6 CES Technologies Ahead of Their Time

Every year since 1967, the Consumer Electronics Show (CES) has been an ideal place for companies to present their groundbreaking audio, video, computer, and video game products. Not every gadget on display in Las Vegas will succeed, but sometimes they flop because they're simply too far ahead of their time. Here are six technologies displayed at CES that, for one reason or another, weren't a hit then, but have since become a part of our daily lives.

1. Sony Data Discman (1991 Summer CES)

A hot topic among book lovers today is the potential demise of the printed page now that e-readers have become so popular. But people were having the same conversation in 1991, when Sony debuted the first e-reader, the Data Discman, at a VIP-only party at the Four Seasons Hotel during Summer CES in Chicago.

The Data Discman was about the size of a drugstore paperback, weighed just under 2lbs, featured a monochrome LCD screen, and a full QWERTY keyboard. Users could search books - mainly dictionaries, encyclopedias, travel guides, and other reference materials - loaded onto 3.5” CDs that held up to 80,000 pages of text or 32,000 pictures. And when you were done reading, you could plug in your headphones and listen to a music CD, too.

Sony released several different versions of the Data Discman with varying features, like a flip-top screen. However, at $450 for the base model, it didn't catch on in America or Europe. (It was a hit in Japan.)

2. AT&T VideoPhone 2500 (1993 Winter CES)

While the concept of a videophone is almost as old as the telephone itself, and a handful of high-priced models aimed at businesses have been available since the late-1960s, AT&T’s VideoPhone 2500 was the first model marketed to the home consumer.

Although available in 1992, AT&T used the 1993 Winter CES to kickstart a large-scale campaign to promote the phone and its full-color, 3.3” LCD screen that could show video conversations over regular telephone lines.

Of course for the video to work, both callers had to have their own VideoPhone. And at $1,599 each, it was not a small investment. Even a price drop to $999 just 13 months after its release didn't help sales. But perhaps the main reason the VideoPhone didn't take off was that consumers simply didn't want to see each other every time they picked up the phone. Naturally AT&T tried to convince them otherwise with some clever marketing ideas. For example, VideoPhones were placed inside the lobbies of 150 Hilton Hotels for use by traveling salespeople. The salesperson's family could visit a local AT&T store to talk to their road warrior on the VideoPhone, or even rent a model for a few days to try it at home. However, these efforts couldn’t sway public opinion, and the VideoPhone was discontinued in 1995.

Today, of course, we carry smartphones in our pockets that feature Skype, Google Hangouts, Apple Facetime, and plenty of other apps that let us talk face-to-face using full-motion video as fast as our 3 or 4G cellular networks can handle. However, even now, video calls aren’t the norm. Maybe the videophone is a solution looking for a problem.

3. Sega Activator (1993 Winter CES)

Considered one of the worst video game controllers ever made, the Sega Activator, which debuted at CES in 1993, was an early, but severely flawed attempt at motion-based gameplay for the Sega Genesis.

The Activator was a flat, octagonal frame that sat on the floor in front of the TV. Each section of the frame emitted an infrared beam that corresponded with a button on the standard Genesis controller. Players stood inside the frame and, waving their hands and feet, broke the path of the beam that corresponded with the button they wanted to push, making their video game avatar move accordingly. In theory, anyway.

The controls were less than intuitive, and the beams weren't very responsive, so the player usually flailed around like one of those dancing windsock men in front of a local car dealership, with few intended responses from the on-screen character.

The Activator's poor functionality, coupled with the fact that it cost $150 – nearly as much as the Genesis itself - meant that motion-controlled video games would have to wait until 2006 when Nintendo released its wildly successful Wii console.

Here's the training video that came with the controller:

4. AT&T Edge 16 (1993 Winter CES)

When Xbox Live debuted in 2002, it revolutionized video games. With Xbox Live and the similar PlayStation Network, gamers can not only play head-to-head against each other, they can talk via headset microphones, and download exclusive game content like new characters or in-game equipment. Did you know Sega was offering the same thing back during the Clinton Administration?

In 1993, Sega partnered with AT&T to create a new device called the Edge 16. The Edge peripheral plugged into the cartridge slot of the Genesis console, and then a 2-player Sega game fit into the Edge. The device featured a telephone port so that two Edge owners could play against each other. This was possible because button mashes were transmitted over the phone line and the Edge device fooled the game into thinking the remote player was using the second controller on the Genesis. If the opponents plugged a telephone handset or hands-free headset into the Edge, they could call each other names as they played.

The Edge also had memory slots for storage cards capable of saving custom video game characters that could be used on other Edge-enabled consoles. Game makers could even develop special edition memory cards with exclusive characters, levels, or equipment, or make these extras available for download to an existing card.

Despite these advanced features, the Edge 16 never caught on with consumers. It was so unceremoniously canceled that I couldn’t even find any information on its demise. One possible stumbling block was that game makers had to tweak their code for the Edge device to work, adding to production costs.

5. Commercial Brake (1994 Winter CES)

Remember when you got your first TiVo? Remember how awesome it was to be able to easily skip past all those commercials? If you'd been at Winter CES in 1994, you could have been skipping commercials long before TiVo with Arista Technologies' Commercial Brake.

The $160 device sat between the VCR and the TV, and worked by looking for the black frame inserted before and after commercial breaks during the broadcast. The Brake would mark these points on an unused portion of the VHS tape and then, during playback, would blank out the screen and automatically fast-forward between them. Although the Commercial Brake was an add-on peripheral, Arista hoped to have the technology integrated into new VCRs over the coming years.

After CES, the Commercial Brake received a fair amount of buzz in the consumer electronics field. However, it couldn't capitalize on the publicity, because Arista became mired in a lengthy legal battle with the actual inventor of the commerical-sensing technology. The device's release onto the market was delayed until 1996, the same year that DVD debuted to much fanfare at CES, signaling the death knell of the VCR.

6. The Listen Up Player (1997 Winter CES)

At the 1997 Winter CES, the trade show floor was abuzz with excitement about the Listen Up Player from Audio Highway. The $299 gadget even won the CES Innovations '97 Award. And considering you probably use a descendent of the Listen Up every day at the office, at the gym, or during your commute, there's no doubt it was innovative, even if no one remembers it.

With special “AudioWiz” software installed on their desktop PC, users downloaded previously recorded MP3s, ranging from newspaper and magazine articles, movie and music reviews, or even their own emails that were recorded via a text-to-voice translator. The MP3s were then copied to the Listen Up, a small, portable, battery-powered device that played the audio back through standard headphones. This all sounds like pretty standard stuff today, but it was groundbreaking in 1997, because the Listen Up was the first portable MP3 player on the market.

While it might have been the first, it wasn't the first successful one. According to Time Magazine, only about 25 Listen Up Players were produced and an unknown number were ever actually sold. It would seem that the Listen Up Player was just a little too soon for consumers. Only a year later, the Diamond Rio PMP300 portable MP3 player debuted and went on to sell over 200,000 units.

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Bad Moods Might Make You More Productive
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iStock

Being in a bad mood at work might not be such a bad thing. New research shows that foul moods can lead to better executive function—the mental processing that handles skills like focus, self-control, creative thinking, mental flexibility, and working memory. But the benefit might hinge on how you go through emotions.

As part of the study, published in Personality and Individual Differences, a pair of psychologists at the University of Waterloo in Canada subjected more than 90 undergraduate students to a battery of tests designed to measure their working memory and inhibition control, two areas of executive function. They also gave the students several questionnaires designed to measure their emotional reactivity and mood over the previous week.

They found that some people who were in slightly bad moods performed significantly better on the working memory and inhibition tasks, but the benefit depended on how the person experienced emotion. Specifically, being in a bit of a bad mood seemed to boost the performance of participants with high emotional reactivity, meaning that they’re sensitive, have intense reactions to situations, and hold on to their feelings for a long time. People with low emotional reactivity performed worse on the tasks when in a bad mood, though.

“Our results show that there are some people for whom a bad mood may actually hone the kind of thinking skills that are important for everyday life,” one of the study’s co-authors, psychology professor Tara McAuley, said in a press statement. Why people with bigger emotional responses experience this boost but people with less-intense emotions don’t is an open question. One hypothesis is that people who have high emotional reactivity are already used to experiencing intense emotions, so they aren’t as fazed by their bad moods. However, more research is necessary to tease out those factors.

[h/t Big Think]

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Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.

2. PLANET OF THE APES (1968)

No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.

4. SLEEPAWAY CAMP (1983)

Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.

5. THE USUAL SUSPECTS (1995)

The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.

8. THE SIXTH SENSE (1999)

Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.

10. MULHOLLAND DRIVE (2001)

David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.

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