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technique • March 4, 2016• 5// NEWS

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Tech was recently given a$1 million grant by the Mel-lon Foundation towards the cre-ation of a new learning center

within the Ivan Allen College ofLiberal Arts (IAC).

T e learning center, called theDigital Interdisciplinary Liberal

Arts Center, will off er resourcesfor group and project based learn-ing within liberal arts curricula.

T e center will also expand thedigital areas of current programs

within IAC and within the IAC’sSchool of Literature, Media andCommunication (LMC).

T e Mellon Foundation is agroup that promotes higher edu-cation, the liberal arts and thecontributions of the humanitiesand higher education to society.

T ey regularly give money toinstitutes of higher education inorder to promote these goals.

T e foundation has an endow-ment of approximately $6 billion.T e Mellon Foundation has previ-

ously awarded grants to Tech, inthe years 1998, 1999 and 2006 inamounts of $183,000, $240,000and $282,000, respectively.

T e Foundation has given atotal of 64 grants in the Atlantaarea to various organizations, to-taling $25.5 million.T ese grantshave been given to Emory, AgnesScott, Oglethorpe, Morehouseand numerous others.

T e grant to Tech is the largestthe Mellon Foundation has givenin the Atlanta area since 2013, when $1.5 million was given toLYRASIS in support of an opensource collections managementsystem for museums.

T e Digital InterdisciplinaryLiberal Arts Center will includea number of offices within thecenter itself.

Dean Jacqueline J. Royster ofthe IAC and Professors LaurenKlein and Carl DiSalvo will createa Digital Humanities Studio to al-low for practice-based research.

T ey will also develop a CivicEngagement Laboratory in orderto allow outreach and application-based learning in the humanities.

T is new project hopes to cre-ate more opportunities for IACstudents and will allow them toengage in more project-basedlearning experiences.

Royster also thanked the Mel-

lon Foundation in an officialstatement released through Com-munications.

“Mellon has our deepest grati-tude for believing in our capaci-ties to achieve, to produce and

to make a meaningful diff erenceboth in facing global challenges.”

IAC also provides over 55courses capable of fullling Tech’sglobal perspectives requirementsfor all Tech students.

Mellon awards Ivan Allen College $1 million grant

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."#!(#& ."%/#!$0On June 23, the United King-

dom will hold a referendum

on the question of leaving theEuropean Union.

T e referendum will be opento all citizens of the U.K. and willinclude two choices to the ques-tion of the U.K. remaining in theEuropean Union.

T is referendum, dubbed“Brexit” by some, is similar in na-ture to the Scottish referendum toremain a part of the U.K., whichreturned a verdict of “No” by amargin of one percent.

T e U.K. Independence Par-ty — or UKIP, as they are alsoknown, are the largest supportersof Britain’s exit from the EU, cit-ing economic concerns as well asissues of sovereignty in regards tofree movement and various mea-

sures mandated by the EU.

T e U.K. government hasagreed to a number of concessionsby the EU if they choose to re-main members.

T ese include new, EU-wideregulations on the ability of mem-ber nations to block new legisla-tion in the EU parliament.

In addition, other conten-tious issues include the contin-ued acceptance of the BritishPound as an alternative to theEuro, as well as a number of re-strictions on migrant workersentering the U.K.

According to the BBC, Britainhas expressed concern over theEU becoming a “United Statesof Europe.”

As such, Britain has negotiated

a stipulation that clari es that the

U.K. will not be a part of an “evercloser union” with EU states.

David Cameron currently sup-ports the continued membershipof Britain in the European Union,given the new concessions agreedupon in talks between EU andBritish Leadership.

T e Labour Party, ScottishNational Party, Plaid Cymru —Party of Wales — and the LiberalDemocrats all support the U.K.’scontinued membership.

Public opinion polls conductedby YouGov are extremely similarto the results of the Scottish refer-endum on remaining in the U.K.

51 percent of respondants sup-port remaining in the EU, while49 percent support leaving.

Tis is not the rst time that

Britons have been at odds or incon ict with the EU.

Con ict brewed in the 1950s when the EU was forming andBritish trade with member na-tions amounted to a slim marginof their overall transactions.

In the 1960s Britain becameinterested in joining an early fac-simile of the EU for trade bene ts,but did not join unti l 1973.

A London-based think thankcalled the Centre for EuropeanReform concluded in a model thatBritish trade with EU member na-tions would have been 55 percentgreater had they not joined theEU in the rst place.

EU trade regulations are oftenscrutinized for their sheer levels of

strictness and immobility.

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technique • March 4, 2016• 7// OPINIONS

If you’re like me, and by likeme I mean that you’re a collegestudent, you probably knowsomeone who’s used stimulantsto help them study for an examor nish a paper.

And by stimu-lants I don’tmean ca ff eine.

To be clearI’ve never done

this. Chugginga Monster hasalways donethe trick for me

when I have tocram at 4 a.m.the night beforea test. But I can’t condemn thepeople who do. Quite the op-posite. Far from thinking weshould crack down on such be-havior, I think we should allowit. I think we need to be doingfar more to promote the creationof drugs that make humansmore productive.

Recently, a computer beata human expert at the game ofGO. I wouldn’t necessarily havethought much of this. After all,computers have been able to beat

grandmasters at chess for almost20 years. But GO is consideredto be one of the most difficultgames for a computer to play

well. So, this event representsa huge increase in the efficacyof arti cial intelligence. Whatdoes this have to do with collegestudents downing Adderall thatthey bought from their friends?Basically, computers are gettingsmarter and we aren’t, and Ithink we need to do somethingabout it.

Even if our competition wasn’t getting smarter, there arestill a number of reasons whyimproving upon human intel-ligence might be worthwhile.First and foremost is that it couldsave lives. If there are drugsthat safely make human beings

smarter or harder working, andit seems like there are, shouldn’t

we give them to people who a reconducting medical research. If

we cou ld make the people whoare researchingcures for Cancer,or Ebola, or Ma-laria even slight-ly more eff ectiveit would save

countless lives.T e same goesfor technologiesthat are intendedto let us combatglobal warming,or travel to Mars.

If the world of sports, the area where using science to make hu-mans “better,” is any guide thenone of the arguments againstsmart drugs is that they aren’tfair. T e reason that we ban ste-roids in sports, and that BarryBonds is practically a punchline,is that it makes the playing eldunfair. T ere’s something aboutusing performance enhancingdrugs that seems to go againstthe ideal of sports.

Similar arguments could

be made about drugs that in-crease academic performance.Certainly we have enough of aproblem with income inequal-ity as it is. T e key diff erence isthat life, unlike sports, is not azero sum game. If someone canhit a baseball 20 ft. farther thatdoesn’t necessarily make me en-

joy the game more. But there areclearly advantages to having anemployee who can learn faster.

Legalizing “smart” drugs would be a good thing for so-ciety. But even if you disagree

with me, the reality is that peo-ple are going to use these drugsanyways. Legalizing their use,or at least their use for this pur-pose, would make people saferand allow the for the develop-ment of more eff ective agents.

!"#$%& #&()*++"!"#$%&'()# +$(

“Using other people’s workwithout their consent.”

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“Using resources not out-lined by your professor todo a graded assignment.”

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“Being dishonest abouthow you produced your

work.”

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“If the answers to the as-sessment are di ff erent thanif you were taking the as-sessment on your own.”

What do you constituteas cheating?

Legalizing “smart” drugscould be bene cial

“ ... there are still anumber of reasons whyimproving upon human

intelligence might beworthwhile.”2&3 0&+)2&(

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If you are still oundering on whom to vote for this Novem-ber, let foreign policy tip thescale.

T ough domestic policytends to ll moredebate time ascandidates argueover gun control,education, andimmigration re-

form, the fact isthat we live inan increasinglyinterdependent,interconnected

world, and theUnited States isin a unique position where smallchanges at a local level can haveconsequences at a global level.

T e U.S. is a major player indetermining international pol-icy and in uencing the globaleconomy. Isolationism was ide-alized by early U.S. presidentssuch as George Washington,but is an outdated concept in a

world where every action by amajor country ripples out con-sequences from rst world tothird world.

Neither the U.S. nor ourpolicies exist in a vacuum.T e World Wars and the Cold War were harsh lessons in the needfor cooperation between coun-tries — or, at the very least,tolerance — while technol-ogy like the Internet and mul-tinational companies like Appleand Google have brought themtogether and linked theireconomies.

T e interconnectedness ofmodern countries and theirmemberships to supranationalorganizat ions such as the UnitedNations has forced every countryto be a team player.T is trend oflinking countries economicallyand politically will only increasein the coming decades, meaning

world leaders must be able to

navigate a complex landscape onan international stage.

One of the most importantof these leaders is U.S. president,

who aside from maintaining do-mestic peace willalso have to con-tend with for-eign a ff airs.

T e idealU.S. president

must be able tobalance protect-ing the country’sinterests whileunderstandingthat the U.S. is

just one countryof many. Building walls to spe-rate us from others or deportinga group of people is incrediblypetty and is not respectful ofother countries and cultures. Arash international decision suchas rebombing an entire cornerof the globe (looking at you, Mr.Drumpf) will not only drag theU.S. into costly engagements,but ruin its reputation with im-portant allies.

Being seen as stable is moreimportant than being seen as

strong-armed, especially when itcomes to trade agreements andeconomic transactions.

Maintaining a stable foreignpolicy should be one of the topissues, if not the most impor-tant. T e U.S. may be the stron-gest country in the world, in itseconomy, military and pervasiveculture, but we are not a hege-mon lording over other states.

Other countries such asChina and the European na-tions hold as much clout and are

just as determined to look af tertheir own interests. We need apresident who can hold rm, butplay nice.

To quote my politically-sav-vy roommate, “We can be a hotmess at home, but international-ly … we can’t a ff ord to do that.”

Focusing on candidates’ foreign policies

“ The U.S. is a majorplayer in determining

international policy

and influencing theglobal economy.”4.*/$)"( 0&2-(

-($"1/ (-"%2#

Please note: I ask that you donot take this editorial at face-value. If you have a diff eringopinion, please share it. I wantto hear those opinions in orderto research them further. Once Ihave done that, I will graciouslyreassess my conclusions. I askthat you do the same.

We all want to know what thefuture holds. Many think that itis shrouded in mystery and thatthere is no way to know what isto come. But what if I told youthat it was not so mysterious?Let me pose a question: what

would it take for our society tobecome a dystopian novel?

I say it is only a matter oftime. Dystopic novels are de-rived from reality, and that is

what makes them intriguing butalso makes them terrifying. So-cieties do not treat them as the

warnings they should be. In-stead, many times, we play rightinto them.

Many students are requiredto read “Fahrenheit 451” inhigh school. In “Fahrenheit451,” books have been outlawed,

and “ remen” are charged withburning down the homes ofpeople who possess books.

T e author originally stat-ed that he wrote the novel outof fear of America potentially“burning books,” and I do notbelieve that his fears were un-

warranted. Books are constantlybeing challenged, which meansthere is a formal, written com-plaint to have the book removedfrom public libraries, schoollibraries, classrooms or evencollege class material. T esechallenges, of which there arethousands each year, can lead tothe books being banned.

T is is a real threat to ourfreedom of speech. We allowpeople to ban books that they

do not deem appropriate, manytimes because of one word thatsomehow invalidates thousands.

Many times, they are bannedfor containing authentic history.No piece of our history shouldbe blocked from us. History is,by de nition, a sensitive subject.Publish our mistakes, or futuregenerations are bound to makethem again. T is path of censor-ship will lead to a re burning at451 degrees Fahrenheit.

Another book that has ex-ploded into popularity in thepast couple years is “T e Hun-ger Games.” T e novel is a les-son in socialism, telling a storyabout a girl who lives in Panem,a post-apocalyptic society inNorth America. T ere are 12

districts ruled by the Capitol,and each district has a certain job to contribute to society. Ev-

erything is redistributed amongthe populace.

Panem does not representa capitalist system but a tyran-nical government bred fromsocialism. In history, we haveseen that the government (theCapitol) becomes a super-pow-ered group showered in wealth

while the rest of the country be-comes equal and impoverished.Socialism is the rst step tothis extreme.

While at rst, closing thegap between the rich and poorseems like a wonderful idea; thatthinking is exactly what will beour downfall. Yes, we can makethe gap smaller, but in doing so,you make the rich poorer andthe poor poorer. At rst thatseems somewhat counterintui-tive, but I challenge you to lookup some of the studies that havebeen done.

When so much is taken fromthe rich, they lose their incentiveto grow wealth for society. Oncethese people cease to create newbusinesses — which inherentlycreate new jobs that get people

off

the streets — where does themoney come from? We, as a so-

Dystopian novels could re ect our future“Dystopic novels are

derived from reality, andthat is what makes them

intriguing but also makesthem terrifying.”0&.& 5-(,+-6

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8 • March 4, 2016• technique // OPINIONS

Before I continue with what Iam about to say, I ask of my peersreading my article to refrain fromcalling me a radical feminist ob-sessed with politically correct cul-ture or from asking me if I shavemy armpits. T e answers to bothof the above are yes, I am a femi-nist who appreciates the diff erenc-es present between others and yes,hygiene is important to me.

I hate gendered language.T ere you go. I said it. I think in

a time where we live in a societythat acknowledges political cor-rectness, our conscious choice oflanguage should follow suit.

I hope most of you know whatgendered language is, but for thoseof you that do not, gendered lan-guage is de ned to be favoring onegender over another, speci callythe masculine over the feminine.By no means are masculine andfeminine the only genders recog-nized in society; however, for thepurposes of this editorial, whichis meant to express my personalopinion on an issue, I will focuson these two since I am personallya ff ected by each.

You may not even know thatyou are using gender-biased lan-guage, but addressing a group of

individuals, consisting of men,

women and other genders, as “heyguys!” is just one example of gen-dered language. Let me be per-fectly clear: if there is a group ofindividuals who do not all identi-fy as male, you should not be call-ing them “guys”. Unless someonehas explicitly said they identify asmale, do not assume they wantto be addressed as one. I, for one,love being a woman, and I wouldlike to be addressed with pro-nouns that recognize me as such.

Language is our major toolof communication, and how wechoose to utilize it is essential toseeing progress in our society. If

we continue to use systematicallyoppressive language, such as gen-der-biased pronouns, then we areallowing ourselves to fall into thepattern of devaluing any progressan oppressed group, such as those

who identify with the feminine,have made.

Women and those who iden-tify with the feminine have mademonumental strides in achievingequality on most, but not all, lev-els of society (I am still holdingout for you, equal pay), yet if werefuse to acknowledge women andthe feminine for what they are,

which is not “guys,” we a re essen-

tially undermining that progress

by rea ffi rming the fact that we livein a male-dominated society.

You may be asking, “Okay, but what if my intention was not tooppress women and those who donot identify with the masculine,and I really just did not want touse the phrase ‘y’all’?” Great ques-tion. You probably were not awarethat some language is consideredto be sexist because we never talkabout the fact that English, in ad-dition to many other languages, ismale-favored. It is not just malesthat I have seen address a collec-tive group as “guys”; in fact, moretimes than not, I see many of myfemale peers addressing others as“guys”. T at being said, now thatmy beautifully written and in-sightful editorial has brought theissue of gendered language to yourattention, it would be in the bestinterest of everyone if you chose tobe more conscious of how you ad-dress a group.

Unique to our language’s diffi

-cult grammar is its lack of gender-neutral pronouns that appeal to asingle individual. I know I havepersonally seen many red markson my English papers for referringto an individual as “they” ratherthan “he/she”, but the beauty oflanguage is that is uid, able toadapt to the whims of society.

We have the ability to changehow we address others and how

we communicate, so given thisunique ability, why should wecontinue to use language thatmay be off ensive to some?T e is-sue of gendered language is notone where you can decide howyou want to address someonebecause ultimately, the choice ofhow someone identi es and is ad-

dressed is up to “them.”

Being aware of our use of gendered language

“Language is our major tool ofcommunication, and how wechoose to utilize it is essentialto seeing progress in oursociety. ”!"#!" %&"'(

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OUR VIEWS |H OT OR N OT

Leo, A True Sport Our beloved Leonardo Di-

Caprio nally won an Oscar.It took T e Academy longenough. Instead of being bitterabout the wait or even smug,Leo decided to deliver an in-credibly humble acceptancespeech, ending it with a pow-erful statement to not take the

world we live in for granted. We all knew that he was a bril-liant actor, but it turns out thatLeonardo DiCaprio is an all-around awesome person.

HOT – or – NOT

Caught CheatingT is past week, students in

CS 3600 were called out for working past time on theirmidterm exam. To be honest,this is a minor case of cheat-ing. Cheating on this campusis much more pervasive and isde nitely an issue that needsto be addressed. Professor JimRehg has emailed the studentsand handled the situation in-credibly well. More professorsneed to hold students to ahigher level of integrity.

Puppy PatrolT e Georgia Tech Police

Department has created anInstagram account for theirdog, Koda. We already knewthat we had an awesome policedepartment, but these officers

just stepped it up to a wholenew level. T e Instagram ac-count is lled with such ador-able pictures of the little guythat it makes you forget he’sactually a police dog. You canfollow this cute canine at ins-tagram.com/gtpd_k9_koda .

#OscarSoWhiteT e controversy of the Os-

cars did not stop at just thenominations. Chris Rockand Sacha Baron Cohen bothpoked fun at the Asian race bycommenting using overusedstereotypes to garner laughsfrom the audience. While theintent was not to hurt anyone,

we a re tr ying to progress intoa society that is breaking awayfrom stereotypes and situa-tions like the White Oscars.T ese jokes just made it worse.

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TECHS’ ON CAMPUS

M A I L S E R V I C E S

C O U N T E R C A R D S

C A M P U S & U S M A I L

N A M E T A G S

www.pcs.gatech.edupcs@oit.gatech.edu

PRINT RESOURCE!!!

CONTACT US TODAY!!!404-894-3570

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technique • March 4, 2016• 11// LIFE

HVZ: how tosurvive as a

human!"#$%&$'( %"'"**(

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Humans vs. Zombies is an in-tense campus-wide game of tagthat lasts a week. Players are iden-ti ed with a yellow bandanna,and all players start as humans.T e original zombie (OZ) lookslike a human on the rst day,but can tag other players, turn-ing them to zombies. Humans candefend themselves by stunning

zombies with marshmallows orsocks. T is semester’s game startsup on Monday, March 7, so hereare some tips and tricks on surviv-ing as a human.

+**, -./# *-*% .,*(

Zombies can appear whereyou least expect them to be.T eylurk in the corners and could bearound every bend, so you shouldmake sure to keep your eyespeeled as to avoid any ambushes.Remember: those who keep aware will surv ive the longest.

0.#1 '22$'(!*%

Form alliances with other hu-mans. T ere is strength in num-bers, especially in open areas likeSkiles Walkway. Have a group

of humans that you walk frombuilding to building with.By staying in groups, it will be

easier to avoid being attacked by agroup of zombies.

2.!+ '(3 2.'3

Always, always, always beready to stun a zombie or evenmultiple zombies. Keep yourselfarmed and ready with multipleapproved stunning agents. Onceyou stun a zombie, be preparedto get on your way, lest you be at-tacked by another one lurking inthe area.

3#*%% 0.# %/!!*%%

Wear running shoes a nd com-fortable clothes so that you canmake a speedy get away in the

case that a zombie does nd youalone and unarmed. Wearing niceshoes not meant for any kind ofexercise or form-tting clothes is aterrible idea if you wish to survivethis game.

"'4* 0/(

Humans vs. Zombies is agame meant for you to have fun.So whether you are a human theentire week or the rst person theOZ kills, make a point to have fun with it.

#*%,*!& &"* 5'1*

Don’t be a jerk or hurt a nyone.Play fair and own up to the truth.Don’t continue playing as a hu-man after you have been killed. All rules and regulations can befound at hvz.gatech.edu.

%"6*&' 7"'&*+,"'(-."(,/ &'(")'

During the rst time out in

women’s basketball game in Mc-Camish Pavillion on Sunday, Feb.28, Georgia Tech Student Foun-dation (GTSF) representativespresented checks to a variety ofon-campus student organizationsto fund their ideas.

Founded in 1986, GTSF hasbeen responsible for allocatingnearly $20,000 to Tech’s promis-ing projects, initiatives and orga-nizations every semester. Over theyears, it has awarded more than$626,000 to 369 diff erent groups.In previous years there have beenup to 30 organizations that wererecipients of GTSF’s allocations.Of the committees in GTSF, it isthe Allocations Committee thatdeals with selecting the lucky re-cipients of the checks.

T e following organizations were allocated checks this Spring:Sting Hunger Now, Energy Clubat Georgia Tech, GT USLI, In-dustrial Design Society of Amer-ica, GT Health Reach, TriangleFraternity, Transfer Student As-sociation, Volunteers Around the World, Teach Beauti cation Dayand Sustainable Aquaponics Sys-tem. Not all of these groups couldattend the basketball game to re-ceive their checks.

Sean Mihm, second-yearCHBE, along with Chief Ex-ecutive Officer Priya Srinivasan,fourth-year BA, Chief FinancialOfficer Brandon Danzig, fourth-year EE, and Chief OperatingOfficer Isaac Wittenstein, fourth-year ME, were at the basketballgame, awarding the checks to the

recipients. Fifteen representativesof organizations walked to thecenter of the stadium, each hold-ing a novelty check.

“We allocated this semester a

total of $20,000 which was thelargest amount allocated in Geor-gia Tech Student Foundation his-tory,” Mihm said.

T ere is an application pro-cess for organizations requestingfunding with several criteria, in-cluding that the initiatives bene tthe Tech or Atlanta community insome way.

First, there is a written appli-cation with questions regardingeach organization’s initiative, andits end goal. After the applicationsare graded, roughly 20–25 of the

organizations are selected to pres-ent a pitch of a few minutes.

Project ideas that show a senseof feasibility, responsibility onthe students’ behalf and innova-

tion tend to get top priority whenchoosing which groups to fundeach semester.

“When grading proposals we look for ve main categories:philanthropy, impact, feasibility,sustainability and novelty,” Milmsaid. “We try to nd [groups] thatalign with GTSF’s goals and thegoals of Georgia Tech. We lookfor organizations that embody themotto of Georgia Tech, ‘Progressand service,’ as well as GTSF’smotto, ‘Moving forward bygiving back.’”

“As for physical items or events we will fund there rea lly is no setcriteria. For instance we fundedan aquaponics system that growsplants and raises sh for food des-

erts in the Atlanta area as well asfunding an initiative to help withprofession development of fresh-man at Tech. Ultimately, we arelooking for organizations that tour goals to create an even betterGeorgia Tech,” Milm said.

After receiving funding, or-ganizations are welcome to applyagain in following semesters ifthey have new ideas. GTSF en-courages any organizations andinitiatives that support its ulti-mate goal of “giving back” to theTech community to do so.

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technique • March 4, 2016• 15// ENTERTAINMENT

!"#$%& ()$!"#$%&'#(')*#!+

Before the behind the scenespresentation of “Zootopia” lastT ursday, the Technique had theopportunity to sit down withEnvironment Look SupervisorLance Summers.

A graduate of Full Sail Uni-versity in Computer Animation,Summers joined Disney in 2009at age 20 as a look developmenttrainee. His rst Disney feature

was 2010’s “Tangled.” His cred-

its also include 2011’s “T e LionKing 3D” in the stereo depart-ment; the short lm production“Prep & Landing: Naughty vs.Nice, for ABC television; ”Dis-ney’s arcade-game-hopping hit“Wreck-It Ralph”; and Oscar

winners “Frozen” and “Big Hero6.” He is currently working on“Moana” and “Gigantic.”

Summers’ team works interdis-ciplinarily, starting with the visualdevelopment department beforemoving on through lighting, ef-fects and even stereo to ensure ev-erything looks good.

Technique: Were there anychallenges during “Zootopia”that needed to be tackled throughtechnology?

Lance Summers: Absolutely. We switched over to Hyperion

(Disney’s rendering software)from Renderman during “BigHero Six” mid-production. Natu-rally, every movie has new chal-lenges. We had to gure out howto create certain shaders or be ableto do certain things technically.

For example, we had to gureout how we wanted to do the snowand how much scatter we wanted.T ings like that, that deal techni-cally with the shader and how it

works with Hyperion. Also, a lot of the fur shading

was actual ly a huge challenge. We were developing a fu r shader. We

had a hair shader on “Big HeroSix,” but obviously fur is muchdiff erent, so we went throughmany iterations trying to gureout how to create this shader. Weran it on something we really like.

Technique: Could you go overthe diff erences between Hyperionand the old technology?

Summers: Hyperion is kind oflike a ray trace renderer. It’s simi-lar in the way that V-Ray and allthose other renders work — havephotons that bounce around theroom and pick up color and dis-persed amount that sort of a thing.

T e diff erence between Hyper-ion and Renderman is also howHyperion can consume geom-etry. Hyperion is able to consumevast[ly] more geometry than we

were able to do in t he past. T at’s

why now, we’re able to build outthe city more and use CityEngine,like we did it in “Big Hero Six,” tocreate more of the outlying city forfaraway shots.

We a re able to render foliageand trees and instance thingsbetter and more efficiently. It cre-ates a richer image. It also allowsus to just add more geometry intothe scene.

Technique: You mention thatthere was a switch from Render-man to Hyperion mid-”Big HeroSix.” How did you deal with thechange in technology during the

design process?Summers: We started Hyper-ion almost right when we started“Big Hero Six.” We were devel-oping assets and testing out Hy-perion very early on. It was oneof the challenges; we didn’t know[Hyperion] yet. We’re all tr ying to

gure it out — there’s bugs, every-thing doesn’t quite work right andthen halfway through we’re tryingto decide if Hyperion is actuallygoing to be renderable. Are weactually going to be able to get aframe that has limited noise to it?[Would] we be able to render outscenes without re ies in them?

Working with our software de-velopers, our CTO made the deci-sion — let’s go on with Hyperion.It’s the best decision we could’ve

!"" !"##$%! $ %&'" ()

!"#$

ZootopiaGENRE: AnimationSTARRING: Jason Batemanand Ginnifer GoodwinDIRECTOR: Byron Howard,Rich Moore and Jared BushRATING: PGRELEASE DATE: March 4

OUR TAKE: «««««

!"#$%& ()$!"#$%&'#(')*#!+

When going to see a blockbust-er animated lm, especially thosefeaturing anthropomorphic ani-mals, one usually does not expectto be confronted with contentiouscurrent-day issues. Disney’s newanimated feature “Zootopia” isable to broadcast lessons on preju-dice while remaining a family-friendly lm without being overlycloying or pandering.

T e plot of “Zootopia” parallels

a standard buddy cop lm. Opti-mistic rookie Judy Hopps, voicedby Ginnifer Goodwin (“OnceUpon a Time,” “Something Bor-rowed”), has dreamed of being aZootopia police officer since she

was a young bunny in spite dis-couragement for those around her,especially her apprehensive, carrotfarmer parents (Bonnie Hunt,“Jerry Maguire” and Don Lake“Dumb and Du mber To”).

Zootopia is a futuristic citycomprised of evolved mammalsliving together in harmony andhas the tagline “In Zootopia,anyone can be anything,” a state-ment epithet Judy often repeats asan a ffirmation.

As the rst ever bunny policeofficer of Zootopia, the newly

badged Offi

cer Hopps strives to

break preconceptions that smalleranimals are unable to act as en-forcing officers, but her idealisticbeliefs are almost immediatelysquashed when she is assignedparking duty instead pursuingmissing mammals with all theother officers in her precinct.

She tries to prove her worth bypersonally taking on one of thecases against orders of her boss,Chief Bogo, voiced by Idris Elba(“Luther, “Beasts of No Nation”),and has a 48-hour deadline beforeshe loses her job.

She partners up with sly Nick Wilde (Jason Bateman, “HorribleBosses 2,” “T is is Where I Leave

You”), a small-time con-artist whopreviously tricked the credulousbunny officer after she discoveredthat he had pertinent informationto her missing Otter case. Togeth-er, they utilize their contrastingskills to crack the case of the miss-ing animals while nding a happymedium between their overlyoptimistic and incredibly cynicalpersonalities.

T e lm is initially framed asan underdog narrative where a

character aims to achieve a long-time dream, going from a smallsuburb to the big city. However,“Zootopia” ultimately touchesdown on deeper racial subtextabout acceptance, prejudice andthe language involved in the dis-cussion the two. T e themes hit

American audiences ha rd in lightof the national discussion on raceand stereotypes post-Fergusonand the 2016 Oscars.

Some of the dialogue in thelm is eerily similar to the every-

day conversation about racism. When lovable greeting desk chee-tah Benjamin Clawhauser calls

Judy cute, she awkwardly clari esthat “A bunny can call anotherbunny cute, but when anotheranimal does it … .” Later, while

ghting for better representation

of smaller animals and discussingher case, Judy inadvertently castsfear into the hearts of the preycommunity and soon nds thatprejudice may be more ingrainedthan she believed. Hopps thenhas to deal with the fallout fromher words.

T e writers of the story leanedinto audience’s preconceived char-acteristics about certain animals.

While evolved, the inherent na-ture of each species remained thesame — bunnies are easily fright-ened; foxes are sly; lemmings willfollow each other.

As audiences personally iden-tify each animal with their asso-ciations, the message about pre-emptively drawing conclusions is

ipped onto the audience whenthey realize that they were part ofthe group making generalizationsabout the animals in the lm.

Head of Story Jim Reardonnoted that “[the writers] used theaudience’s expectations of spe-ci c animals and their relation-ships — rabbit and fox, lion andlamb — and turned them insideout. T is was a crucial approach

for the whole picture — take whatthe audience ‘knows’ about theanimal world and use it as a forumfor examining stereotyping.”

While young audience mem-bers may not truly understandall the undertones, all of theoverarching concepts were clearenough that even younger viewers

would understand.T e adaption of the animal

world is incredibly creative andbeautifully rendered. In a behindthe scenes presentation of “Zooto-pia” at Tech, Environment Super-visor Lance Summers noted thatthe production designers intendedfor the setting to be futuristic andmore organic-looking as animalsconstructed them. T ere are sixkey environments: Sahara Square,

Tundratown,T

e Rain Forest

District, Bunnyburrow, SavannaCentral and Little Rodentia.

All anima ls are accommodatedin the city, from the largest gi-ra ff e to the smallest shrew, with ahodgepodge of doors, tunnels andgizmos to serve each and everytype of animal. Finding how cer-

tain types of animals are adaptedor their environments are incor-porated is almost like a game,much like the introduction sceneof foodimals in “Cloudy with aChance of Meatballs 2.”T ere areso many small details to catch.

Pun lovers will enjoy the ani-mal names of stores such as “Zu-ber” and “Yakgurt.” While thepuns are not as in your face as“Cloudy 2,” many of the jokes arepredictable and follow commontropes such as tougher charactershaving an unexpected softer side.

However, this can be easilyoverlooked as the delivery of the

jokes are wel l-executed. Summersnoted during his presentation thatChief Creative Officer John Las-seter was highly involved with the

now famous DMV sloth scene to

ensure that each joke landed. Au-diences laughed hard at the sceneduring both the movie and thepresentation in spite of the factthat the scene was already circu-lated as teaser from the movie.

T e many easter eggs in “Zoo-topia” are more blatant than in

previous Disney lms, which al-most the entire audience recogniz-ing them immediately. Still, Somesubtle ones are harder to notice.Summers pointed out the snow-

ake centerpiece in Tundratownis a direct artifact of Arendelle,complete with little elephantsdressed as Elsa and Ana next to it.

Additionally, A lan Tudyk maynow be Disney’s version John Rat-zenberger. Allusions were not lim-ited to previous Disney lms, butquite a few pop culture referencessuch as the shrew taking the guiseof the godfather.

While the kid-friendly tag“anyone can be anything” ispretty obvious, the true takeawayfrom this lm is audience maylearn to imagine each other a bit

more complexly.

Zootopia addresses prejudices in an ‘evolved’ world

&'()( +(,-)./0 (1 234) 56/7.0 &6+),-./

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16 • March 4, 2016• technique // ENTERTAINMENT

!"#$

Knight of CupsGENRE: Romance, Drama

STARRING: Christian Bale,Cate Blanchett, NataliePortman

DIRECTOR: Terrence Malick

RATING: R

RELEASE DATE: Mar. 4

OUR TAKE: ««« ««

!"#$ &"'(&)*!"#$%&'($) +%&$,%

Slightly off the beaten path ofmainstream cinema, there exists asort of haven for lmmakers whodo not make lms for the expen-sive coupe they had their eye on.

Instead, the place breeds someof the most artistically beautifulpieces in the history of the movingpicture. Among this community,“Knight of Cups” director and

writer Terrence Malick (“Bad-lands,” “T e T in Red Line”) is

an outright legend. His inimitablyunique style of lmmaking hasba ffled and inspired movie buff ssince his 1973 debut, but he hasdrifted far into experimental terri-tory with his newest release.

“Knight of Cups” follows aHollywood writer (ChristianBale, “T e Dark Knight”) as hedelves into a string of ashbacksdetailing past relationships.From a failed marriage with CateBlanchett (“Blue Jasmine”) toa scandalous a ff air with Nata-lie Portman (“V for Vendetta”),Bale’s character has special inter-actions with every member of the

lm’s quite incredible cast. T issummary may seem sparse andvague, but only because that is ex-actly what the lm is like: a spec-

tacular array of cinematographysurrounds the cryptic journey ofa confused man, wandering a sortof stream of consciousness poem.

In Technique ’s chat with threeof the producers, Sarah Green(“T e Tree of Life”) describes the

lm and the process of creating italongside Malick an organic expe-rience that invokes ponderings on“the meaning of life.” She, along

with producers Nicolas Gonda(“T e Tree of Life”) and Ken Kao(“Rampart”), are careful not toexplain too much of their ideas ofthe purpose of the lm since it istruly an individual experience.

Each viewer will take away aunique interpretation, illustrat-ing the zest of Malick’s cinematicmastery. He contorts the entireconcept of storytelling with hisfreeform and abstract style. Nico-las Gonda likens the creative pro-

cess to “watching a ballet” — ameticulous display of beauty, likethe movie, which seems to have agraceful ow through the memo-ries of its peculiar protagonist.

Conversely, the movie “Knightof Cups” can be seen to be ab-struse even to the experiencedmoviegoer. Malick’s experimental

writing and production contribute

to the lm’s cinematic elegance— an element that, while beau-tiful, can create an enigmatic,convoluted experience.

In fact, a factor for his newlevels of variety is Malick’s useof new and novel technologies.

Gonda notes that he has begunusing new lming mediums, in-cluding GoPro and Phantomcamera shots, partially departingfrom his beloved exclusively lmcamera movies.

Film fans looking for an easyto watch, light comedy or typicalhigh octane thriller will absolute-ly despise “Knight of Cups,” but

with an abundance of patienceand a willing, introspective de-meanor will nd it rewarding.

T is arcane journey into thepast incites a viewer’s own psyche,awakening doubts, truths andthings forgotten, jarring the rut

of “daily routine” — an essentialinspiration for the lm accordingto Gonda.

Terrence Malick’s most re-cent creation will not make many

waves. It simply doesn’t have theglamor to crack into the main-stream like some eccentric lmsdo, but that is not its intendedpurpose nor its place.

“Knight of Cups” grindsagainst the grain of convention-al modern lm. Its special castand fantastic talents behind thecamera make it an abnormaland intriguing two hours ofdeep thought.

Movie grinds against the grain of conventionallm

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8/20/2019 Volume 101, Issue 24

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technique • March 4, 2016• 17// ENTERTAINMENT

Fill out our reader surveyto be entered to win a

$25 gift card

!""#$%%"&'()*+,-./%0+#1-#2!

rendering of hew musical charac-ter throughout the show, whichproved to be a little awkward dur-ing the more somber scenes but

for the most part was captivating.Davis, who is most knownfor his work in Broadway’s 2006revival of “Les Miserables,” simi-larly brings fervor and liveliness tohis role as the von Trapp family’sfather. While surprising at rst,this deviation from the usuallymore restrained Captain is easy tobecome accustomed to during thecourse of the production.

Other nods are due to certainmembers of the supporting cast,especially Merwin Foard, whoplays a very likable and jovialMax Detweiler. T e character isnot typically the most notable,but Foard provides consistent andexpertly delivered comic reliefthroughout the show.

Recognition is also due to the

actors and actresses who played

the various von Trapp children.T e roles of young children tendto be very difficult to get correct,but this production pulls it off rather well, especially consideringthe non-trivial number of speak-

ing lines for Gretl and Brigitta,two of the youngest children (Au-drey Bennett and Svea Elizabeth

Johnson, respectively).In addition to the stellar act-

ing, the sets and design were note- worthy, especially in the initialscene in which Anderson is laidout as if in a painting. An illus-trated backdrop of mountains arepaired with a small bridge struc-ture upon which Maria sits. Fogis pumped across the oor of thestage, and a lm-like screen islowered to give the scene a some-

what hazy quality. T ese elementscombine to create an illusion thatMaria is part of the backdrop, atleast until she begins to sing.T istrick is very convincing.

Other notable scenes include

Maria’s bedroom, within which

the two von Trapp boys emergesuddenly from under the bed andthe concert hall stage near the endof the show, which features anappropriately gaudy backdrop ofNazi banners juxtaposed with the

family’s rendition of “Edelweiss.”Speaking of which, the sing-ing of “Edelweiss” is easily one ofthe most powerful performancesthroughout the show by the cast.Other close contenders includeCaptain von Trapp’s rst rendi-tion of “T e Sound of Music” as

well as “T e Lonely Goatherd”by Maria and the von Trapp chil-dren. Other songs, primarily “MyFavorite T ings,” are to some de-gree exhausted by repeated repri-sals with little variation.

T is most recent North Ameri-can tour of “Rodgers & Hammer-stein’s T e Sound of Music” hasbeen directed by Jack O’Brien. It

will be play ing through Mar. 6 atthe Fox. Student Rush tickets areoften available before Off -Broad-

way shows throughT

ursdays.

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made because we were able to ren-der and nish the lm. T e lm

was in a huge crunch story-wise,so that made it even worse. Luck-ily, we made the switch because

we created the “Frozen” short us-ing Hyperion, and now “Zooto-pia” is using Hyperion; “Moana”’susing Hyperion; “Gigantic” is us-ing Hyperion. We’re on board the

whole way now.Technique: You’re head of the

Environment Look’s Department.How do you decide how thingslook or what is your thought pro-cess? How do you iterate?

Summers: I work with theProduction Designer Dave Goetzand the Art Director MatthiasLechner. T ey’re designing it ina 2D form, so they’re looking atme to translate their vision to thesets that you actually see in CGon screen. T at’s kind of challeng-ing in and of itself because theyare going to want to iterate evenin our [3D] world, not just their2D world.

Matthias works with the mod-eling department, who I partner

with and watch as that comesdown to us … we get the models,and we’re looking at the visual de-

velopment.T

rough the rst pass, we do rough de ne.T en at a certain point, the

art is shown to me, and I get itto the point that I think that theproduction designer and art direc-tion will like it, and we show it tothem. T ey give notes and then

we iterate on it and show it aga in,then send it to lighting.

Ultimately in lighting, the di-rector is going to see it, and then ifhe has any changes we make them.T at’s kind of the iterative loops

we go through to go through forthe environments.

Technique: T e technologyhas changed since you startedat Disney working on “Tan-gled.” Is there anything else thathas changed?

Summers:

Tat was my rstfeature lm, so obviously I was

learning the process of it, so ofcourse, I had no idea what wasgoing on because I haven’t really

worked on a huge production be-fore, and so that was brand new.

Now, I do have an understand-ing. T e gears are moving, so I canpredict things now. “Tangled”

was my rst time working withour director Byron [Howard]. T e

rst time working with our artdirector and our production de-signer and co-production designerDave Goetz and Dan Cooper —they both worked on Tangled. I

was able to work with them againon “Zootopia,” and it was nicebecause we already had that rela-tionship built.

Everything [on “Tangled”] waskinda brand new, and I had to feelmy way through it, while in thisone, I was able to anticipate thingsa little more.

Technique: You mentionedearlier that fur is a little diff er-ent than human hair. T ere is somuch more fur in “Zootopia,” andyou have to deal with so muchhair in “Tangled.” What is the dif-ference between the technology?

Summers: Other than the newrenderer, in “Tangled” we had todeal the director having a veryspeci c vision on how he wantedthe hair to look, and we had todesign shaders in Renderman toactually get that look.

It’s really long hair too, whichcreates difficulties too. Mistakesthat many have been hidden by

shorter hair — it comes out. You just see it when you have fortysomething feet of hair.

On “Zootopia,” it’s not just thefact that there’s fur, but it’s thefact that there’s so many diff erenttypes of fur. Polar bear fur is com-pletely diff erent than fox or rabbitfur. Does it have an undercoat, orhow long is it? Also, you have litt lemice that have little furs as well,so you’re dealing with lots of dif-ferent types, but [you] want it tobe driven by only one shader.

Technique : You mentionedsubtle mistakes. What are somemistakes that we may not havenoticed that you may have en-countered?

Summers: So when we rststarted trying to wrap our headsabout [the fur in “Zootopia”], we

were using techn iques from Ren-derman. For example, we were us-ing opacity to hide the tips a bitand had them a little thicker so we

wouldn’t have to have the count ashigh, because obviously renderingthe exact amount of fur is hardto do.

However, the fur wasn’t look-ing right in Hyperion. We werelike, “What is it?” because we wereusing techniques from the past.

We had to rethink how we’re do-

ing this because it’s a more physi-cally accurate renderer, so we ac-tually had to make the fur how itis in real life.

We took a one-by-one inchsquare and counted out how manyhairs are in that one-by-one inchsquare for everything. We wantedto know how many lines to puton the character to represent theamount of fur, so that was a hugeprocess. T en we realized that wedidn’t have to use opacity becausethe tip will come to a point as itdoes in real life, and things startedlooking more accurate.

Technique: What’s somethingthat most people get wrong ordon’t really understand about the

eld of animation?Summers: Something I heard

earlier today is that there is a di-vide between 2D and 3D anima-tion. T e thing is, the art drivesthe tech. I think a lot of artists,they’re divided between 2D and3D, but ultimately it comes downto having an eye and having toknow what you want to put up onthe screen.

Even if you change mediums,you just to relearn the tech be-hind it or how you do it changesthroughout life. If you want to bean artist, it’s your eye that’s reallyimportant, and pushing buttonsdoesn’t matter as much. You canrelearn that anyways.

Technique: Students at Techare looking to get into animation,do you have any recommenda-tions for them?

Summers: If you’re wantingto get into animation, the biggestthings is just drawing and paint-ing. T at’s step number one. Stepnumber two is if you are in col-lege to get into animation, thinkof it as an A plus in any college isnot enough.

Say you’re taking a class foranimation, and you want to domodeling or look or compositing.Go ahead and make sure you’redoing good in learning that ani-mation class because that’s stillvaluable, but on your own time,you have to be doing what you re-ally want to do. T at part of theanimation process.

If that’s your dream, you haveto focus in your own time be-cause what you do in school isnever enough.

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18 • March 4, 2016• technique // COMICS

XKCD BY R ANDALL M UNROE

SMBC BY Z ACH W EINERSMITHF OXTROT BY B ILL A MEND

Z IGGY BY T OM W ILSON & T OM II

CLASSIC

ACROSS1. Goal’s beginning to stir up game (6)4. Ray waits nervously for ight (8)9. Tart performs turn to entice (7)11. Takes permanent possession of building extensions(7)12. Runs into policeman with whip (4)13. In discussion, brought up money (5)14. Caught old king with Ecstasy and another drug (4)17. Take back a sum fellow distributed to earn moneyquickly (4,1,4,4)19. He said I’ll test new TV receiving equipment (9,4)22. Chap providing article about Los Angeles (4)23. Edible bulb used in canneloni only (5)24. Sick son takes seat in church (4)27. Search for drink before playing game (7)28. I plunged into one river then another with lack ofsuccess (7)29. Exciting tale involved her till end of November (8)30. He needs new teacher for London area (6)

DOWN1. In Georgia a locum cured eye disease (8)2. Viewpoint of striking appearance (7)3. Slovenly woman is scum (4)5. Angrily remove football shirt and give reprimand?(4,1,5,3)6. For starters, it’s now no smoking in pubs (4)7. Increase labour of one in Tussaud’s (7)8. Enemy’s confused by sycophants (3,3)10. Pretend not to have seen Annie belt Rudy viciously(4,1,5,3)15. T e world is heartbroken (5)16. Accepting rule nally, leave in peace (5)18. Food, reportedly chief Chinese dish (4,4)19. M-master possibly showing this speech defect (7)20. Take legal possession of one thousand quid (7)21. Repeat standard codswallop (6)25. Bucket gives Penny trouble (4)26. Concealed English leather (4)

C ROSSWORD P UZZLE L AST W EEK ’S S OLUTION

BY ALBERICHCROSSWORDS . COM

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8/20/2019 Volume 101, Issue 24

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20 • March 4, 2016• technique // SPORTS

!"#$!" $#&'!"#!"#$%! '()%#$

“March Madness” got its namefor a reason. For both men’s and

women’s college basketball, thetournament season is unpredict-able. Success requires not just elitetalent and excellent coaching butenviable consistency. One badgame or one strong performancefrom an opposing player, and theride comes to an abrupt end.

For the Tech women’s basket-ball team, then, their nal contestof the regular season, a 66-62 vic-tory over conference opponent

Wake Forest on the tea m’s SeniorDay provides a fond memory play-ers can look back on regardless ofhow the month ahead shakes out.

Courtesy of ramblinwreck.com, three seniors suited upfor the Jackets: guard/forwardand off ensive centerpiece Aali-yah Whiteside, the physicallydominant Roddreka Rogersand UTEP graduate transferguard/forward Irene Gari. As theyhave so often, both Whiteside and

Rogers put up impressive statisti-cal performances and were instru-mental in the winning eff ort.

Whiteside scored 19 points in37 minutes on the oor. Whileshe was less efficient than desir-able, missing 9 of her 15 attempts,she augmented a mediocre outingfrom the eld with a strong 5-6mark from the free-throw line.

Fellow senior and Charlotte,N.C., native Roddreka Rogers

had an equally impressive fare- well r egular season game. Rogerscollected eight points and ninerebounds, a few plays away fromnotching a double-double. She

was an impressive 4-for-8 fromthe oor that night, convertingher opportunities consistently.

It was a tting goodbye for aplayer who has worked her wayinto the hearts of Tech fans withher combination of hard-nosedplay on the glass and dogged de-fense. She is second in schoolannals with a .570 eld goal per-centage, not to mention top-ten

career gures when it comes torebounds and double-doubles in asingle season along with blocks ina single season.

T e Jackets face Wake Forestin the second round of the ACCTournament T ursday at 6 p.m.T e ride is nearly over.

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