A little pitch

Pitch shot pine mountain club BW

I think this was taken during the last round of golf that three of my brothers and I played at Pine Mountain Club in 2017.

Though the grasses on the course go dormant some locals play all winter long. But I think it’s better to give the course time to recover between Thanksgiving and Springtime.

The real frame was full of color of course but for some reason I liked this better in this rather severe black and white processing done with Silver Efex Pro.

The wonderful colors of Spring will be all around us when we start our 2018 season in a couple weeks. After battling a bothersome shoulder injury that pretty much gutted my entire 2017 golf season, I’m finally ready to tee it up again.

A little pitch

The surrender of the fleeting green of spring

Southern California has now played the very same trick on me for over a half century. Each spring I revel in the tall green grasses that grow on our local hills & fields.

But, just when I get used to their verdancy, they dry up and die.

It’s true these kinds of grasses have very short life spans but in an area that’s so short on green it’s always hard to see the surrender of the fleeting green of spring.

I know summer is on the way.

Fleeting
Sage Ranch Loop Trail Just Before Sunset
The surrender of the fleeting green of spring

Better Right Than Happy: A Cautionary High End Audio Tale

The high end will continue to shrink. There will soon come a day when every surviving high end guy will come together in a room, shake hands with one another, and then all fall over dead.
– Kevin Halverson, co-founder of Muse Electronics.

After all these years, this final meeting still hasn’t happened…yet. I started The Audio Observatory way back when, even before Kevin laid this hard bit of prophecy on me. I didn’t really have much of a vision for TAO, which is the one big reason that it never became much of anything. It existed to serve my own purpose and my purpose was to do what I could to undermine the then-existing attitudes toward the relevance and influence of reviews. I simply wanted people to have the confidence to listen to what they liked and to enjoy what they listened to.

TAO Masthead
The TAO masthead, original artwork in ink, by Mimi Sheean

A mother-fucker can either listen to what he likes, or he can listen to what some other mother-fucker likes.
– Joe Roberts, Editor of Sound Practices.

TAO started out and ended up modestly. At its peak, I was sending out a few thousand issues at a time. But, when I started out I was only mailing a few hundred. Most were sent to my high end heroes. I sent issues of TAO to guys like Nelson Pass, Ray Kimber, Yves-Bernard André, Jim Winey, Bruce Thigpen and Roger Modjeski. After a few dozen issues I got a hand-written letter from Roger Modjeski and a poem. It turns out that he liked the line I used to close each issue.

Listen well, but listen happy.

The line captured what I wanted readers to get, that their happiness with their own beloved music was all that mattered. When I got that letter from Roger I knew I had gotten at least one thing right and lots of folks can’t even do that. He invited me to give him a call and to come up to Santa Barbara for lunch…just to talk. A few weeks later I did and so began an association that, to this day, informs a good deal of how I think and how I see the world, especially the world of high end audio.

Right away, Roger and I enjoyed each other’s company. I think we each sensed that we saw the other as an odd yet accurate reflection of our other self. If that doesn’t make of sense rest easy; t doesn’t make a lot of sense to me either. In some ways, we didn’t have much in common. Roger was an engineer’s-engineer and I was a mere layman, though one possessed of a strong appreciation for formal reasoning and a quick facility for the occasionally clarifying analogy. Sometimes Roger’s engineering rigor created an angst-inducing forest-for-the-trees situation that needed that ability on my part.

We both loved music and thought that vacuum tubes were the best path to achieve its reproduction in the home. That’s not really true. Roger thought that but I believed that the very best transistor gear was in fact superior to the best tube gear. But, I also thought that better designed vacuum gear outperformed most solid-state gear that was even remotely similarly priced. And, there was and there is no vacuum tube gear that’s as well designed as the gear Roger Modjeski designs. He simply has no equal.

Roger’s brilliance came from, well, brilliance. He had made the mistakes (in his mind) that lesser engineers had often made in their products and he never forgot a lesson once learned. After we got to know each other, he began to share his thoughts on his own designs and the designs of others. Some were old and some were new but he always looked to examine what had been achieved, or what had not, and how the failure of knowledge or experience or both had led to the result.

After a few of our lunch meetings, Roger offered me a job. I would handle Music Reference and RAM Labs sales and marketing. Me being me, I knew I could handle the task. I am not prone to delusion. I knew that Music Reference and RAM Labs were small companies in a small market. The job would not be a path to anything other than the chance to do something I’d never done before and to work along side someone for whom I held a genuine respect and fondness. I took the job and instantly The Audio Observatory was transformed. It was impossible for me to review tube gear in my own journal. My readers objected, but from then on I confined myself to reviews of solid-state gear. It was an unsatisfying turn for my association with The Audio Observatory but I knew it was the right move for me at the time.

Working with Roger was never dull, never easy, often frustrating yet frequently entertaining in a way that’s hard to describe. We met two Mondays a month, always for lunch. The day went like this. I’d hit the road from Valencia around 10 a.m. and look to arrive at Roger’s house in Santa Barbara around Noon. His mood upon meeting me at the door determined a lot. Sometimes I could tell that he’d been waiting for me in a kind of intellectually anxious way. Perhaps he’d read something that annoyed him but didn’t quite grasp in a way that satisfied his reasoning. Other times, I would be met with an air of frustration that he tried to hide behind a futile mask of cordiality. I could sense his dissatisfaction simmering. Sometimes I could find a kind of voice for whatever was gnawing at him and sometimes it persisted right on through our initial meeting, our lunch out, and our after-lunch meeting. Those could be some long-ass afternoons.

Still, I treasured our meetings. Roger Modjeski was a consistently fascinating person to hang around with and our customers loved his gear and the tubes he tested. And, I learned a lot. No, I didn’t learn many of the kinds of things that were very likely to improve my financial fortunes but I didn’t care. I was doing what I wanted to do and I was learning to do things I wanted to learn how to do. Roger wasn’t what anyone was likely to call a traditionally good teacher. Still, I learned a great deal from him and also from myself. Roger liked to say that pretty much every success he ever had at Music Reference and RAM Labs came from doing something for the first time, and learning from the mistakes that first effort had brought to light. Mistakes never pleased him, but he knew they were an unavoidable part of learning in the same way he had learned.

The greatest challenge for Music Reference was production. As much as Roger loved design and engineering he hated manufacturing. I’m not sure if he always hated it or whether the years of coordinating everything it took from a taking a product from concept to final testing fell on him. Either way, manufacturing was a constant topic. Roger wanted a production manager who could take over the most onerous duties. That would free Roger to develop new designs and also to do the kind of extended travel he believed the ongoing day-to-day demands of the business prevented.

One of my first bits of inexperience was exposed by my belief that finding the right candidate for the job would be doable if not easy. Music Reference and RAM Labs were located in Santa Barbara and I figured that between UCSB and Santa Barbara City College there would be a good number of qualified applicants in the area. I was wrong. Roger and I interviewed a number of candidates and one seemed less likely to be able to do the job or even to truly understand the substance of the job than the next. It was a sobering experience.

I met Graham Hardy back in my early days as a reviewer. He partnered with Kevin Halverson in the design of the legendary Muse Model Two Digital to Analog Converter. The Model Two was a ground-breaking product. It was the first DAC to show (to me, anyway) that digital could someday rival, and possibly exceed, the fundamental fidelity and musicality of the finest analog systems. Kevin might dispute this, but I believe it was the Model Two that really put Muse Electronics on the map back in the early 1990s.

Here’s where things start to evolve and worlds began to clash. Graham was an avid reader of The Audio Observatory and liked to question me about what I regarded as the essential musicality of a vacuum tube system. His curiosity got him thinking about designing a tube amplifier of his own. Graham had a particular design goal for his amp. He wanted it to be able to automatically bias its output tubes.

It will be as if there are eight little audio nerds living in each amplifier chassis, constantly turning tiny screwdrivers keeping the output tubes in a state of perfect bias.
-Graham J. Hardy

That sounded cool to me though I had always enjoyed biasing tubes for myself, in very much the same way I liked checking my car’s oil level and tire pressure. Still, Graham was passionate about the idea. His enthusiasm brought an idea to mind; could Graham be the production manager for Music Reference?

I thought about it for weeks before I brought the idea to Graham. It turned out he had been independently hoping I would set up a meeting with Roger. In hindsight that motive, on Graham’s part, should have been a warning. Graham was looking for affirmation that his concept was impressive to a respected, even legendary, designer of tube gear. He also wanted to prove to himself that he could slip from the digital world to the analog world and still do valuable work.

Roger didn’t have a problem with the meeting. All of the failed interviews with would-be production managers had worn him out and put him close to giving up on the idea that finding a decent candidate was even possible. We picked a date and Graham and I headed north to Santa Barbara. I knew that it would be a waste of time to make any attempt at coaching Graham about how best to present his ideas to Roger. I also knew that Roger could be a little bit like a roulette wheel when it came to how he would receive someone new. Roger was always cordial. He’d grown up in Richmond, Virginia and I always felt that a certain kind of southern gentility influenced his behavior. He was never loud or contradictory and he could be an excellent listener. But, once he knew that the person he was speaking to lacked a full understanding of what was being discussed he would begin the dissection just to make sure. He did this by asking one seemingly simple question after another. I regarded those questions as if they were the coils of a python; at first it felt OK but then it would get a little hard to breathe. Just when the person being questioned started to figure out what was happening, that answers to important questions had been fumbled, the end of the interview would come mercifully.

The interview went terribly. Roger started questions with phrases like, “You do understand…” -and- “Certainly you’re aware that…” When Roger asked, “Do you realize that capacitors in this kind of circuit will each discharge at different rates while music is playing?” I knew full well the interview was over. The Oxford PhD in physics, the genuine honest-to-God, card-carrying rocket scientist from JPL, had been laid-low by the soft-spoken electrical engineer from the University of Virginia.

Graham seethed all the way back to his house and about an hour later when I finally got home to my house I had a message from Roger on my machine. When I called him back, he thanked me for bringing Graham to Santa Barbara to meet with is. But, then he said, “You do understand that there’s no way I can work with him, right?’

Right.

So then back to the inexorable passage of time. The 1990s ended and then my marriage ended and finally my friendship with Graham came to a coda brought about by his poor behavior when he drank and finally by his subsequent move to Washington. I missed him, but being around Graham was like being close to a moving fire. It was only a matter of time before it became uncomfortable and a painful burn was sure to follow. All that said, I still miss him to this day. He always was, in his way, a great and dedicated friend.

Even more time passes. It’s New Year’s Eve 2017 and I was sitting in an outdoor jacuzzi having a late-night cocktail when I got a call from a number I didn’t recognize. The woman who answered told me she was calling about Graham and the water in the tub suddenly felt as cold as the desert’s winter air as it swirled around me. I knew before hearing the words exactly what she was going to say; Graham had finally killed himself.

Without being told, I knew that he had shot himself.

Without being told I knew the gun he pulled the trigger on was very likely one he had bought from me in the months after I was divorced.

Without being told I knew that this was by no means the end of the story.

Another reason the woman had called me was to enlist my help in getting one of Graham’s unfinished designs through final engineering and manufacture. I was astonished but I was also intrigued. I thought to myself, what were the odds that this design would ever surface again, especially after Graham’s death, and that I, of all people, could be the point of nexus required to get it to market or see it consigned to the ash heap of never-produced high end design??

Still, still; it was a very odd thing to consider. Graham’s amplifier, and especially the work he’d done on it after the time when he’d vanished from my radar, comprised a kind of vendetta against Roger Modjeski. There was no way for me to know if Graham had, against all odds, overcome his limitations as a designer of tube gear and created a viable circuit for today’s market. Then and now I say that the odds were against him but that doesn’t make such a design an impossibility.

Graham’s amplifier was made to look like a Music Reference amplifier. Roger liked to say that he had designed Music Reference amplifiers, especially the RM-9, to look as if they had been built by someone in his garage, but by someone who had access to certain elements of construction that would never be attainable to someone building something by himself. It was one of the first products to use a 6061 T6 aluminum top plate. The nomenclature was done in a technique called Anofax that would never wear out the way conventionally silk-screened lettering would. Each of the three transformers were hand-wound by either Roger or a technician who made guitar pickups for Seymour Duncan who Roger had trained in the exacting art and science of transformer winding. Once wound, the transformers were vacuum potted into enameled transformer cans. It was a tricky, laborious and time-consuming process from start to finish.

RM9
The original brochure photo for the classic RM-9

Graham’s amplifier had double the number of output tubes (per channel) of an RM-9. It also had a T6 top plate and a wooden frame. The power and output transformers were made by a company called Plitron which has a somewhat mixed reputation. A written description of Graham’s amp and the RM-9 could lead one to believe that they looked similar to each other, but they didn’t. Still, it was clear that Graham’s design was directed at what Roger Modjeski had created all those years before.

Graham's Amp
Graham Hardy’s cosmetic prototypes

No one will ever know why Graham didn’t finish the design himself or build the production amplifiers. For a time, even before he moved to Washington, he had a created company of sorts and a website, but there was never a product available to buy. When I learned that the prototypes had survived him I considered making the effort to hear them for myself, but I didn’t really want to. In the end, I believed it was very unlikely Graham had achieved a working version of his auto-bias function and, even if he had, I was even more doubtful he had achieved a musically viable product in what was his first attempt at designing a tube amplifier. It just ain’t that easy.

Still, I feel an odd and somewhat uncomfortable connection to Graham’s design. It had been so long since I had spoken to him it was as if the amplifiers were all that were left of him, and even they were incomplete. Somehow the amplifier’s design didn’t feel genuine. It didn’t feel like something that had been created to bring better sounding music to people’s homes. Somehow it felt hard and hollow and empty. I admit that I may be missing something about Graham’s amplifier. Perhaps he achieved far more than I’m giving him credit for, but I’m actually quite comfortable never knowing the answer.

There’s another irony to all of this. A while back I called Roger Modjeski to let him know about Graham’s passing and the amplifier he designed and built. But, Roger didn’t remember the fateful meeting. Even after I reminded him about the specifics, he simply didn’t remember. In the end, the meeting simply hadn’t meant anything to him. And, for Graham, even though he acted as if the meeting had meant a lot, he wasn’t able to find a way to directly benefit from it, or even to see it as a light that showed him a way forward. Graham could only find a way to feel dismissed and minimized even though no one had sought to make him feel that way. Without trying to win, or even knowing there was any kind of competition, Roger had won. In his effort to prove himself as the equal of his own education and professional stature as a physicist and engineer Graham had lost and, even worse, he had undermined himself and his mission in the process. What an terrible waste of intelligence, energy and potential.

Today, after all these years, there’s an effort underway to get Graham’s amplifier built. But, I still wish the whole thing just felt better to me. I wish Graham had been able to create out of a heartfelt desire to build something better rather than a pitiable need to be proven correct. More than that, I wish he had been able to live his life to its full measure. Who knows what he could have achieved had he simply given himself the occasional luxury of being wrong and the right we all have to learn from our mistakes and move on.

With that, I’ll give Graham the last words one final time.

Any good Englishman would rather be right than happy.
– Graham J. Hardy

 

 

 

 

 

 

 

 

 

Better Right Than Happy: A Cautionary High End Audio Tale

Review of Shinola’s Canfield Over-Ear Headphones

Canfield

Shinola is a fascinating company with a name that is, for me anyway, a little odd. I mean, come on; we all know what rhymes with Shinola. They make all sorts of interesting things from watches to wallets, from turntables to speakers, all assembled in their factory in Detroit, Michigan. The Canfield Over-Ear headphones are Shingle’s circumaural headphones. From a design standpoint the Canfield Over-Ears straddle a modern look with classic headphone shapes, contours and lines from the days of old. They are very solidly constructed. The lambskin ear cups are especially luxurious. The Canfield Over-Ear’s contemporary lineage is confirmed by the presence of an inline volume control and the fact that the (rather shortish) cable is terminated with a 3.5mm plug, though a good quality .25″ phone plug adapter is included.

Before I get into what it’s like to use and listen to the Shinolas I want to comment on its connectors. Disclaimer: I am a unreasonably obsessed by connectors and signal path issues. I accept the fact that the 3.5mm plug has become a kind of de facto standard when it come to the majority of headphones we use today. From this, I exempt really high end headphones which may operate in a fully-balanced mode and so may use XLR or other connectors that accommodate that topology. When it comes to the Shinola Canfield Over-Ears there are female connector jacks on each earpiece. So, there are soldered connections on each earpiece and another soldered connection on the other end. On one hand, this affords the user with an interesting opportunity; this configuration makes it easy to use another cable (that’s similarly terminated). Just pick your brand or make your own cables. The Shinola’s make swapping cables easy, if potentially costly.

But…

Under the best of circumstances you’ll be dealing with a significant number of extra solder points and plug-in connectors. That is not a recipe for a typical high end implementation. If Shinola is using what they consider to be good quality wire I would rather they ditch the female jacks on the earpieces and solder those wires directly to their drivers or crossovers. It’s a tough situation. I can see the advantage of what they’re doing but the downside, especially for a pair of $450 headphones, is significant.

The Shinola Canfield Over-Ear headphones are excellent. They are truly full-range and offer exceptional dynamic capabilities. But, maybe unfortunately and maybe not unfortunately, they do require some significant care and feeding. When driven by purpose-built headphone amps of commensurate quality the Canfields can dazzle. But, when driven by a phone or computer the Shinolas can sound a touch heavy. This problem results from a contemporary belief that’s poorly founded. The belief is that even the finest headphones can be happily driven by even the most modest of amplifiers. Quite simply, they can’t. A $450 pair of headphones deserve proper amplification.

When properly driven, the Shinola Canfield Over-Ear headphones sound marvelous. They are detailed, yet unfatiguing. They handle large dynamic swings with ease yet always preserve a deft portrayal of acoustic delicacy. The midband is slightly shelved back but vocals, both female and male, are always rendered clearly and with great articulation. The bottom end extension and impact are superb, easily besting my other reference headphones that are similarly priced. The Shinola’s even challenge significantly more expensive headphones, and they do so with a sense of ease and a lack of strain. The top end is smooth and extended if a tad soft. Every product is voiced and Shinola clearly voiced the Canfields to be kind to recordings that are not exactly what most would call high fidelity. All in all, though, the Canfields are superbly musical headphones, especially considering their price.

These Shinola headphones are beautiful and obviously lovingly assembled and finished. And, they look as if they would be quite comfortable to wear. The earpieces rotate freely and the length of the headband adjusts readily as well. I found it easy to adjust the Canfield Over-Ears to the point where they fit me just right. The texture of the lambskin ear pads is decadently smooth. My guess is that they’ll feel even better once they’re broken-in; rather like a fine baseball glove. The headband’s padding could be a little wider and more compliant. Since these are heavyish headphones their mass is concentrated on a relatively narrow area of the head. Could they be even more comfortable? For sure. Perhaps Shinola will reevaluate this as they evolve their headphones down the road.

As they are, the Shinolas are amazingly good headphones even in what is a very competitive section of the market, price wise. For a new company, they are a nearly miraculous product. I have every confidence that Shinola will better the Canfield Over-Ear headphones if they decide to stay in the headphone game. In this case, more than in other headphones at this price, the rewards you reap with the Canfields will have a direct relationship to the quality of the device that drives them. I, for one, do not see this as any kind of shortcoming or disadvantage. Think of it as a part of the price you’ll pay for enjoying the musical refinement that Shinola Canfield Over-Ear headphones can attain.

The Shinola Canfield Over-Ear headphones are very much worth the effort.

Shinola Canfield Over-Ear Headphones

$450 USD

Review of Shinola’s Canfield Over-Ear Headphones

Anderson Valley’s Boont Amber Ale & Hop Ottin’ IPA

I confess that most of my experience with Anderson Valley beers are from bottles…yes, I said bottles; the horror. But, the fact is that even out of a bottle their Boont Amber Ale runs a very close second to my all-time fav, Hangar 24’s Orange Wheat.

Again, the magic lies in the beer’s balance.

Today I was lucky enough to have this beer on tap and as is often the case the leap from bottle to tap is a huge one. Out of a bottle it’s great, on tap it is sublime. Boont is creamy yet crisp, it’s full-bodied but by no means heavy. Many ambers taste almost like a detuned IPA but Boont is a true amber in look, mouth feel and taste.

Here’s hoping that Anderson Valley (someday) will follow-up to the Boont with a red ale that matches it for character and quality.

Four Beers

Now it’s on to Anderson’s Hop Ottin’ IPA. This, like the Boont, has a lovely color. It’s citrusy constitution is offset by its full yet clean, malty finish. It’s 78 IBU but it’s really not that hoppy in the mouth. Me? I likes me a 7.0% ABV IPA.

Give me some wallop if I’m going to be drinking something with a good deal of bite to it.

Three Beers

Anderson Valley’s Boont Amber Ale & Hop Ottin’ IPA

A Study in Contrast: Pugachev’s Cobra & Orange Wheat by Hangar 24

First of all, I’ve been meaning to do some quick beer reviews for years. I mean, why drink all that beer if’n you’re not gonna write about it?

Well, some of the stuff tastes pretty good, plus, I’ve taken a bunch of notes so I figured I’d be a nice guy and share some findings here.

Warning: If you’re not into beer you’re not going to be interested in the old blog for the next few posts. This is gonna take a while…

Sorry (not really)…don’t you know that good beer is delicious?

Second, get your ass out to Hangar 24 in Redlands before some multinational corporation realizes how cool Hangar 24 is and how quintessentially California their main taproom is and buys the place and moves it to Colorado or Missouri or some other God-foresaken place. The main taproom is in Redland just a few miles off the 210. It is directly across the street from the Hangars of the airport (get the connection; hangars…hangar 24…airport?). Nearly all off the taproom’s seating is outdoors which can lead to an amusing experience when the temperature hits 106 as it during my first visit.

Ummm…toasty!

During that first visit I had what has become my measure of the very best all-around beer I’ve ever had; Hangar 24 Orange Wheat. Sure, lots of breweries make something similar but no one manages to match the balance of citrus aroma and flavor as well as Hangar 24. It’s great anytime but on a hot day it simply has no equal.

Oranges
That’s right. Those are Redlands-grown oranges ready to be made into Redlands-brewed Hangar 24 Orange Wheat. Ain’t nothin’ better that I can think of!

But wait, this is supposed to be a study in contrast, right? Oh, baby…I have me some contrast right here under the name of Pugachev’s Cobra. This is a very big beer. How big? 15% ABV, but that’s not the full story. This beer exudes the aromas of chocolate, vanilla, oak, bourbon, licorice and dark fruits, while flavors of chocolate-covered plum, sweet malt, bourbon, and roasted coffee dance on your tongue. In a word, it’s amazing, but it’s also BIG! Big, like kick you ass, Big. Big, like go easy on this stuff, big.

In the end, it’s the best big beer I’ve ever tasted and the Orange Wheat is the best beer over all. The fact that both beers come from Hangar 24 is, well, I’m not sure what it is but it’s true.

Both of these beers earn my highest four-beer rating.

Well done, Hangar 24!

Four Beers

 

 

A Study in Contrast: Pugachev’s Cobra & Orange Wheat by Hangar 24

What’s Missing from Uber (and Google’s) Push for Autonomous Cars

Uber’s (and Google’s) push for autonomous cars is predictable. We humans love having machines do our work for us. Elevators don’t need operators anymore so why do cars need drivers? Quite simply, all of the safety and technological challenges of transporting people in elevators have been wholly met so now millions of people safely travel in these precusers to autonomous cars.

The differences between elevators and cars are many, of course. First is the fact that an elevator travels within a system where the space of the car’s travel is never shared and always defined. Also, as I mention above, there were decades of elevator use where the elevator car required an operator to control and monitor the car’s operation. So, the evolution went like this: invention of the elevator, operation of the elevator by a human and finally operation of the elevator by a electro-mechanical system (with some human input…the selection of floors, opening and closing of doors and emergency button).

Aviation has seen huge benefits from autonomous systems. Commercial airliners spend a large percentage of flight-time piloting themselves, but pilots have to have a deep knowledge of the complicated systems in the cockpit in order to intervene when necessary. “One of the myths about automation is that as the level increases, you need less human expertise,” said Bryan Reimer, a research scientist at the Massachusetts Institute of Technology and associate director of the New England University Transportation Center. He points to Chesley Sullenberger’s 2009 landing of his US Airway Flight 1549 in the Hudson River. “Automation never would have done that,” at the time, Reimer said. “It doesn’t work outside programming bounds well.”

Cars have been in continuous development for well over a century. ABS brakes, automatic transmissions, traction control, Xenon headlights and a host of other advancements have all added to the overall convenience and safety afforded by the cars that are driven today. Many of today’s cars can alert the driver of obstacles in the road and some can even apply the brakes if the driver fails to do so. Cars can also alert the driver that his car has left its lane or that another car is closer than is safe. What all of those developments have in common is that they are designed to aid and augment the attention, skill and judgment of the driver.

When the Uber car in Arizona smashed into the woman who was walking her bike across the road the system in place was specifically designed to function without the attention, skill and judgment of the driver, and therein lies the problem with the company mindset at Uber.

Uber and the other companies who seek autonomous cars are missing crucial safety steps. Their focus on their ambitious long-term goal has caused them to avoid confronting the myriad of short-term details that must be identified and addressed before the goal can be achieved. In the Arizona case, there was a driver who had so much unwarranted confidence in a system about which she surely had very little actual understanding that it caused her to effectively turn off her own attention, skill and judgment. The driver suffered from a belief (that the car would operate safely by itself) rather than exercising an opinion (that perhaps the car was going too fast for such a dark road) irrespective of the posted speed limit.

That particular brand of technology, the kind that invites us to pay less attention to what we are doing than we would if we had to manage more of the processes for ourselves, is a sign of how foolish and shortsighted big companies can be. If one goal of autonomous cars is protecting human life, then human judgment and decision making must always be valued and encouraged.

 

What’s Missing from Uber (and Google’s) Push for Autonomous Cars