Ernst Mach, Chuck Yeager, And Supersonic Flight

Awesome infographic work by designer Yang Liu. Check out her book ’East Meets West’ (Amazon).

1984

George Orwell

Samurai armour.

A chart I made showing the names of the various main components of a suit of “modern samurai armour” or tosei gusoku. Tosei gusoku refers to armour worn by samurai that began to appear during the middle of the Muromachi Period (1337-1573) with the introduction of firearms.

A full suit of tosei gusoku as shown in my chart would have weighed in at around 30 kilograms or so including weapons - there is after all a considerable amount of iron plates and lacing!

Lower class samurai such as foot soldiers (ashigaru) would have carried their own rations, bedding, and other equipment, but their armour was somewhat lighter being generally less ornamented.

At this point in time, known in Japanese history as the Sengoku Period or the Warring States Period, the most common samurai weapon was the spear followed by the bow and arrow. The sword at this point in time was a secondary weapon relied upon during close combat.

The sword carried during this period was the longer, gracefully curved tachi and was worn edge down on the left side supported either by it’s own tachi mounting (tachi koshirae) or by using a special leather “sling” (koshiate) if it was mounted without hangers (ashi).

Another shorter sword called a chisagatana - literally “little sword” - was carried together with the tachi at the left hip up until the Momoyama period (1573-1603) when it was abandoned. The chisagatana was originally a throw away weapon reserved for use by conscript foot soldiers (ashigaru), but higher ranking samurai soon took up the carrying of one as a back up weapon. 

Higher ranked samurai, those in charge of troops and generals in particular, also carried a short stout blade called a metezashi at the right hip, with the handle facing forwards. This weapon was designed for extreme close combat and used to penetrate the weak spots in an opponents armour. When swords were crossed, the metezashi could be drawn with the left hand and thrust into the opponent’s armpits. It could also be drawn with the right hand and thrown underarm in an instant to distract and stun an opponent before following up with the sword.

© James Kemlo

Fuji-Ya Restaurant, Second to None

In 1968, Reiko Weston opened her new Fuji-Ya restaurant built atop the limestone foundation of a 19th-century flour mill overlooking the Mississippi River and the Stone Arch Bridge. The original Fuji-Ya restaurant operated near 8th St. and LaSalle beginning almost a decade earlier, in 1959, and served fine Japanese food including Charcoal-Broiled Teri-Yaki dinners, seafood dishes, soups, rice plates, and more. Fuji-Ya translates to “second to none” and the new restaurant offered a dining experience like no other in the Twin Cities.

Weston’s restaurant business expanded over the years with Taiga, a Chinese Szechwan restaurant in St. Anthony Main, and The Fuji International in Cedar-Riverside neighborhood, which featured Korean, Chinese, and East Indian food in addition to Japanese food. Her restaurants received numerous awards and Weston herself was named Minnesota Small Business Person of the Year in 1979.

After Reiko Weston passed away in 1988, her daughter Carol stepped in to manage. But in 1990, the City of Minneapolis bought out the historic restaurant in order to make way for the newly designed parkway. About a decade later, Fuji Ya was brought to life again in Uptown in the trendy Lyn-Lake area, where it remains today.

Recently, Fuji-Ya has gained renewed attention as the Park Board makes plans for a $12 million riverfront refresh. Plans include the teardown of the old Fuji-Ya building, expansion of green space, improved pedestrian crossings, and the addition of a new riverfront restaurant. It was announced last week that Sioux Chef owners Sean Sherman and Dana Thompson will open Owamni: An Indigenous Kitchen on the site.

Menu from the original Fuji-Ya restaurant at 814 LaSalle Ave. from the Minneapolis History Collection Menu Collection. Photos from the Star Tribune Photograph Collection at the James K. Hosmer Special Collections, Hennepin County Library.

Southeast Asia’s Ramayana Epic Versions.

The Ramayana epic is well known in many parts of Asia as the Homer’s Iliad is to the West. It is a story with many versions of the tale, told throughout South and Southeast Asia and shows the history and influence of Hinduism throughout the Southeast Asian region. Here is a list of the well known versions from different countries in SEA. Some differ and have been adapted to the local culture but all tell the same tale.

1.) Indonesia ~ Kakawin Ramayana

Kakawin Ramayana is an Old Javanese rendering of the Sanskrit Ramayana in kakawin meter. It is believed to have been written in Central Java (modern Indonesia) in approximately 870 AD during the era of Medang Kingdom. Kakawin Rāmâyaṇa is a so-called kakawin, the Javanese form of kāvya, a poem modeled on traditional Sanskrit meters. Among the Javanese, Kakawin Ramayana has always been considered the pinnacle of artistic expression. The large number of preserved manuscripts attest to it popularity and adaptation. It is the lengthiest of all the Old Javanese kakawins of the Hindu-Buddhist period of Java.

2.) Myanmar ~ Yama Zatdaw

Yama Zatdaw is the Burmese version of the Ramayana. There are nine known pieces of the Yama Zatdaw in Myanmar. The Burmese name for the story itself is Yamayana, while zatdaw refers to the acted play or being part of jataka tales of Theravada Buddhism. The Yama Zatdaw was introduced by oral tradition during King Anawratha’s reign although it was not known clearly whether the story was Valmiki’s Sanskrit epic Ramayana or not. In the Nathlaung Temple, the Visnu temple, within the walls of old city Bagan, there are some stone sculptures, one of which is Ramachandra. Based on Burmese literature, at least, Hanuman has been known in Burma definitely before 1527 AD.

3) Thailand ~ Ramakien

The Ramakien (รามเกียรติ์, “Glory of Rama”, sometimes also spelled Ramakien) is Thailand’s national epic, derived from the Hindu epic Ramayana. The word is derived from Sanskrit word Ramakhyan (Ram + Akhyan) where Akhyan means a long story or epic. A number of versions of the epic were lost in the destruction of Ayutthaya in 1767. Three versions currently exist, one of which was prepared in 1797 under the supervision of (and partly written by) King Rama I. His son, Rama II, rewrote some parts of his father’s version for khon drama. The work has had an important influence on Thai literature, art and drama (both the khon and nang dramas being derived from it). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography, and elements of nature, which are described as being Thai in style. Although Thailand is considered a Theravada Buddhist society, the Hindu mythology latent in the Ramakien serves to provide Thai legends with a creation myth, as well as representations of various spirits which complement beliefs derived from Thai animism. A painted representation of the Ramakian is displayed at Bangkok’s Wat Phra Kaew, and many of the statues there depict characters from it.

4.) Philippines ~ Darangen

The Philippines is one of the last places in Southeast Asia where most people wouldn’t expect influences of Hinduism & Buddhism in the culture and country. Yet despite heavy colonization and Westernization, many parts of the Philippines were Indianized and practiced a form of Hinduism & Buddhism as the rest of Southeast Asia. Traces of that history can still be found in artifacts recovered and in epics. One such epic is the Darangen of the Maranao. Darangen comes from two root words, meaning “to narrate in song.” The Darangen was first told in the fourteenth century A.D. The Darangen Epic of the Maranaos, including the Maharadia Rawana, is an indigenized version of the Ramayana. Most people believe that the popular traditional Singkil dance  is indigenous to the Maguindanao ethnic group or to the Maranao ethnic group in Mindanao or both. But in fact, the Singkil is a Maguindanao and Maranao interpretation of the Ramayana epic, as retold in the Darangen Epic, where the original polytheistic accounts were restated and transformed to conform to monotheistic Islam to which the Maranaos and Maguindanaos adhere. Note,however, that the Singkil is not religious and it is not Muslim. It is a secular dance of the Maranaos and the Maguindanaos, the majority of whom are Muslims.

5.) Laos ~ Phra Lak Phra Lam

Phra Lak Phra Ram is the national epic of the Lao people, and is adapted from Valmiki’s Hindu epic, the Ramayana. Similar to some Malay versions of the Hikayat Seri Rama, the epic has lost the association with Hinduism and is instead considered a Jataka Story, a previous lifetime of the Buddha. It is also very popular in Northeastern Thailand, or Isan, a region of Thailand mostly populated by ethnic Lao and formerly part of Lanxang.

6.) Malaysia ~ Hikayat Seri Rama

Hikayat Seri Rama is the Malay literary adaptation of the Hindu Ramayana epic. The main story remains the same as the original Sanskrit version but some aspects of it were slightly modified to a local context such as the spelling and pronunciation of names. Numerous branch stories had also been developed as accretions to or extensions of this epic with the upgrading of minor characters to major ones, or the invention of totally new characters. For example, Malay writers and storytellers have produced variations in which Laksmana (Lakshman) plays a larger role, sometimes becoming more important than Rama the elder prince much like the Lao Phra Lak Phra Lam. Rama, although righteous and virtuous, was perceived to be weak and his character is often moved to the background while the younger Laksmana is admired for his courage and willingness to react decisively.

7.) Cambodia ~ Reamker

Reamker is a Cambodian epic poem, based on the Sanskrit’s Ramayana epic. The name means “Glory of Rama”. It adapts the Hindu ideas to Buddhist themes and shows the balance of good and evil in the world. More than just a reordering of the epic tale, the Reamker is a mainstay of the royal ballet’s repertoire. Like the Ramayana, it is a philosophical allegory, exploring the ideals of justice and fidelity as embodied by the protagonists, Prince Rama and Queen Sita. The epic is well known among the Khmer people for its portrayal in Khmer dance theatre, called the Lkhaon, in various festivals across Cambodia. Scenes from the Reamker are painted on the walls of the Royal Palace in Khmer style, and its predecessor is carved into the walls of the Angkor Wat and Banteay Srei temples. It is considered an integral part of Cambodian culture. The Reamker differs from the original Ramayana in some ways, featuring additional scenes and emphasis on Hanuman and Sovanna Maccha. In the Reamker, issues of trust, loyalty, love, and revenge play out in dramatic encounters among princes and giants, monkeys and mermaids, and a forlorn princess. Though it is understood that Preah Ream is an incarnation of the Hindu god Vishnu, his characteristics and those of the others in the story are interpreted in Cambodia as those of mere mortals, not of the gods as is the case in India. The complex interplay of strengths and weaknesses, though couched in episodes lined with magic, nonetheless represents a decidedly human social behavior.

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Which Shakespeare Play Should I See?

This coming Saturday is the 400th anniversary of Shakespeare’s death! Not sure what Shakespeare play you should see or read to commemorate the occasion? No worries! I’ve put together a little flowchart to help you make up your mind.

HAPPY SHAKESPEARE-ING, EVERYONE!

Can the brain feel it? The world’s smallest extracellular needle-electrodes

A research team in the Department of Electrical and Electronic Information Engineering and the Electronics-Inspired Interdisciplinary Research Institute (EIIRIS) at Toyohashi University of Technology developed 5-μm-diameter needle-electrodes on 1 mm × 1 mm block modules. This tiny needle may help solve the mysteries of the brain and facilitate the development of a brain-machine interface. The research results were reported in Scientific Reports on Oct 25, 2016.

(Image caption: Extracellular needle-electrode with a diameter of 5 μm mounted on a connector)

The neuron networks in the human brain are extremely complex. Microfabricated silicon needle-electrode devices were expected to be an innovation that would be able to record and analyze the electrical activities of the microscale neuronal circuits in the brain.

However, smaller needle technologies (e.g., needle diameter < 10 μm) are necessary to reduce damage to brain tissue. In addition to the needle geometry, the device substrate should be minimized not only to reduce the total amount of damage to tissue but also to enhance the accessibility of the electrode in the brain. Thus, these electrode technologies will realize new experimental neurophysiological concepts.

A research team in the Department of Electrical and Electronic Information Engineering and the EIIRIS at Toyohashi University of Technology developed 5- μm-diameter needle-electrodes on 1 mm × 1 mm block modules.

The individual microneedles are fabricated on the block modules, which are small enough to use in the narrow spaces present in brain tissue; as demonstrated in the recording using mouse cerebrum cortices. In addition, the block module remarkably improves the design variability in the packaging, offering numerous in vivo recording applications.

“We demonstrated the high design variability in the packaging of our electrode device, and in vivo neuronal recordings were performed by simply placing the device on a mouse’s brain. We were very surprised that high quality signals of a single unit were stably recorded over a long period using the 5-μm-diameter needle,” explained the first author, Assistant Professor Hirohito Sawahata, and co-author, researcher Shota Yamagiwa.

The leader of the research team, Associate Professor Takeshi Kawano said: “Our silicon needle technology offers low invasive neuronal recordings and provides novel methodologies for electrophysiology; therefore, it has the potential to enhance experimental neuroscience.” He added, “We expect the development of applications to solve the mysteries of the brain and the development of brain–machine interfaces.”

Survivorship Bias

I have posted about survivorship bias and how it affects your career choices: how a Hollywood actor giving the classic “follow your dreams and never give up” line is bad advice and is pure survivorship bias at work.

When I read up on the wikipedia page, I encountered an interesting story:

During WWII the US  Air Force wanted to minimize bomber losses to enemy fire. The Center for Naval Analyses ran a research on where bombers tend to get hit with the explicit aim of enforcing the parts of the airframe that is most likely to receive incoming fire. This is what they came up with:

So, they said: the red dots are where bombers are most likely to be hit, so put some more armor on those parts to make the bombers more resilient. That looked like a logical conclusion, until Abraham Wald - a mathematician - started asking questions: 

- how did you obtain that data? - well, we looked at every bomber returning from a raid, marked the damages on the airframe on a sheet and collected the sheets from all allied air bases over months. What you see is the result of hundreds of those sheets. - and your conclusion? - well, the red dots are where the bombers were hit. So let’s enforce those parts because they are most exposed to enemy fire.  - no. the red dots are where a bomber can take a hit and return. The bombers that took a hit to the ailerons, the engines or the cockpit never made it home. That’s why they are absent in your data. The blank spots are exactly where you have to enforce the airframe, so those bombers can return.

This is survivorship bias. You only see a subset of the outcomes. The ones that made it far enough to be visible. Look out for absence of data. Sometimes they tell a story of their own.

BTW: You can see the result of this research today. This is the exact reason the A-10 has the pilot sitting in a titanium armor bathtub and has it’s engines placed high and shielded.

(Image caption: If this picture makes you feel uncomfortable, you feel empathic pain. This sensation activates the same brain regions as real pain. © Kai Weinsziehr for MPG)

The anatomy of pain

Grimacing, we flinch when we see someone accidentally hit their thumb with a hammer. But is it really pain we feel? Researchers at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig and other institutions have now proposed a new theory that describes pain as a multi-layered gradual event which consists of specific pain components, such as a burning sensation in the hand, and more general components, such as negative emotions. A comparison of the brain activation patterns during both experiences could clarify which components the empathic response shares with real pain. 

Imagine you’re driving a nail into a wall with a hammer and accidentally bang your finger. You would probably injure finger tissue, feel physical distress, focus all your attention on your injured finger and take care not to repeat the misfortune. All this describes physical and psychological manifestations of “pain” – specifically, so-called nociceptive pain experienced by your body, which is caused by the stimulation of pain receptors.

Now imagine that you see a friend injure him or herself in the same way. You would again literally wince and feel pain, empathetic pain in this case. Although you yourself have not sustained any injury, to some extent you would experience the same symptoms: You would feel anxiety; you may recoil to put distance between yourself and the source of the pain; and you would store information about the context of the experience in order to avoid pain in the future.

Activity in the brain

Previous studies have shown that the same brain structures – namely the anterior insula and the cingulate cortex – are activated, irrespective of whether the pain is personally experienced or empathetic. However, despite this congruence in the underlying activated areas of the brain, the extent to which the two forms of pain really are similar remains a matter of considerable controversy.

To help shed light on the matter, neuroscientists, including Tania Singer, Director at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig, have now proposed a new theory: “We need to get away from this either-or question, whether the pain is genuine or not.”

Instead, it should be seen as a complex interaction of multiple elements, which together form the complex experience we call “pain”. The elements include sensory processes, which determine, for example, where the pain stimulus was triggered: in the hand or in the foot? In addition, emotional processes, such as the negative feeling experienced during pain, also come into play. “The decisive point is that the individual processes can also play a role in other experiences, albeit in a different activation pattern,” Singer explains – for example, if someone tickles your hand or foot, or you see images of people suffering on television. Other processes, such as the stimulation of pain receptors, are probably highly specific to pain. The neuroscientists therefore propose comparing the elements of direct and empathetic pain: Which elements are shared and which, by contrast, are specific and unique to the each form of pain?

Areas process general components

A study that was published almost simultaneously by scientists from the Max Planck Institute for Human Cognitive and Brain Sciences and the University of Geneva has provided strong proof of this theory: They were able to demonstrate for the first time that during painful experiences the anterior insula region and the cingulate cortex process both general components, which also occur during other negative experiences such as disgust or indignation, and specific pain information – whether the pain is direct or empathic.

The general components signal that an experience is in fact unpleasant and not joyful. The specific information, in turn, tells us that pain – not disgust or indignation – is involved, and whether the pain is being experienced by you or someone else. “Both the nonspecific and the specific information are processed in parallel in the brain structures responsible for pain. But the activation patterns are different,” says Anita Tusche, also a neuroscientist at the Max Planck Institute in Leipzig and one of the authors of the study.

Thanks to the fact that our brain deals with these components in parallel, we can process various unpleasant experiences in a time-saving and energy-saving manner. At the same time, however, we are able register detailed information quickly, so that we know exactly what kind of unpleasant event has occurred – and whether it affects us directly or vicariously. “The fact that our brain processes pain and other unpleasant events simultaneously for the most part, no matter if they are experienced by us or someone else, is very important for social interactions,” Tusche says, “because it helps to us understand what others are experiencing.”

David Bowie (1947-2016) at Kyoto - Japan - 1980

Photos by Sukita Masayoshi 鋤田 正義