BBCPERSIAN — broadcast
20260808 140000 UTC
373 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:10] They showed me a tablet and I saw that Dr. Seyedmi was lying on
[00:00:13] a metal object. Right there, they told me that if you don't cooperate
[00:00:17] with us, the same thing will happen to you. The mysterious environmental
[00:00:20] case in the book "Green Parrots" by Morad
[00:00:24] Tahbaz.
[00:00:30] And now on BBC Persian TV, technology.
[00:00:33] فناوری
[00:00:38] What if you get into a driverless taxi and there's a fire? The British government
[00:00:42] is testing what people's reactions are like. In
[00:00:45] this week's program, we have everything from driverless taxis to an
[00:00:49] antique ship. This historic ship in Sweden is slowly
[00:00:53] falling apart. What can technology do to
[00:00:56] preserve it? Let's also take a train ride and see
[00:01:00] an update that will finally free locomotive drivers
[00:01:03] from red and green lights.
[00:01:28] Just a few years ago, it was difficult to imagine self-driving cars actually
[00:01:32] on city streets. But now, various companies in many cities and metropolises
[00:01:36] around the world are integrating their self-driving taxis
[00:01:38] into urban transportation networks. But have the government
[00:01:42] and municipalities in these cities just sat back and done nothing, only
[00:01:46] giving permission for them to be on the streets? Hello, I'm Hadi
[00:01:49] Nili, and this is Click, a program about technology. Right here in London,
[00:01:52] driverless taxis are warming up their engines for
[00:01:55] busy intersections where even experienced drivers sometimes get
[00:01:59] flustered. But the British government is studying
[00:02:02] what the passenger experience in these taxis could
[00:02:06] be like. Jackie Wakefield reports.
[00:02:08] میده.
[00:02:15] We've all seen videos on social media of self-driving cars
[00:02:18] doing unexpected things. So how can we be sure that these cars
[00:02:22] are safe and accessible and ready for
[00:02:25] everyone?
[00:02:32] In this laboratory, researchers have created a series of immersive
[00:02:36] virtual reality simulators that place people in self-driving
[00:02:39] taxis, even in unexpected
[00:02:42] situations.
[00:02:51] In this research, funded by the UK Department of Transport,
[00:02:54] various participants were involved, from children and the elderly
[00:02:58] to people with different physical
[00:03:00] abilities.
[00:03:04] This is the first time in the UK that virtual reality is being used
[00:03:08] to see how different passengers might react to emergency situations
[00:03:12] in self-driving cars. Well, in this
[00:03:15] particular scenario, we're stopped at a red light. There's a pedestrian
[00:03:19] trying to get into
[00:03:20] the car.
[00:03:24] Okay, what should I do? What do you think? Well, I guess
[00:03:27] I'd probably get very angry because...
[00:04:30] A fire, a flood, or an accident with another taxi can affect
[00:04:33] it. Until everyone has the same ability to manage these
[00:04:37] emergency situations, the system won't work. If
[00:04:40] this system doesn't work for everyone, it means it doesn't
[00:04:44] work at all.
[00:04:47] Now it's time to go from the passenger seat to the
[00:04:49] driver's seat. The test starts in autonomous mode,
[00:04:53] then you have to take the steering wheel and drive for about 40 seconds,
[00:04:57] then autonomous mode. Practice
[00:05:00] it. This study examines how we
[00:05:03] regain control of the car when the autonomous system fails.
[00:05:07] My challenge is this: to be busy with everyday tasks
[00:05:11] until the car gives control to
[00:05:13] me. These are my results.
[00:05:17] Yes, I'm a little anxious. No, don't
[00:05:20] worry. Let's look at the first one. Okay, so here I was playing Tetris
[00:05:36] and wow, look, I panicked. Yes, you were swerving a lot,
[00:05:40] what you see.
[00:05:42] is that you slowed down. Do you remember?
[00:05:45] Why? I think I was about to hit the car
[00:05:48] in front. This small red circle is where your eyes
[00:05:52] are looking. Your point of focus.
[00:05:55] You were paying attention to that car. You saw signs there that
[00:05:59] told you to slow down. Well, here you're also
[00:06:02] watching a video. You were so engrossed
[00:06:05] in it.
[00:06:08] Oh no, let me watch the whale.
[00:06:16] Here, one eye was on the road, and the other was on the rest of the whale
[00:06:19] video.
[00:06:23] It's embarrassing. Not stopping the video caused
[00:06:27] the video to keep playing and distract you.
[00:06:31] Before you really needed to take control,
[00:06:34] you had time to do these things. Well, here
[00:06:38] I'm solving a crossword puzzle. This was my longest attempt. I think
[00:06:41] here I was really paying attention to check the conditions and then
[00:06:45] take the wheel. And it was so smooth and fluid.
[00:06:49] Congratulate yourself. Of course, you should be happy.
[00:06:52] So you saw that on the third try, you did well, meaning
[00:06:56] you became more comfortable. But just like the other
[00:06:59] participants, you also weren't paying attention to checking the mirrors. That is,
[00:07:03] in those few seconds that you took manual control of driving,
[00:07:07] you still weren't fully aware of your surroundings. You were still
[00:07:10] sort of collecting data.
[00:07:12] This study measures your speed in taking control from a self-driving
[00:07:16] car, but that's not all. It was also to see if you had enough
[00:07:20] situational awareness to safely control
[00:07:23] the car. Apparently, I
[00:07:27] didn't. No, you didn't. It's clear
[00:07:31] that driverless cars are not just about technology,
[00:07:34] but about people.
[00:07:36] میشه.
[00:07:38] When we ask people to imagine something, for some, it's very difficult
[00:07:43] unless they have truly lived that experience.
[00:07:46] We collect data that allows us to understand
[00:07:49] the impact of different activities or personality traits of different
[00:07:53] people on the user experience without
[00:07:56] having to take risks in a real
[00:08:00] situation.
[00:08:04] Virtual reality, or VR, is not just for games or design.
[00:08:07] Here, it's also used for policymaking. What we saw today
[00:08:11] shows how immersive research is paving the way
[00:08:15] for a safer and more inclusive autonomous
[00:08:19] future. In an age
[00:08:21] where driverless taxis are being discussed, it's a bit strange that the rail
[00:08:25] transport network still operates with old technologies, such as
[00:08:29] locomotive drivers having to keep an eye on green and red lights.
[00:08:32] Europe has moved faster than the UK to update its railway
[00:08:36] systems. But for the UK, it's never too late
[00:08:39] to start. Paul Carter, who loves everything related
[00:08:43] to trains, went to see what this new system
[00:08:45] is.
[00:08:54] The East Coast Main Line is one of the busiest railway corridors
[00:08:57] in the UK. Every day, hundreds of trains pass through here,
[00:09:01] entering London or leaving it. But behind
[00:09:04] the scenes, something new is happening on the railway. It's not about
[00:09:08] a new train or a new tunnel, but a new brain.
[00:09:23] This is a train driving instructor. This is the first section of the line
[00:09:26] that has been updated with a digital signaling system
[00:09:30] called ETCS, or European Train Control
[00:09:33] System. It's a big step towards replacing
[00:09:36] traditional trackside signals with in-cab
[00:09:39] technology. The system.
[00:09:48] Instead of reading colored lights, drivers now see live
[00:09:52] and updated instructions on a digital display.
[00:09:55] This system is designed to improve reliability,
[00:09:58] increase capacity, and reduce delays.
[00:10:01] The in-cab display shows the driver something
[00:10:05] called a "movement authority" – how fast
[00:10:08] they can go, how far they can go, and when they need to adjust
[00:10:12] their speed according to the schedule. So this is the last station with the
[00:10:16] old system, and the next station is the first
[00:10:19] with the new system. When we get there, these
[00:10:21] will change.
[00:10:24] Here we are. Now we are in in-cab signaling mode.
[00:10:27] In the old signaling, driving was very similar to driving a car
[00:10:31] with traffic lights. Trackside signals were like
[00:10:35] that. A green light meant everything was fine. A yellow light
[00:10:38] meant we had to prepare to stop at a red light. Now, because the railway
[00:10:42] is full of curves, that red light might be after a curve.
[00:10:46] Whereas the new system simulates the exact location
[00:10:49] of that previous red light, information is immediately displayed
[00:10:53] to the driver on the screen long before they reach the curve, meaning
[00:10:57] it's like the driver can see beyond the curves.
[00:10:59] These devices, called
[00:11:03] balises, are small transmitters located between the tracks
[00:11:06] that precisely indicate the train's position.
[00:11:10] Radio systems transmit the rest of the data. Upgrading
[00:11:14] technology like this doesn't just affect trains; it
[00:11:18] revolutionizes the way railways are managed. In the
[00:11:21] Rail Operations Centre in York, signalers and
[00:11:25] engineers are preparing for a future where digital control
[00:11:28] becomes a standard. This is one of the
[00:11:32] largest railway operations centers in Europe, the focal
[00:11:35] point of the East Coast Main Line, where teams
[00:11:39] monitor every train movement. This
[00:11:43] is Finsbury Park, which is right in the middle. Yes, from Finsbury
[00:11:47] Park to the Northern Line to Moorgate. We have this
[00:11:50] new ETCS system there, which is relatively new
[00:11:54] equipment for
[00:12:25] us. That's the goal.
[00:12:28] The Moorgate branch is the first section of the East Coast Main Line
[00:12:31] to have undergone this upgrade. But this is just the beginning of a
[00:12:35] large program that will eventually update the entire route from London
[00:12:39] to Scotland. This is an excellent testing
[00:12:43] ground for digital signaling. A separate
[00:12:45] line with low traffic frequency and almost entirely
[00:12:49] underground.
[00:12:52] When we reach an update format that can be implemented in different
[00:12:55] places, this is the cheapest way to modernize our railway.
[00:12:59] This has been proven in Europe. We are a little behind. But this backwardness
[00:13:03] has given us the advantage of skipping some of their previous designs
[00:13:06] and going directly to the best global level that
[00:13:10] is currently offered. It allows us to fully
[00:13:14] benefit from all those advantages in the most complete way. The
[00:13:17] Moorgate branch may seem a small part of the UK railway,
[00:13:20] but it is paving the way for one of the biggest
[00:13:24] signaling upgrades this country has ever undertaken. The colored
[00:13:28] trackside lights that have guided trains for over a century
[00:13:31] may soon become a rare sight.
[00:13:35] The hope is that this new digital system
[00:13:39] will make rail journeys smoother and more punctual, ready
[00:13:43] for the needs of future
[00:13:44] generations.
[00:13:53] This is Bryan Johnson, the American entrepreneur who has so far spent billions of dollars
[00:13:57] to stay alive. He said, "I have cloned
[00:14:00] myself."
[00:14:06] Scientists came and said, "No, there's no such news."
[00:14:09] The story is that this 48-year-old man said that this simulated
[00:14:13] version of him currently lives in a laboratory dish, and although
[00:14:16] it might be terrifying for some, for others, it's the future
[00:14:20] that awaits us all. As he describes it, this simulation started
[00:14:24] with a blood sample. Its cells were isolated from the blood,
[00:14:27] then, using a special scientific method, they were returned
[00:14:31] to a state similar to the initial cells of an
[00:14:34] embryo. But scientists say that no such thing as
[00:14:38] actual human cloning has occurred.
[00:14:42] So what's the story? What Johnson did is an old, well-known
[00:14:45] technique called induced pluripotent stem cells,
[00:14:49] or iPSCs for short. What's the benefit?
[00:14:53] Because these cells are taken from the patient's own body,
[00:14:56] the immune system doesn't reject them, which makes them useful for
[00:15:00] both safe testing of new drugs and personalized treatments
[00:15:04] for diseases like Parkinson's, diabetes, and heart diseases.
[00:15:07] But it's impossible to create a complete human or even
[00:15:11] an embryo from them. Of course, in the past two decades, several tech
[00:15:15] companies have claimed to have been able to create cloned human embryos
[00:15:18] in the lab, but they have never allowed these embryos to grow
[00:15:22] and be born, both because of serious health risks
[00:15:25] and because of strict laws that prohibit this practice
[00:15:28] in almost all countries. If you are active in the field of AI and technology
[00:15:32] or would like to know more about it, message me on Instagram.
[00:15:36] Write your comments
[00:15:37] for me.
[00:15:45] In this Click program, we talked about taxis and trains. It would be a shame
[00:15:49] if we didn't visit maritime transport and ships. However, this ship
[00:15:52] we're going to talk about is now an antique, and technology is
[00:15:56] helping to preserve it better and create a digital
[00:16:00] version of it for future generations and even for today.
[00:16:03] Adrian Murray went to see it.
[00:16:31] was decorated by the most skilled craftsmen. But what attracted more
[00:16:34] attention was that there were two artillery decks.
[00:16:44] Doubling the number of artillery decks means doubling the firepower. The Vasa was supposed to
[00:16:47] be the most powerful warship in the entire Baltic Sea.
[00:16:50] In 1628,
[00:16:54] the Vasa was launched for the first time, a voyage that was soon
[00:16:58] to turn into a disaster. It hadn't even left the harbor
[00:17:01] when the accident occurred. A strong gust of wind hit
[00:17:05] the ship and capsized it. Water
[00:17:26] was pulled out from the seabed and reassembled one of the world's largest puzzles.
[00:17:30] 98% of what you see is original; only a very small number of
[00:17:34] its original pieces are missing. Preserving a historical artifact that
[00:18:07] has faced new challenges. The Vasa is truly impressive
[00:18:11] in terms of size, but at the same time, it is also very vulnerable. For
[00:18:14] this reason, a major conservation and restoration project has been launched
[00:18:18] to preserve this ship for future generations. One of
[00:18:22] the problems is the deterioration of the wood. But the second major problem is
[00:18:25] gravity. The ship is slowly sinking onto the steel structure
[00:18:29] we are currently standing on.
[00:18:33] What is the risk if you don't restore it now? The ship is going to capsize
[00:18:37] again. In the long term, its shape will be completely different from what it was initially,
[00:18:41] and eventually, parts of it will crumble.
[00:18:42] میشن.
[00:18:48] To save the Vasa, a multi-year project has begun, in which technology
[00:18:52] plays an important role. The first step
[00:18:54] was to build a 3D model of the ship. We scanned the entire ship.
[00:18:58] Then we had to carefully examine the quality and strength of the structure.
[00:19:02] Using the latest technologies,
[00:19:06] a new support structure and a steel
[00:19:09] framework are being built inside the ship to then fully straighten
[00:19:13] the ship again and place it in the correct
[00:19:16] position. You can see that this structure is not completely symmetrical
[00:19:19] because it exactly follows the shape of the ship itself. In fact,
[00:19:23] this entire external structure is designed like a machine with many
[00:19:27] moving parts. In addition, sensors installed
[00:19:30] in various parts of the ship and an observation station on the museum's roof
[00:19:34] monitor even the smallest displacements. They take about 100 measurements
[00:19:37] per day.
[00:19:40] At the same time, a project for a digital version of the Vasa
[00:19:43] is underway, documenting all the details of the ship,
[00:19:47] layer by layer.
[00:19:49] A very time-consuming and precise
[00:19:52] task. We are now at the lowest part of the ship, where much of Hakan's
[00:19:55] work has been done to create an accurate 3D model of
[00:19:59] the final parts of the Vasa.
[00:20:02] To date, nearly 250,000 photos of the ship have been taken, and with
[00:20:06] the use of software...
[00:20:40] This way, a very accurate digital version of all the
[00:20:43] details of the ship is recorded, both for researchers
[00:20:46] and historians, and for the one and a half million people who
[00:21:00] nobody knows what will happen to this ship in the future, but now at least we have a complete digital version of it, and of course, now that the steel frame is to be installed inside
[00:21:04] the ship, this is our last chance to see the inside of the ship
[00:21:07] in its current
[00:21:10] state. The plan is for the Vasa to be returned to its ideal state
[00:21:13] before its 400th anniversary, which is two years from now,
[00:21:17] and to be preserved for years.
[00:21:20] This is how technology helps preserve the memory of a historical ship
[00:21:23] that existed. But technology is also making it easier and better
[00:21:27] for filmmakers to bring legends to life,
[00:21:31] including one of the latest, the movie "Wicked," which is a
[00:21:34] retelling of the story of the Wizard of Oz.
[00:21:38] The visual effects supervisor of this film told us how they achieved
[00:21:41] this.
[00:21:55] My name is Jonathan, and I was the visual effects supervisor
[00:21:58] at Framestore studio for the film "Wicked."
[00:22:02] In this film, we focused on the animals we introduced
[00:22:05] in the first part. We increased the number of species
[00:22:09] we had available. We designed new species. We created
[00:22:13] more diverse models. Then we had the prison scene, which had about
[00:22:16] 600 creatures. We had to redesign the prison
[00:22:20] from scratch to accommodate this number of creatures. This gave us
[00:22:23] more space compared to the location where the filming took
[00:22:27] place. We opened up the space. This way, all the cages could be seen.
[00:22:30] The cages are transparent so that you can see the animals behind the front cages.
[00:22:44] when we were shooting the yellow brick road we did have real actors on set for the yellow brick road sequence instead of animals.
[00:22:48] With them, Cynthia could
[00:22:50] know where to keep her gaze during the performance. But in the end,
[00:22:54] we added many more creatures to the scene and adhered to a specific
[00:22:58] continuity in their placement. Those actors were no longer
[00:23:01] our main guide for this particular scene.
[00:23:05] The more important aspect of the Yellow Brick Road sequence was to create a general sense
[00:23:09] of family and refugees traveling together. That is, a kind
[00:23:12] of continuity in their change
[00:23:16] when Cynthia is singing to them. The animals were
[00:23:20] placed in parts of the frame that perhaps weren't as well lit as Cynthia.
[00:23:23] So we added elaborate lighting to the scene. But when you're going to give
[00:23:27] light to a creature, you also have to light
[00:23:31] the ground it's standing on, and the ground they were on
[00:23:35] was full of branches and leaves. It was very difficult to blend
[00:23:39] the creatures with the scene environment. Ultimately, we had to replace
[00:23:42] a large part of the Yellow Brick Road sequence and only
[00:23:45] keep Cynthia herself separate from the elements
[00:23:49] we added to the scene. To make this even more complicated, Jon Chu,
[00:23:52] the director, decided that these added animals in the scene
[00:23:56] wouldn't wear clothes, but they would have backpacks and bundles with them that they would
[00:24:00] put down and pick up again at different intervals, which meant we had
[00:24:03] to design them, create digital skeletons for them,
[00:24:07] so they would be ready for those one or two places
[00:24:11] where they were supposed to be seen. Every time we change a costume or item on
[00:24:15] a character, the hair and fur of that creature must also be designed
[00:24:18] so that it doesn't interfere
[00:24:46] with that item. The priority is not the creatures, because we had Cynthia
[00:24:50] never takes away from those central performances. and Ariana, and both had to perform the song live on set.
[00:24:54] The whole film depended on their performance. The key to the success of these two films
[00:24:57] is this: the name of the film is not "The Wonderful Animals of Oz."
[00:25:01] The story is about these two girls. That's why
[00:25:04] I hope our work has enhanced the dramatic weight of the film
[00:25:08] and certainly hasn't caused the focus to be diverted
[00:25:12] from their central
[00:25:13] performances.
[00:25:27] We come to the end of this episode of Click. You can watch this program and our previous programs
[00:25:31] on YouTube. Just point your phone camera at this QR
[00:25:34] code, or wherever you are, search for "Click Farsi"
[00:25:37] to reach our playlist on YouTube. I'm also on Instagram,
[00:25:41] where I post and repost options for the Click program and
[00:25:45] the latest technology news. Tell me what you
[00:25:48] think about the uses you saw
[00:25:51] in this Click program. Are you willing to ride in a driverless taxi?
[00:25:55] Or which antique objects you saw in museums would you like
[00:25:58] to have a digital version created with technology? Goodbye
[00:26:02] until next time. Next program and new stories from technology.
[00:28:36] One way is to receive information from satellite television receivers. Another way is to share
[00:28:40] information among mobile phone users without everyone having access to free internet.
[00:28:44] Sono is a good example. Sono is actually an internet browser
[00:28:48] that is very useful for reading news, especially during
[00:28:52] internet outages or disruptions. The logic is that users don't just read content for themselves,
[00:28:55] but when they open that content, it remains available to others.
[00:28:59] If someone can connect to the internet, they can
[00:29:06] That content enters the Sono network. Then other users who have Sono,
[00:29:09] even with limited or unstable connections, can receive
[00:29:13] the same content through this network. Now that with these internet outages, we have practically
[00:29:17] gone back many years. Bluetooth is a communication method that still
[00:29:20] works. Now, with this same method of using the Bluetooth network, there are messaging
[00:29:24] apps. One of them, which has become very popular, is the Bipchat
[00:29:28] app. This was created by Jack Dorsey, the person who previously launched Twitter. It's for both devices.
[00:29:32] It's available for Apple and Android. It's built on blockchain and has
[00:29:36] high security. Its code is also available as open source to technical people, which makes it more secure.
[00:30:25] hard news. We keep wanting to say, "Let's fight,"
[00:30:29] which is what Israel wants. But when it wants us to go...
[00:30:38] Pezeshkian's defense of negotiations to achieve a desired
[00:30:42] agreement for Iran states that reopening the Strait
[00:30:45] of Hormuz requires America to accept
[00:30:48] its conditions.
[00:30:51] Reports of the US Joint Chiefs of Staff Chairman's warning
[00:30:55] to Trump's advisors. Dunford said that a way must be
[00:30:58] found to exit the war with Iran.