David Goodstein

"Human civilization as we know it will end, sometime in the 21st century."

"Ludwig Boltzmann, who spent much of his life studying statistical mechanics, died in 1906, by his own hand. Paul Ehrenfest, carrying on the work, died similarly in 1933. Now it is our turn to study statistical mechanics. Perhaps it will be wise to approach the subject cautiously."

"The showing was succesful. ...[T]he project went on to produce ...52 television programs and 3 volumes of textbooks, plus teacher's manuals, study guides... [etc.]... designed for... college level courses... [plus] complete... videos and print materials for... high schools. The program... cost nearly $10 million."

"Physics is not a newcomer to televised education. The first televised physics lecture dates... to the 1930s. A remarkable number of today's American research physicists—particularly... from rural and poorer sections of the country—trace their interest... to the... in the 1960s. The Mechanical Universe follows in that tradition..."

"Intellectually, technically and philosophically, physics and television are two separate cultures with almost no bridges between... [I]t is... time consuming and arduous... to span the gap... [T]here is no one... [at] Caltech... capable of reading, much less writing, a television script competently. ...[T]here is no one on the production side who knows enough... physics... to plan an important sequence, much less write a script or produce a program. This situation is a symptom of the malady of science illiteracy that ' is intended to help cure...""

"Let me be more explicit about the differences between a conventional telecourse and The Mechanical Universe. In the conventional course, the production company begins by convening a panel of hired academic consultants. ...Courses ...are basically education by committee, with the crucial job of teaching mainly in the hands of scriptwriters and producers. But... college education is to give... the benefit of learning from people who have spent a lifetime mastering their subjects and... adding new knowledge... The crucial part is organizing a subject and seeing the connections... precisely what telecourses entrust to scriptwriters. ...The Mechanical Universe ...arises out of a real physics course at a real—and excellent—university. It represents a single, unified vision of what physics is about, and how it's connected to its roots in mathematics, history and society. ...[N]ew techniques for had to be invented."

"The Mechanical Universe project had its roots in a routine revision of Caltech's introductory physics courses... assigned to Goldstein and begun in 1979... the first major changes... since... taught by Richard Feynman in the early 1960s."

"[T]he full series of 52 programs was first broadcast during the academic year 1986-1987..."

"The raw material for... both the television programs and the textbooks... was a set of verbatim transcripts of the lectures delivered by Goldstein in the revised Caltech physics course. ...[T]he material would be would be presented at two levels, at least in the textbooks if not in the television programs. The upper level... for physics and engineering majors... [t]he other textbook, which corresponds to the level of the television programs... for a more general audience. Nevertheless, it... include[d] differential and integral calculus... presented as they had arisen historically... as part of... mechanics. Mastering... simple... s and s would make physics easier to understand than... the pseudocalculus... in many college physics courses. ...Liberal Arts students had little difficulty learning calculus. ...[T]his was a "major pedagogic triumph" ...A primer, written by Apostol ...was added to the ...arsenal of aids ..."

"[T]he primary audience was to be the "nontraditional student," especially "distance learners,"... [I]t was hoped that with a resourceful, dedicated local teacher... the teaching of introductory physics at any level could be enriched... [A]lso... that a large, casual, nonstudent audience would watch... for pleasure and instruction. ...[T]hat ideal target audience was the high-school physics teacher."

"[T]he earlier Feynman course had sought to makes physics exciting by relating... to contemporary... problems. The new course took the opposite tack... to recreate the historical excitement of the original discovery. ...[[Classical mechanics|[C]lassical mechanics]] ...is treated as the discovery of "our place in the universe." ...[I]ts climax is Newton's solution of the . ...[[w:Living history|[H]istorical recreations]] ...became a staple of the project."

"[A] program is devoted to Millikan's oil-drop experiment, partly as an application of Newton's second law, and... to induce... philosophical ideas about how science is... done. ...The solution ...create a ..."Millikan Museum" ...in the Norman Bridge Laboratory where he had worked. The set involved thousands of artifacts, many ...Millikan's own ...After ...shooting ...the museum was disassembled, to live on only on videotape."

"The problem of how to present detailed mathematical derivations is confronted... in the animated scenes. ...The comprimise solution... invented while designing the pilot program, is called the "algebraic ballet." ...done in detail, but rapidly and entertainingly. The viewer was not expected to absorb every detail... [b]ut every step was displayed... [A]ttention is never lost during these [rapid] mathematical passages."

"The lack of qualified high-school physics teachers in the United States is a notorious (and self-perpetuating) problem. ...[C]ombating that problem was... one of the central goals of the TMU project. ...The idea was to induce teachers to study the college-level version so ...they could use the high-school materials ...with poise and confidence."

"The high-school editions... video modules, averaging 15 minutes... are accompanied by extensive written materials for the teacher, including suggestions, background material, demonstrations, and sample questions... [T]eachers are willing to work very hard to improve their skills... given reasonable support, and... even teachers who are well qualified... find new inspiration in... TMU."

"When I was vice chair of the faculty, the chair... was Robbie Vogt... As soon as he stepped down... and I became chair of the faculty, he became chair of the PMA division, and he called me into his office... in 1979. We had been teaching from the Feynman physics books... using them as textbooks ever since Feynman had given the lectures, from '62 to '64. ...[T]hey had just gotten too hard. It was great for the teachers; I loved teaching from his books. But for the students—if you didn’t already know physics, trying to learn physics from those books... Seeing physics with fresh eyes all over again, it’s wonderful—that’s why every scientist in the world owns a set of these books... [b]ut to learn it for the first time from those books is just impossible. You basically need to know physics, in order to appreciate them."

"Robbie... asked me to create the new physics course—at least the first year of the new physics course. And I said, “Robbie, when you were chair of the faculty, you asked for complete teaching relief. Now I’m going to be chair... and you’re giving me the hardest teaching job in the whole institution. Don’t you think that’s a little unfair?" We... cut a deal... full financial support for a postdoc so I could hire somebody to help me on my research group while I was doing all this."

"I taught Physics 1... [b]ut not from the Feynman books ...We used some conventional textbook ...but I sort of redesigned the course. ...By the time I started teaching it the second time, I started to get worried, because... I would go on teaching the same course forever... [or] I would leave it and somebody else would teach it and it would become a completely different course... One way of preserving memory is to write a textbook, but I had already written States of Matter...been there, done that. I didn’t want to do that. And then it occurred to me that television was bound to play some role in the future of education. ...What I vaguely had in mind was that the lecture could be taped by a television camera at the back of the room."

"So I went to Murph... and he said, "I’ll give you a little money to look into it." ...I think $50,000—and I hired... Don Delson... head of AV... to be my assistant... We learned all kinds of things..."

"I... remember one morning at... breakfast, reading the '... story that had given $10 million a year for fifteen years to make telecommunications materials for higher education. ...[H]e created ...the Annenberg CPB Foundation ...to give out Annenberg’s money. ...I ...got in touch with Sally Beaty and ...KCET ...and we wrote a proposal. ...KCET ...was on the verge of going belly-up. And they tried to load the entire overhead of the station on our project. ...[W]e got the award—with KCET not involved. ...[N]ow we had no flagship station, but we had the money ..."

"[I]t was no longer a television camera at the back of the room. It was now a production, with programs, and all the production values... [I]t... evolved into something far beyond anything I had imagined."

"Sally told me... it cost about $75,000 to make a half-hour program. ...[T]he original grant was for $750,000. We eventually got $6 million... [P]art of the proposal... was to make a pilot program that cost hundreds of thousands... and took three years... And that was a make-or-break—either they accepted the pilot program or the project was dead. ...It became the second program in the series... "The Law of Falling Bodies." ...this absolutely beautiful pilot program ...which cost $350,000 ...everybody loved it and they said, “Go ahead.” ...And that meant ...classy computer animation and ...actors ...We did all kinds of things you just don’t do in educational television."

"[N]obody ever made a million dollars on . Five years after the series went public, we got a letter ...saying, "You’ve crossed the threshold. You now share in the revenues." ...But by then, there were no more revenues. ...I didn’t care ...That wasn’t the purpose ...Later on, we applied to the for an additional $3 million to turn out a high school version ...without calculus."

"There are 25,000 high schools in the United States... and the number of qualified high school physics teachers... in the range of 2,000 to 4,000. So most high schools do not have anybody qualified... and physics is taught in most high schools. ...Many of the so-called crossover teachers, who were teaching physics but weren’t trained ...were teachers. Home economics had fallen out of favor."