Maritime Applications for Machine Learning and Data Science

Maritime Applications for Machine Learning and Data Science    As data collection and analysis seeps into the conservative maritime industry we are beginning to see cracks in this grand old system based on tradition and trial and error. When I say old, I don’t mean the 1980’s or even the 1880’s. Opinions vary on the exact time shipping became modern as any sailor or longshoreman would recognize today. When the English and Dutch began standardizing shipping practices between their two countries to increase safety and profit the practices soon spread. This was happening in the late 1600’s and if you wanted to be part of the shipping economy you looked to the English, Dutch, and to a lesser extent, the Spanish. Today we can see another example of this technology clustering having a lasting effect on a growing industry. Starting in the 1960’s California became the place to be if you were a part of the new generation of electronics companies. Standards were set and the jargon and culture of Silicon Valley we have today is a direct result of this small but powerful geographic area. In addition to soft concepts like jargon, deep architectural standards like eight digit binary numbers were solidified. The same sorts of transactions and relationships were also true of shipping as it became a standardized business. Global shipping today represents many cultures and values and it must be responsive in the era of pervasive media and digital content, or it will be demonized and lose the minimal goodwill available to a largely invisible industry. Yet when they see a good idea, which is one that will save money, it is quickly adopted by the upper levels of management. Workers are sometimes resistant to change for fear of job loss. Both of these behaviors occurred when the intermodal shipping container was introduced in the 1950’s as a cost saving measure. Automation of ships and ports will be a much more difficult journey than the one fought by the proponents of the modular container in the early days. Job loss among longshoremen was real and the sealed container ended the common practice of pilfering some of the cargo. This was common, and still happens occasionally today, with some Masters sanctioning the activity. The fact was it took much less labor to load a ship with large boxes than it did individual sacks or grain or crates of equipment that varied in size and weight. Automated ships and ports will eliminate some jobs that are hazardous or dirty and most people will not miss this kind of work. Jobs that have a high value are a different story. A totally autonomous ship is in the future and that means less risk for deck hands while increasing profits substantially for ship owners. The savings are similar to autonomous car savings, less risk, less insurance costs, more efficient operation, better traffic management, and elimination of human error.    The elimination of human error on the operational level is important since most accidents happen because of failure due to poor design or human error in some aspect of vessel operation. Machine learning is giving us insights into the marine world we never had before, and some of the revelations are contrary to accepted beliefs. A good example of this is the Digital Deck product for commercial fishermen that was developed by the company Point 97. Digital tracking of fishery data collected by fishermen in their daily operation led to discoveries local regulators used to manage fish stocks and reduce the resources needed to search for illegal fishing activity. Automatic importing of data allows for near real-time insights not only for regulators, but also fishermen. Now a new class of data is emerging with the announcement from MIT that they have developed an algorithm that monitors wave data in order to predict rouge wave formation. Rouge wave are giant and often deadly waves that form in the open sea where two wave fields combine. Rouge waves are often in the form of a peak and not a long running wave like those produced by tsunami. This is a new class of data because it needs quick action to work. Automatic avoidance systems are not generally accepted and permission to change course could take minutes. Rouge waves form and do their damage quickly so the best use of this data is in an automatic system that will change course or turn to face the wave bow-on. This will make mariners uncomfortable but the alternative is worse. Classification societies, insurers, and regulators all stand in the way of more automation but like self-driving cars, they will be accepted because of greater convenience and cost savings. We have already reached a point where there is too much data for one human to absorb. All that data on the helm displays can be better managed by computers which already run many parts of a modern ship. The few sailors that do remain on ships of the future will likely be technicians with few hands on duties unless automated maintenance and repair systems fail.

Analysis of Yasmina Rezas Play God of Carnage

Analysis of Yasmina Reza's Play 'God of Carnage' Conflict and human nature when presented with it, are the predominant themes of Yasmina Rezas play God of Carnage.  Well-written and a display of fascinating character development, this play gives the audience an opportunity to witness the verbal battles of two families and their complex personalities. An Introduction to God of Carnage God of Carnage is written by Yasmina Reza, an award-winning playwright.   Rezas  other notable plays include Art  and Life x 3.  Author Christopher Hampton translated her play from French into English.  In 2011, it was made into a film  titled Carnage, directed by Roman Polanski. The plot of God of Carnage  begins with  an 11-year-old boy (Ferdinand) who strikes another boy (Bruno) with a stick, thereby knocking out two front teeth. The parents of each boy meet. What begins as a civil discussion ultimately devolves into a yelling match. Overall, the story is well-written and it is an interesting play that many people will enjoy. Some of the highlights for this reviewer include: Realistic dialogueBelievable charactersInsightful satireSubtle / vague ending Theater of Bickering Most people arent fans of ugly, angry, pointless arguments - at least not in real life. But, not surprisingly, these types of arguments are a theater staple, and with good reason. Obviously, the stationary nature of the stage means that most playwrights will generate a physically sedentary conflict that can be sustained in a single setting. Pointless bickering is perfect for such an occasion. Also, a tense argument reveals multiple layers of a character: emotional buttons are pressed and  boundaries are assaulted. For an audience member, there is a dark voyeuristic pleasure in watching the verbal battle which unfolds during Yasmina Rezas God of Carnage. We get to watch the characters unravel their dark sides, despite their diplomatic intentions. We get to behold adults who act like rude, petulant children. However, if we watch closely, we might see a bit of ourselves. The Setting The entire play takes place at the home of the Houllie family. Originally set in modern Paris, subsequent productions of God of Carnage  set the play in other urban locations such as London and New York. The Characters Although we spend a short time with these four characters (the play runs about 90 minutes with no breaks or scene changes), playwright Yasmina Reza creates each with a sprinkling of commendable traits and questionable moral codes. Veronique Houllie  (Veronica in American productions)Michel Houllie  (Michael in American productions)Annette ReilleAlain Reille  (Alan in American productions) Veronique Houllie At first, she seems like the most benevolent of the bunch. Instead of resorting to litigation regarding her son Brunos injury, she believes that they can all come to an agreement about how Ferdinand should make amends for his attack. Of the four principles, Veronique exhibits the strongest desire for harmony. She is even writing a book about the atrocities of Darfur. Her flaws lie in her overly judgmental nature. She wants to instill a sense of shame in Ferdinands parents (Alain and Annette Reille) hoping they will, in turn, instill a deep sense of regret in their son. About forty minutes into their encounter, Veronique decides that Alain and Annette are terrible parents and miserable people in general, yet throughout the play, she still attempts to maintain her crumbling facade of civility. Michel Houllie At first, Michel seems eager to create peace between the two boys and perhaps even bond with the Reilles. He offers them food and drink. He is quick to agree with the Reilles, even making light of the violence, commenting on how he was a leader of his own gang during his childhood (as was Alain). As the conversation progresses, Michel reveals his uncouth nature. He makes racial slurs about the Sudanese people whom his wife is writing about. He denounces child-raising as a wasteful, grueling experience. His most controversial action (which takes place before the play) has to do with his daughters pet hamster. Because of his fear of rodents, Michel released the hamster in the streets of Paris, even though the poor creature was terrified and clearly wanted to be kept at home. The rest of the adults are disturbed by his actions, and the play concludes with a phone call from his young daughter, crying over the loss of her pet. Annette Reille Ferdinands mother is constantly on the brink of a panic attack. In fact, she vomits twice during the course of the play (which must have been unpleasant for the actors each night). Like Veronique, she wants resolution and believes at first that communication can ameliorate the situation between the two boys. Unfortunately, the pressures of motherhood and household have eroded her self-confidence. Annette feels abandoned by her husband who is eternally preoccupied with work. Alain is glued to his cell phone throughout the play  until Annette finally loses control and drops the phone into a vase of tulips. Annette is the most physically destructive of the four characters. In additional to ruining her husbands new phone, she intentionally smashes the vase at the end of the play. (And her vomit incident spoils some of Veroniques books and magazines, but that was accidental.) Also, unlike her husband, she defends her childs violent actions by pointing out that Ferdinand was verbally provoked and out-numbered by the gang of boys. Alain Reille Alain might be the most stereotypical character of the group in that he is modeled after other slimy lawyers from countless other stories. He is the most openly rude because he frequently interrupts their meeting by talking on his cell phone.  His law firm represents a pharmaceutical company that is about to be sued because one of their new products causes dizziness and other negative symptoms. He claims that his son is a savage and doesnt see any point in trying to change him. He seems the most sexist of the two men, often implying that women have a host of limitations. On the other hand, Alain is in some ways the most honest of the characters. When Veronique and Annette claim that people must show compassion toward their fellow man, Alain becomes philosophical, wondering if anyone can truly care for others, implying that individuals will always act out of self-interest. Men vs. Women While much of the plays conflict is between the Houllies and the Reilles, a battle of the sexes is also interwoven throughout the storyline. Sometimes a female character makes a disparaging claim about her husband and the second female will chime in with her own critical anecdote. Likewise, the husbands will make snide comments about their family life, creating a bond (albeit a fragile one) between the males. Ultimately, each of the characters turns on the other so that by the plays end everyone seems emotionally isolated.