simply the modest forecast of the '60s writers.
The intelligent computer surpassing and oppressing humanity is a tired trope at this point.
The existence of an “Emergency Manual Monitor” in engineering suggests otherwise.
I mean conservative in the sense of depicting an automated voice in a way in which it would clearly seem automated, as opposed to one which was more or less indistinguishable from a human voice. It might come across as cheesy or even campy today, but to me it's a signal that the computer was not intended to be considered fanciful.
I don’t think that’s accurate. They had to crunch to even get the graphics they got. I don’t believe it would have been possible to get rasterized 3D graphics of the sort necessary to illustrate the trench.I've read that Lucas opted for vector graphics of the Death Star plans in Star Wars, although he had been shown raster graphics.
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