Question: Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.

Zhang Heng's mechanical inventions influenced later Chinese inventors such as Yi Xing, Zhang Sixun, Su Song, and Guo Shoujing. Su Song directly named Zhang's water-powered armillary sphere as the inspiration for his 11th-century clock tower. The cosmic model of nine points of Heaven corresponding with nine regions of earth conceived in the work of the scholar-official Chen Hongmou (1696-1771) followed in the tradition of Zhang's book Spiritual Constitution of the Universe. The seismologist John Milne, who created the modern seismograph in 1876 alongside Thomas Gray and James A. Ewing at the Imperial College of Engineering in Tokyo, commented in 1886 on Zhang Heng's contributions to seismology. The historian Joseph Needham emphasized his contributions to pre-modern Chinese technology, stating that Zhang was noted even in his day for being able to "make three wheels rotate as if they were one." More than one scholar has described Zhang as a polymath. However, some scholars also point out that Zhang's writing lacks concrete scientific theories. Comparing Zhang with his contemporary, Ptolemy (83-161) of Roman Egypt, Jin Guantao, Fan Hongye, and Liu Qingfeng state:  Based on the theories of his predecessors, Zhang Heng systematically developed the celestial sphere theory. An armillary constructed on the basis of his hypotheses bears a remarkable similarity to Ptolemy's earth-centered theory. However, Zhang Heng did not definitely propose a theoretical model like Ptolemy's earth-centered one. It is astonishing that the celestial model Zhang Heng constructed was almost a physical model of Ptolemy's earth-centered theory. Only a single step separates the celestial globe from the earth-centered theory, but Chinese astronomers never took that step.  Here we can see how important the exemplary function of the primitive scientific structure is. In order to use the Euclidean system of geometry as a model for the development of astronomical theory, Ptolemy first had to select hypotheses which could serve as axioms. He naturally regarded circular motion as fundamental and then used the circular motion of deferents and epicycles in his earth-centered theory. Although Zhang Heng understood that the sun, moon and planets move in circles, he lacked a model for a logically structured theory and so could not establish a corresponding astronomical theory. Chinese astronomy was most interested in extracting the algebraic features of planetary motion (that is, the length of the cyclic periods) to establish astronomical theories. Thus astronomy was reduced to arithmetic operations, extracting common multiples and divisors from the observed cyclic motions of the heavenly bodies.

Using a quote from the above article, answer the following question: what was his greatest accomplishment?
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Answer: It is astonishing that the celestial model Zhang Heng constructed was almost a physical model of Ptolemy's earth-centered theory.


Question: Phillips was born Holly Michelle Gilliam in Long Beach, California, the second child of Joyce Leon (nee Poole), an accountant, and Gardner Burnett Gilliam, a merchant mariner. She has one older sister. Phillips's mother died of a brain aneurysm when Michelle was five years old. Between the ages of six and twelve, Phillips was raised in Mexico City, Mexico, where her father was studying sociology on the GI Bill at Mexico City College.

In 1977, Phillips released her first and only solo album, Victim of Romance, produced by Jack Nitzsche for A&M Records. Commenting on the record, she said: "I didn't do it earlier because I never felt secure enough as a vocalist. I'm good, but Cass was always better." Phillips also commented on her involvement in its production, saying that she had been involved in "every aspect, from mixing to putting together the package and cover myself." Her first two solo singles from the album failed to make the U.S. music charts.  The same year, she sang backup vocals with former stepdaughter Mackenzie Phillips on Zulu Warrior, for her ex-husband's second solo album, Pay Pack & Follow. The same year, she starred as Rudolph Valentino's second wife Natacha Rambova in Ken Russell's film Valentino (1977). The film received mixed reviews, with Time Out London saying: "Structured as a series of flashbacks from Valentino's funeral to his early years in America, the first hour or so of this biopic is Russell's sanest and most controlled work in several years, despite its hollow cynicism."  In 1979, she appeared in the film adaptation of the Sidney Sheldon novel Bloodline (1979), a thriller starring Audrey Hepburn and Ben Gazzara. Released in June 1979, Bloodline received negative reviews from critics, and Phillips's performance (along with those of James Mason and Maurice Ronet) was criticized by Variety as being "drab." The same year, she recorded the song Forever for the movie soundtrack of California Dreaming the same year, a surf film that had nothing to do with her former group.  Her other film credits during this period include roles in The Man with Bogart's Face (1980), Savage Harvest (1981) and American Anthem (1986). On television, Phillips played the mermaid princess Nyah in three episodes of Fantasy Island, and Leora Van Treas in Mike Hammer: Murder Takes All starring Stacy Keach in the title role, and appeared in TV miniseries such as Aspen (1977) and The French Atlantic Affair (1979). She has made guest appearances on series such as Spin City and Star Trek: The Next Generation (where she appeared in the episode We'll Always Have Paris as a former love-interest of Jean-Luc Picard). From 1983-1986 she joined the cast of Hotel as the concierge, the daughter of hotel owner Victoria Cabot's rival, who plants his daughter as a spy to further his aim of acquiring control of the St. Gregory.

Using a quote from the above article, answer the following question: were there any other co-stars?
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Answer:
Phillips's performance (along with those of James Mason and Maurice Ronet) was criticized by Variety as being "drab."