Page 8. - The Michigan Daily - Thursday, February 20, 1986 Books Images Surely You're Joking, Mr. Feynman! - Richard Feyn- man (Bantam Books) In 1965, Richard Feynman won the Nobel Prize in physics. He established basic theories of quantum electrodynamics, and also worked on the Manhattan Project at Los Alamos. One would assume the autobiography of such a brilliant man would most certainly be fascinating. Such an assumption proves invalid. Professor Feynman provides fragmented episodes of his life that he feels are significant, because they either illustrate a lesson he learned about life in general or depict his per= sonality/character for the reader. Science is his life, so it follows that even lessons about human nature can be learned through scientific obser- vation. For example, he changes his attitude about "real men" after a painter tries to con him into believing that white and red mixed equals yellow. He comments : "I always thought the guy who worked in the machine shop and could make things, now he was a real guy! That was my attitude. To be a prac- tical man was, to me, always somehow a positive virtue, and to be 'cultivated' or 'intellectual' was not. The first was right of course, but the second was crazy." Even though he knew as a scientist that yellow could not result from red and white, the common painter might posess knowledge to the contrary. As a result, regardless of what others told him, he insisted on proving all things for himself. One cannot help being impressed by the many significant contributions Feynman has made to science. However, in relaying what these contr- ibutions were, he ofter remains vague, assuming the reader is already familiar with his works. Where he should embellish he often misses the opportunity; for example, he makes his work at Los Alamos sound too simplistic and insignificant. On the other hand, one appreciated his simplicity when he explains con- cepts such as beta decay theory, and separating uranium. They are men- the neck, though there was at least tioned only to facilitate the movement one time that I got some fun out of it. of his anecdotes, and recognizing this, Shortly after I won the Prize Gweneth he spares the reader the technical ex- and I received an invitation from the planation. Brazilian government to be guests of Feynman also fails to say enough honor at the Carnival celebration in about people he knew (e.g. Op- Rio. We gladly accepted and had a penheimer, Fermi, etc.). Although he great time." His dismissal of the apparently dealt with them on several significance of the Nobel Prize makes occasions, he fails to specify what it him appear a bit pompous. One senses was like and how they ultimately af- he would have preferred a more fected each other. It would have been tangible prize that he could get "some interesting to learn his impression of fun out of" like a new car or such great men at the stage of life something. Go play "Wheel of For- (when they were developing initial tune," Mr. Feynman. theories) at which he met them. While Professor Feynman has When he does provide sentiment, it made some remarkable contributions is basically one of being carefree or to his field, he has done nothing for the highly self-motivated. He does not advancement of good literature. He expound on, the (assumably) unique should have had someone else write sense of being part of the Manhattan his story for him. Perhaps he would Project. He limits his sentiment on have come off as witty as he believes this issue to one paragraph and it is he is and one would find him to be a not enough. man of greater depth, as he must Other problems with Feynman's surely be. Mr. Feynman's book title book are found in his style, which is is certainly appropriate. brisk with choppy sentences. In fact, one senses a forced simplicity. He - Gloria Sanak seems careful to use as many monosyllabic words as possible. - ---- Throughout the work he also offers bit advice and counsel (i.e., always ask "dumb" questions). The tone of his style is also curious. Ar He is convinced he is wittier than he really is. When he believes he has relayed something very clever or fun- ny, he uses exclamation marks. Most of these are unnecessary. A sample of his humor is found in his trip to a hot springs bath: "One time I sat down in a bath where there was a beautiful girl sitting with a guy who didn't seem to know her. Right away I began thinking, 'Gee! How am I gonna get started talking to this beautiful, naked babe! "' Such a bawdy anecdote, which is what it turns out to be, adds nothing to the autobiography and one wonders why it was significant enough to him to include it. The tone lacks the dignity one associates with a Nobel Prize winner. This calls attention to another point: his reflection on winning the Nobel Prize. "In a way, the Nobel Prize has been something of a pain in (Continued from Page 7) be thrown by their name, which is simply an allegory to describe bringing to life a dead object by bringing instruments and ideas to life. In their preference for almost ex- clusively acoustic instruments (there is electric bass and some processing) rather than synthetic instrumen- tation, they reinforce the music's essentially human qualities. They can sway from frenetic claustrophobia to tranquial release, often in the course of the same song, the overall mood being more important than any specific message. They are difficult to pin down. There is an evasive nature to everything that they can do, a vague fragility. They emit a soothing sound, something that gives out warmth. It makes you feel better. It is very per- sonal music, but it does reach out and it has more of a timeless, almost classical quality due to their manipulation of structuretand in- strumentation. Dead Can Dance is the duo of Bren- dan Perry and Lisa Gerrard, who per- form most of the instrumentation and equally share vocal duties. They are accompanied by a mini-orchestra consisting of cello, violin, timpani, and trombone. The range of styles and sounds that they achieve successfully is spellbinding. They harness a bewit- ching barrage of sounds. On this v y Daily Photo by DAN HABIB Winterscape u~ai.u I F 00000000000"00 COUPON $I.00 OFF eseeeeeeOOO@@@* with this entire ad $1.00 off adult eve. admission. 1 or 2 tickets. Good all features thru 2/27/86 except 0 Tues., Seniors and Late Shows. _*1 TRIP TO (DAILY BOUNTIFUL RAN 2Academy Award Nominations oHOw s Calfor show times-. record they assert their fragile in- dividualism even more. And this is only their second LP. "De Profundis (Out of the Depths of Sorrow)" is a Gregorian chant/hymn with brooding backing voices, assor- ted gong-like drums sparsely filling out the depths. Over top is Gerrard's distinctive voice, singing Latin in a very operatic style. Her style is similar to Elisabeth Fraser's of The Cocteau Twins, only she sings better, with more confidence and power. Her voice is simply angelic. This piece is the type of thing to be heard in a nor- thern Italy monastery. "Ascension" leads with minor keys brass in a beautiful combination. In the background a slow hum builds and eventually takes over. More distant voices weave in and out. Pure placidity. "Circum Radiant Dawn" is a short piece, with timpani and piano intermingling among Lisa's vocal ut- terings (in Latin I think, she's every bit as hard as Fraser to figure out). Tranquility is the leader. "The Cardinal Sin" finally kicks in with a more recognizable structure, with steady, slow drums and a con- tinual brass part. Brendan sings in his deep, clear voice, which is reminiscent of a sedate, close, and caring Ian Curtis, only with more range and cleverness. Perry's lyrics are deep and brooding, very literate, with many messages filling up the whole. "Mesmerism" finally introduces the yang chin on this record, a dulcimer- like, 58-string wonder that is either strummed or hit. This song gives Gerrard plenty of room to vocalize, and with the haunting background tribal drums and environmental hum it is a dark vision. "Enigma of the Absolute" is the best piece of subtle acoustic guitar, more steady gong-like drums, the plucked yang chin, and an amazing string arrangment. Perry's singing is fluid. The melody swells and is uplif- ting. Maybe this is an ode to heaven. .Across the sea lies the fountain of ,renewal/ Where you will see the whole cause of your loneliness. "Ad- vent" is the closest thing to a standard rock arrangement on the LP with throbbing bass, syncopated drums, and acoustic guitar. Perry sings again, and they use the formula to, perfection with a. beautiful chorus { augmented by piano. "Avatar" provides the best use of the yang chin with a great melody that is hit out on the strings. Gerrard's vocalizing is again immaculate and the bass line carries the melody well,; too. The controlled drum part is unusual but works well. "Indoc- trination (A Design For Living)" is sort of a theme song, with Perry singing his view of society Freedom, so they say/Amounts to the choices you have made! Freedom, I must say / Exists within unconditioned minds. This piece is slow and the piano dominates with a hearty arrangement. This is the culmination of all their moods and ideals on the LP. This is the best record of 1985. It has been produced by the hottest producer in Britain, John A. Rivers. It is warm, soothing and beautiful. It will endure r and it will continue to excite. 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