Wednesday, May 22, 2019

Novelist Herman Wouk Dies

Herman Wouk (May 27, 1915 – May 17, 2019) was an American author best known for historical fiction such as The Caine Mutiny (1951) which won the Pulitzer Prize.

Other major works include The Winds of War and War and Remembrance, historical novels about World War II, and non-fiction such as This Is My God, an explanation of Judaism from a Modern Orthodox perspective, written for Jewish and non-Jewish audiences. His books have been translated into 27 languages.

The Washington Post called Wouk, who cherished his privacy, "the reclusive dean of American historical novelists". Historians, novelists, publishers, and critics who gathered at the Library of Congress in 1995 to mark Wouk's 80th birthday described him as an American Tolstoy.

Military Career

Following the attack on Pearl Harbor, Wouk joined the U.S Navy Reserves in 1942 and served in the Pacific Theater during World War II, an experience he later characterized as educational: "I learned about machinery, I learned how men behaved under pressure, and I learned about Americans." Wouk served as an officer aboard two destroyer minesweepers (DMS), the USS Zane and USS Southard, becoming executive officer (Lieutenant) of the latter. He participated in eight invasions and won a number of battle stars. Wouk was in the New Georgia Campaign, the Gilbert and Marshall Islands campaign, the Mariana and Palau Islands campaign, the Battle of Luzon, the Invasion of Lingayen Gulf and the Battle of Okinawa. During off-duty hours aboard ship he started writing a novel, Aurora Dawn, which he originally titled Aurora Dawn; or, The True history of Andrew Reale, containing a faithful account of the Great Riot, together with the complete texts of Michael Wilde's oration and Father Stanfield's sermon. Wouk sent a copy of the opening chapters to philosophy professor Irwin Edman, under whom he studied at Columbia, who quoted a few pages verbatim to a New York editor. The result was a publisher's contract sent to Wouk's ship, then off the coast of Okinawa. The novel was published in 1947 and became a Book of the Month Club main selection. Wouk finished his tour of duty in 1946.

Writing Career

His second novel, City Boy, proved to be a commercial disappointment at the time of its initial publication in 1948; Wouk once claimed it was largely ignored amid the excitement over Norman Mailer's bestselling World War II novel The Naked and the Dead.

While writing his next novel, Wouk read each chapter to his wife as it was completed. At one point she remarked that if they did not like this one, he had better take up another line of work (a line he would give to the character of the editor Jeannie Fry in his novel Youngblood Hawke, 1962). The novel, The Caine Mutiny (1951), went on to win the Pulitzer Prize for Fiction. A best-seller, drawing from his wartime experiences aboard minesweepers during World War II, The Caine Mutiny was adapted by the author into a Broadway play called The Caine Mutiny Court-Martial and, in 1954, Columbia Pictures released a film version with Humphrey Bogart portraying Lt. Commander Philip Francis Queeg, captain of the fictional USS Caine.

His first novel after The Caine Mutiny was Marjorie Morningstar (1955), which earned him a Time magazine cover story. Three years later Warner Bros. made it into a movie starring Natalie Wood, Gene Kelly and Claire Trevor. His next novel, a paperback, was Slattery's Hurricane (1956), which he had written in 1948 as the basis for the screenplay for the film of the same name. Wouk's first work of non-fiction was 1959's This is My God: The Jewish Way of Life.

In the 1960s, he authored Youngblood Hawke (1962), a drama about the rise and fall of a young writer modeled on the life of Thomas Wolfe, and Don't Stop the Carnival (1965), a comedy about escaping mid-life crisis by moving to the Caribbean (loosely based on Wouk's own experience). Youngblood Hawke was serialized in McCall's magazine from March to July 1962. A movie version starred James Franciscus and Suzanne Pleshette, and was released by Warner Brothers in 1964. Don't Stop the Carnival was turned into a short-lived musical by Jimmy Buffett in 1997.

In the 1970s, Wouk published two monumental novels, The Winds of War (1971) and its sequel, War and Remembrance (1978). He described the latter, which included a devastating depiction of the Holocaust, as "the main tale I have to tell." Both were made into successful television miniseries, the first in 1983 and the second in 1988. Although they were made several years apart, both were directed by Dan Curtis and both starred Robert Mitchum as Captain Victor "Pug" Henry, the main character. The novels are historical fiction. Each has three layers — the story told from the viewpoints of Captain Henry and his circle of family and friends; a more or less straightforward historical account of the events of the war; and an analysis by a member of Adolf Hitler's military staff, the insightful fictional General Armin von Roon. Wouk devoted "thirteen years of extraordinary research and long, arduous composition" to these two novels, noted Arnold Beichman. "The seriousness with which Wouk has dealt with the war can be seen in the prodigious amount of research, reading, travel and conferring with experts, the evidence of which may be found in the uncatalogued boxes at Columbia University" that contain the author's papers. Inside, Outside (1985) is the story of four generations of a Russian Jewish family and its travails in Russia, the U.S. and Israel. The Hope (1993) and its sequel, The Glory (1994), are historical novels about the first 33 years of Israel's history. They were followed by The Will to Live On: This is Our Heritage (2000), a whirlwind tour of Jewish history and sacred texts and companion volume to This is My God.

In 1995, Wouk was honored on his 80th birthday by the Library of Congress with a symposium on his career. In attendance were David McCullough, Robert Caro, and Daniel Boorstin, among others.

A Hole in Texas (2004) is a novel about the discovery of the Higgs boson, whose existence was proven nine years later, while The Language God Talks: On Science and Religion (2010) is an exploration into the tension between religion and science that originated in a discussion Wouk had with the theoretical physicist Richard Feynman.

The Lawgiver (2012) is an epistolary novel about a contemporary Hollywood writer of a movie script about Moses, with the consulting help of a nonfictional character, Herman Wouk, a "mulish ancient" who gets involved despite the strong misgivings of his wife.

Wouk's memoir entitled Sailor and Fiddler: Reflections of a 100-Year-Old Author was published in January 2016 to mark his 100th birthday. NPR called it "a lovely coda to the career of a man who made American literature a kinder, smarter, better place." Wouk intended it to be his last book.[

Personal Life and Death

In late 1944 Wouk met Betty Sarah Brown, a Phi Beta Kappa graduate of the University of Southern California, who was working as a personnel specialist in the navy while the Zane was undergoing repairs in San Pedro, California. The two quickly fell in love and after his ship went back to sea, Betty, who was born a Protestant and was raised in Grangeville, Idaho, began her study of Judaism and converted on her twenty-fifth birthday. They were married on December 10, 1945.

With the birth of the first of their three children the next year, Wouk became a full-time writer to support his growing family. His first-born son, Abraham Isaac Wouk (1946–1951), was named after Wouk's late father. He drowned in a swimming pool accident in Mexico shortly before his fifth birthday. Wouk later dedicated War and Remembrance to him with the Biblical words "בלע המות לנצח – He will destroy death forever" (Isaiah 25:8). Their second and third children were Iolanthe Woulff (born 1950 as Nathaniel Wouk, a Princeton University graduate and an author) and Joseph (born 1954, a Columbia graduate, an attorney, a film producer, and a writer who served in the Israeli Navy). He had three grandchildren.

The Wouks lived in New York, Saint Thomas, U.S. Virgin Islands (where he wrote Don't Stop the Carnival) and at 3255 N Street N.W. in the Georgetown section of Washington, D.C. (where he researched and wrote The Winds of War and War and Remembrance) before settling in Palm Springs, California. His wife, who served for decades as his literary agent, died in that city on March 17, 2011.

"I wrote nothing that was of the slightest consequence before I met Sarah," Wouk recalled after her death. "I was a gag man for Fred Allen for five years. In his time, he was the greatest of the radio comedians. And jokes work for what they are but they're ephemeral. They just disappear. And that was the kind of thing I did up until the time that I met Sarah and we married. And I would say my literary career and my mature life both began with her."

His brother Victor died in 2005.

Wouk died in his sleep at the age of 103 in his home in Palm Springs, California on May 17, 2019, 10 days shy of his 104th birthday.

                                    https://en.wikipedia.org/wiki/Herman_Wouk

Tuesday, May 21, 2019

Experts Often Completely Wrong

“The experts were, by and large, horrific forecasters. Their areas of specialty, years of experience, and (for some) access to classified information made no difference. They were bad at short-term forecasting and bad at long-term forecasting. They were bad at forecasting in every domain.”  – David Epstein in the article “The Peculiar Blindness of Experts” in the June, 2019 Atlantic.

https://www.theatlantic.com/magazine/archive/2019/06/how-to-predict-the-future/588040/

Monday, May 20, 2019

Ship-based Nuclear Power

Powering Up Our World
With cheap, reliable, co2-free electric power, now
From Thorcon website

ThorCon? ThorCon is a molten salt fission reactor. Unlike all current nuclear reactors, the fuel is in liquid form. It can be moved around with a pump and passively drained. This 500 MW fission power plant is encapsulated in a hull, built in a shipyard, towed to a shallow water site, ballasted to the seabed.

Ready to Go. ThorCon requires no new technology. ThorCon is a straightforward scale-up of the successful United States Oak Ridge National Laboratory Molten Salt Reactor Experiment (MSRE). A full-scale 500 MW ThorCon prototype can be operating under test within four years. After proving the plant safely handles multiple potential failures and problems, commercial power plant production can begin.

commercial power plant production can begin.

Cheaper than Coal. A ThorCon plant requires less of the planet’s resources than a coal plant. Assuming efficient, evidence based regulation, ThorCon can produce clean, reliable, CO2-free electricity at 3 cents per kilowatt-hour — cheaper than coal.

Rapidly Deployable. The complete ThorCon is manufactured in 150 to 500 ton blocks in a shipyard, assembled, then towed to the site. This produces order of magnitude improvements in productivity, quality control, and build time. A single large reactor yard can turn out twenty gigawatts of ThorCon power plants per year. ThorCon is a system for building power plants.

Fixable. Everything in the fission island except the structure itself is replaceable with little interruption in power output. Every four years the entire primary loop is changed out, returned to a centralized recycling facility, decontaminated, disassembled, inspected, and refurbished. Incipient problems are caught before they can turn into casualties. Upgrades can be introduced without significantly disrupting power generation.

Walkaway Safe. ThorCon fuel is in liquid form. If the reactor overheats for whatever reason, ThorCon will shut itself down, and passively handle the decay heat. No power, no machinery, no operator action is required. This is built into the reactor physics. The operators can do nothing to prevent safe shutdown and cooling. ThorCon has at least three gas tight barriers between the fuelsalt and the atmosphere. The reactor operates at garden hose pressure. In the event of a primary loop rupture, there is no dispersal energy and no phase change. The spilled fuel merely flows to a drain tank where it is passively cooled. The most troublesome fission products, including Sr-90 and Cs-137, are chemically bound to the salt. They will end up in the drain tank as well.

Indonesia project. ThorCon has been working with the Indonesian government to add reliable electric power to the grid. In 2019 the Ministry of Energy began a study of the safety, economics, and grid impact of the 500 MW prototype ThorConIsle. Phase 1 is to build and test it with step by step commissioning, ending in a type license for future power plants. Phase 2 is shipyard production of ThorCon plants to provide an additional 3 GW of cheap, reliable electric power.

Global impact. Powering up our world with ThorCon can impact developing nations’ prosperity while rescuing our environment.

                                       http://thorconpower.com/

 See also this site:

Sunday, May 19, 2019

Filmed Musicals


Musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing.

The songs usually advance the plot or develop the film's characters, but in some cases, they serve merely as breaks in the storyline, often as elaborate "production numbers."

The musical film was a natural development of the stage musical after the emergence of sound film technology. Typically, the biggest difference between film and stage musicals is the use of lavish background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater; performers often treat their song and dance numbers as if a live audience were watching. In a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it.

Hollywood Musical Films

The 1930's through the early 1950's are considered to be the golden age of the musical film, when the genre's popularity was at its highest in the Western world. Disney's Snow White and the Seven Dwarfs, the earliest Disney animated feature film, was a musical which won an honorary Oscar for Walt Disney at the 11th Academy Awards.

Musical short films were made by Lee de Forest in 1923–24. Beginning in 1926, thousands of Vitaphone shorts were made, many featuring bands, vocalists, and dancers. The earliest feature-length films with synchronized sound had only a soundtrack of music and occasional sound effects that played while the actors portrayed their characters just as they did in silent films: without audible dialogue. The Jazz Singer, released in 1927 by Warner Brothers, was the first to include an audio track including non-dietetic music and diegetic music, but it had only a short sequence of spoken dialogue. This feature-length film was also a musical, featuring Al Jolson singing "Dirty Hands, Dirty Face", "Toot, Toot, Tootsie", "Blue Skies", and "My Mammy". Historian Scott Eyman wrote, "As the film ended and applause grew with the houselights, Sam Goldwyn's wife Frances looked around at the celebrities in the crowd. She saw 'terror in all their faces', she said, as if they knew that 'the game they had been playing for years was finally over'." Still, only isolated sequences featured "live" sound; most of the film had only a synchronous musical score. In 1928, Warner Brothers followed this up with another Jolson part-talkie, The Singing Fool, which was a blockbuster hit. Theaters scrambled to install the new sound equipment and to hire Broadway composers to write musicals for the screen. The first all-talking feature, Lights of New York, included a musical sequence in a night club. The enthusiasm of audiences was so great that in less than a year all the major studios were making sound pictures exclusively. The Broadway Melody (1929) had a show-biz plot about two sisters competing for a charming song-and-dance man. Advertised by MGM as the first "All-Talking, All-Singing, All-Dancing" feature film, it was a hit and won the Academy Award for Best Picture for 1929. There was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits. The Love Parade (Paramount 1929) starred Maurice Chevalier and newcomer Jeanette MacDonald, written by Broadway veteran Guy Bolton.

Warner Brothers produced the first screen operetta, The Desert Song in 1929. They spared no expense and photographed a large percentage of the film in Technicolor. This was followed by the first all-color, all-talking musical feature which was entitled On with the Show (1929). The most popular film of 1929 was the second all-color, all-talking feature which was entitled Gold Diggers of Broadway (1929). This film broke all box office records and remained the highest-grossing film ever produced until 1939. Suddenly, the market became flooded with musicals, revues, and operettas. The following all-color musicals were produced in 1929 and 1930 alone: The Show of Shows (1929), Sally (1929), The Vagabond King (1930), Follow Thru (1930), Bright Lights (1930), Golden Dawn (1930), Hold Everything (1930), The Rogue Song (1930), Song of the Flame (1930), Song of the West (1930), Sweet Kitty Bellairs (1930), Under a Texas Moon (1930), Bride of the Regiment (1930), Whoopee! (1930), King of Jazz (1930), Viennese Nights (1930), and Kiss Me Again (1930). In addition, there were scores of musical features released with color sequences.

Hollywood released more than 100 musical films in 1930, but only 14 in 1931. By late 1930, audiences had been oversaturated with musicals and studios were forced to cut the music from films that were then being released. For example, Life of the Party (1930) was originally produced as an all-color, all-talking musical comedy. Before it was released, however, the songs were cut out. The same thing happened to Fifty Million Frenchmen (1931) and Manhattan Parade (1932) both of which had been filmed entirely in Technicolor. Marlene Dietrich sang songs successfully in her films, and Rodgers and Hart wrote a few well-received films, but even their popularity waned by 1932. The public had quickly come to associate color with musicals and thus the decline in their popularity also resulted in a decline in color productions.

Busby Berkeley

The taste in musicals revived again in 1933 when director Busby Berkeley began to enhance the traditional dance number with ideas drawn from the drill precision he had experienced as a soldier during World War I. In films such as 42nd Street and Gold Diggers of 1933 (1933), Berkeley choreographed a number of films in his unique style. Berkeley's numbers typically begin on a stage but gradually transcend the limitations of theatrical space: his ingenious routines, involving human bodies forming patterns like a kaleidoscope, could never fit onto a real stage and the intended perspective is viewing from straight above.

Musical Stars

Musical stars such as Fred Astaire and Ginger Rogers were among the most popular and highly respected personalities in Hollywood during the classical era; the Fred and Ginger pairing was particularly successful, resulting in a number of classic films, such as Top Hat (1935), Swing Time (1936), and Shall We Dance (1937). Many dramatic actors gladly participated in musicals as a way to break away from their typecasting. For instance, the multi-talented James Cagney had originally risen to fame as a stage singer and dancer, but his repeated casting in "tough guy" roles and mob films gave him few chances to display these talents. Cagney's Oscar-winning role in Yankee Doodle Dandy (1942) allowed him to sing and dance, and he considered it to be one of his finest moments.

Many comedies (and a few dramas) included their own musical numbers. The Marx Brothers' films included a musical number in nearly every film, allowing the Brothers to highlight their musical talents. Their final film, entitled Love Happy (1949), featured Vera-Ellen, considered to be the best dancer among her colleagues and professionals in the half century.

Similarly, The vaudevillian comedian W. C. Fields joined forces with the comic actress Martha Raye and the young comedian Bob Hope in Paramount Pictures musical anthology The Big Broadcast of 1938. The film also showcased the talents of several internationally recognized musical artists including: Kirsten Flagstad (Norwegian operatic soprano), Wilfred Pelletier (Canadian conductor of the Metropolitan Opera Orchestra, Tito Guizar (Mexican tenor), Shep Fields conducting his Rippling Rhythm Jazz Orchestra and John Serry Sr. (Italian-American concert accordionist). In addition to the Academy Award for Best Original Song (1938), the film earned an ASCAP Film and Television Award (1989) for Bob Hope's signature song Thanks for the Memory.

The Freed Unit

During the late 1940s and into the early 1950s, a production unit at Metro-Goldwyn-Mayer headed by Arthur Freed made the transition from old-fashioned musical films, whose formula had become repetitive, to something new. (However, they also produced Technicolor remakes of such musicals as Show Boat, which had previously been filmed in the 1930s.) In 1939, Freed was hired as associate producer for the film Babes in Arms. Starting in 1944 with Meet Me in St. Louis, the Freed Unit worked somewhat independently of its own studio to produce some of the most popular and well-known examples of the genre. The products of this unit include Easter Parade (1948), On the Town (1949), An American in Paris (1951), Singin' in the Rain (1952), The Band Wagon (1953) and Gigi (1958). Non-Freed musicals from the studio included Seven Brides for Seven Brothers in 1954 and High Society in 1956, and the studio distributed Samuel Goldwyn's Guys and Dolls in 1955.

This era saw musical stars become household names, including Judy Garland, Gene Kelly, Ann Miller, Donald O'Connor, Cyd Charisse, Mickey Rooney, Vera-Ellen, Jane Powell, Howard Keel, and Kathryn Grayson. Fred Astaire was also coaxed out of retirement for Easter Parade and made a permanent comeback.

Outside MGM

The other Hollywood studios proved themselves equally adept at tackling the genre at this time, particularly in the 1950s. Four adaptations of Rodgers and Hammerstein shows - Oklahoma!, The King and I, Carousel, and South Pacific - were all successes, while Paramount Pictures released White Christmas and Funny Face, two films which used previously written music by Irving Berlin and the Gershwins, respectively. Warner Bros. produced Calamity Jane and A Star Is Born; the former film was a vehicle for Doris Day, while the latter provided a big-screen comeback for Judy Garland, who had been out of the spotlight since 1950. Meanwhile, director Otto Preminger, better known for controversial "message pictures", made Carmen Jones and Porgy and Bess, both starring Dorothy Dandridge, who is considered the first African American A-list film star. Celebrated director Howard Hawks also ventured into the genre with Gentlemen Prefer Blondes.

The Post-Classical Era

In the 1960's, 1970's, and continuing up to today, the musical film became less of a bankable genre that could be relied upon for sure-fire hits. Audiences for them lessened and fewer musical films were produced as the genre became less mainstream and more specialized.

Indian Musical Films

An exception to the decline of the musical film is Indian cinema, especially the Bollywood film industry based in Mumbai (formerly Bombay), where the majority of films have been and still are musicals. The majority of films produced in the Tamil industry based in Chennai (formerly Madras), Sandalwood based in Bangalore, Telugu industry based in Hyderabad, and Malayalam industry are also musicals.

                             https://en.wikipedia.org/wiki/Musical_film

Trump and Impeachment

Republican Congressman Justin Amash of Michigan has exhaustively studied the redacted Mueller Report and offered his conclusions in a series of tweets on May 18th.  Here are those tweets, separated from each other by plus signs (+ + + + +):

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Here are my principal conclusions:

1. Attorney General Barr has deliberately misrepresented Mueller’s report.
2. President Trump has engaged in impeachable conduct.
3. Partisanship has eroded our system of checks and balances.
4. Few members of Congress have read the report.
               -- 18 May 2019

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I offer these conclusions only after having read Mueller’s redacted report carefully and completely, having read or watched pertinent statements and testimony, and having discussed this matter with my staff, who thoroughly reviewed materials and provided me with further analysis.

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In comparing Barr’s principal conclusions, congressional testimony, and other statements to Mueller’s report, it is clear that Barr intended to mislead the public about Special Counsel Robert Mueller’s analysis and findings.

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Barr’s misrepresentations are significant but often subtle, frequently taking the form of sleight-of-hand qualifications or logical fallacies, which he hopes people will not notice.

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Under our Constitution, the president “shall be removed from Office on Impeachment for, and Conviction of, Treason, Bribery, or other high Crimes and Misdemeanors.” While “high Crimes and Misdemeanors” is not defined, the context implies conduct that violates the public trust.

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Contrary to Barr’s portrayal, Mueller’s report reveals that President Trump engaged in specific actions and a pattern of behavior that meet the threshold for impeachment.

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In fact, Mueller’s report identifies multiple examples of conduct satisfying all the elements of obstruction of justice, and undoubtedly any person who is not the president of the United States would be indicted based on such evidence.

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Impeachment, which is a special form of indictment, does not even require probable cause that a crime (e.g., obstruction of justice) has been committed; it simply requires a finding that an official has engaged in careless, abusive, corrupt, or otherwise dishonorable conduct.

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While impeachment should be undertaken only in extraordinary circumstances, the risk we face in an environment of extreme partisanship is not that Congress will employ it as a remedy too often but rather that Congress will employ it so rarely that it cannot deter misconduct.

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Our system of checks and balances relies on each branch’s jealously guarding its powers and upholding its duties under our Constitution. When loyalty to a political party or to an individual trumps loyalty to the Constitution, the Rule of Law—the foundation of liberty—crumbles.

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We’ve witnessed members of Congress from both parties shift their views 180 degrees—on the importance of character, on the principles of obstruction of justice—depending on whether they’re discussing Bill Clinton or Donald Trump.

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Few members of Congress even read Mueller’s report; their minds were made up based on partisan affiliation—and it showed, with representatives and senators from both parties issuing definitive statements on the 448-page report’s conclusions within just hours of its release.

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America’s institutions depend on officials to uphold both the rules and spirit of our constitutional system even when to do so is personally inconvenient or yields a politically unfavorable outcome. Our Constitution is brilliant and awesome; it deserves a government to match it.

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Donald Trump, himself, if furious about Amash's tweets.
https://twitter.com/realDonaldTrump/status/1130109632645652480

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Background on Justin Amash

Justin A. Amash (born April 18, 1980) is an American attorney and Republican member of Congress. In January 2011 Amash began serving as the U.S. Representative for Michigan's 3rd congressional district. The district includes Grand Rapids.

First elected to Congress in 2010, Amash previously served in the Michigan House of Representatives representing the 72nd District, which is centered on the city of Kentwood and includes his home in Cascade Township as well as the townships of Caledonia, and Gaines. As of January 2016 Amash is the seventh youngest U.S. Representative.

He is chair of the House Liberty Caucus. Amash is a libertarian Republican.

Amash and his brothers are co-owners of Dynamic Source International, a Chinese company

                         https://en.wikipedia.org/wiki/Justin_Amash

Saturday, May 18, 2019

Architect I. M. Pei Dies

Ieoh Ming Pei, FAIA, RIBA (26 April 1917 – 16 May 2019) was a Chinese-American architect. Born in Guangzhou and raised in Hong Kong and Shanghai, Pei drew inspiration at an early age from the garden villas at Suzhou, the traditional retreat of the scholar-gentry to which his family belonged. In 1935, he moved to the United States and enrolled in the University of Pennsylvania's architecture school, but quickly transferred to the Massachusetts Institute of Technology. He was unhappy with the focus at both schools on Beaux-Arts architecture, and spent his free time researching emerging architects, especially Le Corbusier. After graduating, he joined the Harvard Graduate School of Design (GSD) and became a friend of the Bauhaus architects Walter Gropius and Marcel Breuer. In 1948, Pei was recruited by New York City real estate magnate William Zeckendorf, for whom he worked for seven years before establishing his own independent design firm, I. M. Pei & Associates, in 1955, which became I. M. Pei & Partners in 1966 and later in 1989 became Pei Cobb Freed & Partners. Pei retired from full-time practice in 1990. In his retirement, he worked as an architectural consultant primarily from his sons' architectural firm Pei Partnership Architects.

Pei's first major recognition came with the Mesa Laboratory at the National Center for Atmospheric Research in Colorado (designed in 1961, and completed in 1967). His new stature led to his selection as chief architect for the John F. Kennedy Library in Massachusetts. He went on to design Dallas City Hall and the East Building of the National Gallery of Art. He returned to China for the first time in 1975 to design a hotel at Fragrant Hills, and designed Bank of China Tower, Hong Kong, a skyscraper in Hong Kong for the Bank of China fifteen years later. In the early 1980s, Pei was the focus of controversy when he designed a glass-and-steel pyramid for the Musée du Louvre in Paris. He later returned to the world of the arts by designing the Morton H. Meyerson Symphony Center in Dallas, the Miho Museum in Japan, Shigaraki, near Kyoto, and the chapel of the junior and high school: MIHO Institute of Aesthetics, the Suzhou Museum in Suzhou, Museum of Islamic Art in Qatar, and the Grand Duke Jean Museum of Modern Art, abbreviated to Mudam, in Luxembourg.

Awards and Honors

In the words of his biographer, Pei won "every award of any consequence in his art," including the Arnold Brunner Award from the National Institute of Arts and Letters (1963), the Gold Medal for Architecture from the American Academy of Arts and Letters (1979), the AIA Gold Medal (1979), the first Praemium Imperiale for Architecture from the Japan Art Association (1989), the Lifetime Achievement Award from the Cooper-Hewitt, National Design Museum, the 1998 Edward MacDowell Medal in the Arts, and the 2010 Royal Gold Medal from the Royal Institute of British Architects. In 1983 he was awarded the Pritzker Prize, sometimes called the Nobel Prize of architecture. In its citation, the jury said: "Ieoh Ming Pei has given this century some of its most beautiful interior spaces and exterior forms ... His versatility and skill in the use of materials approach the level of poetry." The prize was accompanied by a US$100,000 award, which Pei used to create a scholarship for Chinese students to study architecture in the U.S., on the condition that they return to China to work. In 1986, he was one of twelve recipients of the Medal of Liberty. When he was awarded the 2003 Henry C. Turner Prize by the National Building Museum, museum board chair Carolyn Brody praised his impact on construction innovation: "His magnificent designs have challenged engineers to devise innovative structural solutions, and his exacting expectations for construction quality have encouraged contractors to achieve high standards." In December 1992, Pei was awarded the Presidential Medal of Freedom by President George H. W. Bush.

                                     https://en.wikipedia.org/wiki/I._M._Pei

Friday, May 17, 2019

How We Make Complex Decisions

Neuroscientists identify a brain circuit that helps break decisions down into smaller pieces.
By Anne Trafton, MIT News Office

May 16, 2019 -- When making a complex decision, we often break the problem down into a series of smaller decisions. For example, when deciding how to treat a patient, a doctor may go through a hierarchy of steps — choosing a diagnostic test, interpreting the results, and then prescribing a medication.

Making hierarchical decisions is straightforward when the sequence of choices leads to the desired outcome. But when the result is unfavorable, it can be tough to decipher what went wrong. For example, if a patient doesn’t improve after treatment, there are many possible reasons why: Maybe the diagnostic test is accurate only 75 percent of the time, or perhaps the medication only works for 50 percent of the patients. To decide what do to next, the doctor must take these probabilities into account.

In a new study, MIT neuroscientists explored how the brain reasons about probable causes of failure after a hierarchy of decisions. They discovered that the brain performs two computations using a distributed network of areas in the frontal cortex. First, the brain computes confidence over the outcome of each decision to figure out the most likely cause of a failure, and second, when it is not easy to discern the cause, the brain makes additional attempts to gain more confidence.

“Creating a hierarchy in one’s mind and navigating that hierarchy while reasoning about outcomes is one of the exciting frontiers of cognitive neuroscience,” says Mehrdad Jazayeri, the Robert A. Swanson Career Development Professor of Life Sciences, a member of MIT’s McGovern Institute for Brain Research, and the senior author of the study.

MIT graduate student Morteza Sarafyzad is the lead author of the paper, which appears in Science on May 16.

Hierarchical reasoning

Previous studies of decision-making in animal models have focused on relatively simple tasks. One line of research has focused on how the brain makes rapid decisions by evaluating momentary evidence. For example, a large body of work has characterized the neural substrates and mechanisms that allow animals to categorize unreliable stimuli on a trial-by-trial basis. Other research has focused on how the brain chooses among multiple options by relying on previous outcomes across multiple trials.

“These have been very fruitful lines of work,” Jazayeri says. “However, they really are the tip of the iceberg of what humans do when they make decisions. As soon as you put yourself in any real decision-making situation, be it choosing a partner, choosing a car, deciding whether to take this drug or not, these become really complicated decisions. Oftentimes there are many factors that influence the decision, and those factors can operate at different timescales.”

The MIT team devised a behavioral task that allowed them to study how the brain processes information at multiple timescales to make decisions. The basic design was that animals would make one of two eye movements depending on whether the time interval between two flashes of light was shorter or longer than 850 milliseconds.

A twist required the animals to solve the task through hierarchical reasoning: The rule that determined which of the two eye movements had to be made switched covertly after 10 to 28 trials. Therefore, to receive reward, the animals had to choose the correct rule, and then make the correct eye movement depending on the rule and interval. However, because the animals were not instructed about the rule switches, they could not straightforwardly determine whether an error was caused because they chose the wrong rule or because they misjudged the interval.

The researchers used this experimental design to probe the computational principles and neural mechanisms that support hierarchical reasoning. Theory and behavioral experiments in humans suggest that reasoning about the potential causes of errors depends in large part on the brain’s ability to measure the degree of confidence in each step of the process. “One of the things that is thought to be critical for hierarchical reasoning is to have some level of confidence about how likely it is that different nodes [of a hierarchy] could have led to the negative outcome,” Jazayeri says.

The researchers were able to study the effect of confidence by adjusting the difficulty of the task. In some trials, the interval between the two flashes was much shorter or longer than 850 milliseconds. These trials were relatively easy and afforded a high degree of confidence. In other trials, the animals were less confident in their judgments because the interval was closer to the boundary and difficult to discriminate.

As they had hypothesized, the researchers found that the animals’ behavior was influenced by their confidence in their performance. When the interval was easy to judge, the animals were much quicker to switch to the other rule when they found out they were wrong. When the interval was harder to judge, the animals were less confident in their performance and applied the same rule a few more times before switching.

“They know that they’re not confident, and they know that if they’re not confident, it’s not necessarily the case that the rule has changed. They know they might have made a mistake [in their interval judgment],” Jazayeri says.

Decision-making circuit

By recording neural activity in the frontal cortex just after each trial was finished, the researchers were able to identify two regions that are key to hierarchical decision-making. They found that both of these regions, known as the anterior cingulate cortex (ACC) and dorsomedial frontal cortex (DMFC), became active after the animals were informed about an incorrect response. When the researchers analyzed the neural activity in relation to the animals’ behavior, it became clear that neurons in both areas signaled the animals’ belief about a possible rule switch. Notably, the activity related to animals’ belief was “louder” when animals made a mistake after an easy trial, and after consecutive mistakes.

The researchers also found that while these areas showed similar patterns of activity, it was activity in the ACC in particular that predicted when the animal would switch rules, suggesting that ACC plays a central role in switching decision strategies. Indeed, the researchers found that direct manipulation of neural activity in ACC was sufficient to interfere with the animals’ rational behavior.

“There exists a distributed circuit in the frontal cortex involving these two areas, and they seem to be hierarchically organized, just like the task would demand,” Jazayeri says.

Daeyeol Lee, a professor of neuroscience, psychology, and psychiatry at Yale School of Medicine, says the study overcomes what has been a major obstacle in studying this kind of decision-making, namely, a lack of animal models to study the dynamics of brain activity at single-neuron resolution.

“Sarafyazd and Jazayeri have developed an elegant decision-making task that required animals to evaluate multiple types of evidence, and identified how the two separate regions in the medial frontal cortex are critically involved in handling different sources of errors in decision making,” says Lee, who was not involved in the research. “This study is a tour de force in both rigor and creativity, and peels off another layer of mystery about the prefrontal cortex.”

                       http://news.mit.edu/2019/how-brain-complex-decisions-0516