NEW YORK－Australian mining enterprise Clive Palmer on Tuesday unveiled(公布)blueprints for TitanicⅡ, a modern copy of the doomed ocean liner, although he didn't call the ship unsinkable any more.

    The ship will largely recreate the design and decoration of the fabled original, with some modifications to keep it in line with current safety rules and shipbuilding practices, and the addition of some modern comforts such as air conditioning, Palmer said at a press conference in New York.

    The three passenger classes, however, will be prevented from mingling(混杂), as in 1912, Palmer said. “I'm not too superstitious(迷信的).”Palmer said when asked whether recreating a ship best­known for sinking was tempting fate.

    White Star Line, the operator of the original ship, had said the Titanic was designed to be unsinkable. About 1, 500 people died on Titanic's maiden voyage in 1912 from Southampton to New York after the ship collided with an iceberg in the North Atlantic.

    Palmer, who created the company Blue Star Line last year, refused to make a similar boast.

    “Anything will sink if you put a hole in it, ” Palmer said. “I think it would be very cavalier to say it.”

    Unlike the original, TitanicⅡwill have more than enough space in its lifeboats for every person on board and will have additional escape staircases. Markku Kanerva, sales director at Deltamarin, the Finnish company designing the ship, said it would be the “safest cruise ship in the world”．

    Palmer refused to answer questions about the project's cost. Although the Titanic was the world's largest ship in her time, she would be smaller than many of today's modern cruise ships.

    “It's not about the money，” Palmer said. “I've got enough money for it. I think that's all that matters.”

    Forbes estimated Palmer's net worth to be $795 million in 2012.He describes himself as a billionaire.

    TitanicⅡwill be built by Chinese state­-owned CSC Jinling Shipyard, which has already built four ore carriers for Palmer's mining business, he said. The contract to build TitanicⅡhas not yet been signed, Palmer said.

The Brown Bear

    My wife Laura and I were on the beach, with three of our children, taking pictures of shore birds near our home in Alaska when we spotted a bear. The bear was thin and small, moving aimlessly.

Just a few minutes later, I heard my daughter shouting, “Dad! The bear is right behind us!” An aggressive bear will usually rush forward to frighten away its enemy but would suddenly stop at the last minute. This one was silent and its ears pinned back— the sign (迹象) of an animal that is going in for the kill. And it was a cold April day. The bear behaved abnormally, probably because of hunger.

    I held my camera tripod (三脚架) in both hands to form a barrier as the bear rushed into me. Its huge head was level with my chest and shoulders, and the tripod stuck across its mouth. It bit down and I found myself supporting its weight. I knew I would not be able to hold it for long.

    Even so, this was a fight I had to win: I was all that stood between the bear and my family, who would stand little chance of running faster than a brown bear.

    The bear hit at the camera, cutting it off the tripod. I raised my left arm to protect my face; the beast held tightly on the tripod and pressed it into my side. My arm could not move, and I sensed that my bones were going to break.

Drawing back my free hand, I struck the bear as hard as I could for five to six times. The bear opened its mouth and I grasped its fur, trying to push it away. I was actually wrestling (扭打) with the bear at this point. Then, as suddenly as it had begun, the fight ended. The bear moved back toward the forest, before returning for another attack—- The first time I felf panic.

    Apparently satisfied that we caused no further threat, the bear moved off, destroying a fence as it went. My arm was injured, but the outcome for us could hardly have been better. I'm proud that my family reminded clear-headed when panic could have led to a very different outcome.

    He is both a great director and a great animator (卡通片制作者). He is Japan's Walt Disney.

    Hayao Miyazaki, the 72-year-old Japanese master of fantasy animation (奇幻动画), one of the most respected animation directors in the world, announced his retirement on September 6. Here are some key words about his films.

Good and evil (邪恶)

    Miyazaki rarely tells stories in simple good and evil. The worlds he creates tend to be complex (复杂的) and unclear. The bad figures often don't seem so bad once you get to know them. Miyazaki has explained that the lack of clear good and evil is because he sees the 21st century as a complex time, in which old ideas need to be re-examined, even in children's films.

Children

    The heroes in Miyazaki's films are usually children or teens, more often young girls. Sometimes they can see the spirit world; they are curious and friendly, even to strange creatures. The stories often deal with growing up.

Sky and water

    Two of Miyazaki's great loves are the sky and water, and he uses them in related ways. Flight is a forever theme — Miyazaki has never done a film without flying of some kind. His imagination seems to fly and leave behind the pull of gravity (重力), a force and control that he feels a bound (束缚) from setting him free.

    Water is another way for Miyazaki to fight gravity. In his films he likes the unexpected floods with crystal-clear water, and objects floating on the surface seem to be supported by magic.

Peace

    Miyazaki's negative view of the war goes far more than surface deep. Violence is usually seen as wrong and painful, and Miyazaki's heroes are often peacemakers.

    San Francisco is a great city. Below are some ideas for educational activities and programs in San Francisco for this summer.

    The San Francisco School: Summer Programs

    There are summer camps for the children from pre-kindergarten through middle school at the San Francisco School. With programs such as "Fearless Writing" "A Green World" and "Re-Making Clothing", San Francisco becomes a great place for children to learn and have fun in the summer. Registration starts in the spring. Call 415-749-4550 to know more.

    San Francisco Art Institute: Community Education

    From children to elders, all people are welcome to sign up for all sorts of art classes all year round, such as "Adult Continuing Education", "Pre-college Programs" and "A Young Artist". Check online for schedules, class types, age groups and more or call 415-749-4500.

    San Francisco University High School: Summer Program

    This is a three-summer commitment and a great program preparing kids for college. It provides language and art classes in the morning and social studies such as sports and history in the afternoon. There are also fun activities such as a field day, a party night, a talent show, etc. 30 to 35 tenth-grade children are chosen each summer, so you have to fill out a form. Call 415-749-4558 to know more.

    Rudolf Steiner College: Summer Programs

    Rudolf Steiner has summer programs for those who want to take courses such as teaching grade courses 1 to 8. Registration is at the beginning of April. Call 415-749-4560 for more about it.

    These activities and programs are usually popular, and if you are interested, get up and join us!

    Self-driving cars have been backed by the hope that they will save lives by getting involved in fewer crashes with fewer injuries and deaths than human-driven cars. But so far, most comparisons between human drivers and automated vehicles have been unfair. Crash statistics for human-driven cars arc gathered from all sorts of driving situations and all types of roads. However, most of the data on self-driving cars' safety have been recorded often in good weather and on highways, where the most important tasks are staying in the car's own lane and not getting too close to the vehicle-ahead. Automated cars are good at those tasks, but so are humans.

    It is true that self-driving cars don't get tired, angry, frustrated or drunk .But neither can they yet react to uncertain situations with the same skill or anticipation of an attentive Unban driver. Nor do they possess the foresight to avoid potential dangers. They largely drive from moment to moment, rather than think ahead to possible events literally down the road.

    To a self-driving car, a bus full of people might appear quite similar to an uninhabited field. Indeed, deciding what action to take in an emergency is difficult for humans, but drivers have sacrificed themselves for the greater good of others. An automated system's limited understanding of the world means it will almost never evaluate (评估)a Situation the same way a human would. And machines can't be programmed in advance to handle every imaginable set of events.

    Some people may argue that the promise of simply reducing the number of injuries and deaths is enough to support driverless cars. But experience from aviation(航空)shows that as new automated systems are introduced, there is often an increase in the rate of disasters.

    Therefore, comparisons between humans and automated vehicles have to be performed carefully. To fairly evaluate driverless cars on how well they fulfill their promise of improved safety, it's important to ensure the data being presented actually provide a true comparison. After all, choosing to replace humans with automation has more effects than simply a one-for-one exchange.

Beethoven is a giant of classical music. And the most influential, too—at least, when it comes to piano compositions. That's according to a study in the journal EP J Data Science.

If you're wondering how data analysis could determine something as abstract as cultural influence, it's worth remembering this: Music is the most mathematical of the art form, a lot of which is symbolic. The music is written in symbols that are connected in time.

Juyong Park is a theoretical physicist in South Korea. Park and his colleagues collected 900 piano compositions by 19 composers from 1700 to 1910. Then they used that mathematical quality to their advantage by dividing each composition into what they called "code words", in other words, a chord. They then compared each chord to the chord or note that came after it, which allowed them to determine how creative composers were at coming up with novel transitions.

The composer with top marks for novelty was Rachmaninoff. But when the researchers looked at those chord transitions across all 19 composers, it was Beethoven who was most heavily borrowed from—meaning at least among the composers in this analysis, his influence was the largest.

Their study comes with some drawbacks. For example, the researchers only considered piano compositions in this work, and by only studying chord transitions, so their conclusions wouldn't relate to artists who were influential in other ways like Bach or Mozart. Park explained, "It's well understood that Mozart's contribution to music comes from the musical forms that he designed. That was not very well reflected by our mathematical modeling."

As for Park, the results convinced him he has some listening to do. "Of course I listen to music. I like Rachmaninoff's music, but I have to say I have listened to Beethoven way more than Rachmaninoff. So after this work came out, I ended up buying his whole complete collection.