input: Gene Roddenberry told Brent Spiner that over the course of the series, Data was to become "more and more like a human until the end of the show, when he would be very close, but still not quite there. That was the idea and that's the way that the writers took it." Spiner felt that Data exhibited the Chaplinesque characteristics of a sad, tragic clown. To get into his role as Data, Spiner used the character of Robby the Robot from the film Forbidden Planet as a role model.  Commenting on Data's perpetual albino-like appearance, he said: "I spent more hours of the day in make-up than out of make-up", so much so that he even called it a way of method acting. Spiner also portrayed Data's manipulative and malignant brother Lore (a role he found much easier to play, because the character was "more like me"), and Data's creator, Dr. Noonien Soong. Additionally, he portrayed another Soong-type android, B-4, in the film Star Trek Nemesis, and also one of Soong's ancestors in three episodes of Star Trek: Enterprise. Spiner said his favorite Data scene takes place in "Descent", when Data plays poker on the holodeck with a re-creation of the famous physicist Stephen Hawking, played by Hawking himself.  Spiner reprised his role of Data in the Star Trek: Enterprise series finale "These Are the Voyages..." in an off-screen speaking part. Spiner felt that he had visibly aged out of the role and that Data was best presented as a youthful figure.

Answer this question "is there anything interesting about the development?"
output: To get into his role as Data, Spiner used the character of Robby the Robot

input: By 1976, her marriage had ended, and she released an album of new material, Smile. She then embarked on a four-month tour with a full band, which resulted in the 1977 live album Season of Lights.  After the 1978 album Nested, recorded when she was pregnant with her only child, she again took a break from recording, this time until 1984's Mother's Spiritual. She began touring with a band in 1988, her first concert appearances in 10 years. The tour was dedicated to the animal rights movement. The shows led to her 1989 release, Laura: Live at the Bottom Line, which included six new compositions.  Her final album of predominantly original material, Walk the Dog and Light the Light (1993), her last album for Columbia, was co-produced by Gary Katz, best known for his work with Steely Dan. The release sparked reappraisal of her place in popular music, and new commercial offers began appearing. She turned down lucrative film-composing offers, although she contributed a rare protest song to the Academy Award-winning documentary Broken Rainbow, about the unjust relocation of the Navajo people.  Nyro performed increasingly in the 1980s and 1990s with female musicians, including her friend Nydia "Liberty" Mata, a drummer, and several others from the lesbian-feminist women's music subculture, such as members of the band Isis. During this period, Nyro made appearances at such venues as the 1989 Michigan Womyn's Music Festival and the 1989 Newport Folk Festival, of which a CD containing portions of her performance was released. On July 4, 1991, she opened for Bob Dylan at the Tanglewood Music Center in Lenox, Massachusetts. Among her last performances were at Union Chapel, Islington, London, England in November 1994; The New York Bottom Line Christmas Eve Show in 1994; and at McCabe's in Los Angeles February 11 and 12, 1995.  Both The Tonight Show and the Late Show with David Letterman staffs heavily pursued Nyro for a TV appearance during this period, yet she turned them down as well, citing her discomfort with appearing on television (she made only a handful of early TV appearances and one fleeting moment on VH-1 performing the title song from Broken Rainbow on Earth Day in 1990). According to producer Gary Katz, she also turned down a request to be the musical guest on the fall 1993 season opener of Saturday Night Live. She never released an official video, although there was talk of filming some The Bottom Line appearances in the 1990s.

Answer this question "Are there any other interesting aspects about this article?"
output: According to producer Gary Katz, she also turned down a request to be the musical guest on the fall 1993 season opener of Saturday Night Live.

input: During his years at Saint Louis University (1937-1944), McLuhan worked concurrently on two projects: his doctoral dissertation and the manuscript that was eventually published in 1951 as the book The Mechanical Bride: Folklore of Industrial Man, which included only a representative selection of the materials that McLuhan had prepared for it.  McLuhan's 1942 Cambridge University doctoral dissertation surveys the history of the verbal arts (grammar, logic, and rhetoric--collectively known as the trivium) from the time of Cicero down to the time of Thomas Nashe. In his later publications, McLuhan at times uses the Latin concept of the trivium to outline an orderly and systematic picture of certain periods in the history of Western culture. McLuhan suggests that the Middle Ages, for instance, was characterized by the heavy emphasis on the formal study of logic. The key development that led to the Renaissance was not the rediscovery of ancient texts but a shift in emphasis from the formal study of logic to rhetoric and language. Modern life is characterized by the re-emergence of grammar as its most salient feature--a trend McLuhan felt was exemplified by the New Criticism of Richards and Leavis.  In The Mechanical Bride, McLuhan turned his attention to analysing and commenting on numerous examples of persuasion in contemporary popular culture. This followed naturally from his earlier work as both dialectic and rhetoric in the classical trivium aimed at persuasion. At this point his focus shifted dramatically, turning inward to study the influence of communication media independent of their content. His famous aphorism "the medium is the message" (elaborated in his 1964 book, Understanding Media: The Extensions of Man) calls attention to this intrinsic effect of communications media.  McLuhan also started the journal Explorations with anthropologist Edmund "Ted" Carpenter. In a letter to Walter Ong dated May 31, 1953, McLuhan reported that he had received a two-year grant of $43,000 from the Ford Foundation to carry out a communication project at the University of Toronto involving faculty from different disciplines, which led to the creation of the journal.  At a Fordham lecture in 1999, Tom Wolfe suggested that a major under-acknowledged influence on McLuhan's work is the Jesuit philosopher Pierre Teilhard de Chardin whose ideas anticipated those of McLuhan, especially the evolution of the human mind into the "noosphere". In fact, McLuhan warns against outright dismissing or whole-heartedly accepting de Chardin's observations early on in his first published book The Mechanical Bride (p. 32): "This externalization of our senses creates what de Chardin calls the 'noosphere' or a technological brain for the world. Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as in an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and super-imposed co-existence."

Answer this question "What are some of McLuhan's major works?"
output:
the manuscript that was eventually published in 1951 as the book The Mechanical Bride: Folklore of Industrial Man,