Question: Gary Barlow OBE (born 20 January 1971) is an English singer, songwriter and record producer. He is best known as the lead singer of the British pop group Take That. Barlow also served as head judge of The X Factor UK in 2011, 2012 and 2013 and Let It Shine in 2017. Barlow is one of Britain's most successful songwriters, having written fourteen number one singles and twenty-four top 10 hits.

On 25 June 2013, it was announced that Barlow had been signed up to work on a new musical version of Finding Neverland and will co-write the score for the theatre project, which is being developed by Hollywood producer Harvey Weinstein. Barlow said of the project: "This is something I've always wanted to do so it's a real privilege to be involved. I'm really enjoying working with the team and I love the story; it's also great to be working with a legendary creative like Harvey Weinstein." Weinstein echoed the sentiment by expressing his admiration for Barlow, whom he described as "one of the finest songwriters in the world".  On 1 March 2014, Barlow attended the Bob and Harvey Weinstein's pre-Academy Awards party at the Montage in Beverly Hills to perform a selection of songs from the musical score he had written for Finding Neverland. He played the lead role of Peter Pan author J. M. Barrie, and sung a duet with noted British musical actress Laura Michelle Kelly along with four back-up artists featured in the Oscar-nominated documentary 20 Feet from Stardom. Barlow's performance was well received, and after a successful performance run in Boston, Finding Neverland opened on Broadway in spring 2015. On its first Broadway preview, the show sold out the theatre and posted a box office performance that, if it continued for a whole week of performances, would have seen the show top $1 million.  Gary has also co-written a musical alongside hometown friend Tim Firth, titled The Girls, which opened at the Phoenix Theatre, London in January 2017.

Using a quote from the above article, answer the following question: what was the new musical?
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Answer: Finding Neverland


Question: Bruno Latour (French: [latuR]; born 22 June 1947) is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies (STS). After teaching at the Ecole des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006-2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017.

In a 2004 article, Latour questioned the fundamental premises on which he had based most of his career, asking, "Was I wrong to participate in the invention of this field known as science studies?" He undertakes a trenchant critique of his own field of study and, more generally, of social criticism in contemporary academia. He suggests that critique, as currently practiced, is bordering on irrelevancy. To maintain any vitality, Latour argues that social critiques require a drastic reappraisal: "our critical equipment deserves as much critical scrutiny as the Pentagon budget." (p. 231) To regain focus and credibility, Latour argues that social critiques must embrace empiricism, to insist on the "cultivation of a stubbornly realist attitude -- to speak like William James". (p. 233)  Latour suggests that about 90% of contemporary social criticism displays one of two approaches which he terms "the fact position and the fairy position." (p. 237) The fairy position is anti-fetishist, arguing that "objects of belief" (e.g., religion, arts) are merely concepts created by the projected wishes and desires of the "naive believer"; the "fact position" argues that individuals are dominated, often covertly and without their awareness, by external forces (e.g., economics, gender). (p. 238) "Do you see now why it feels so good to be a critical mind?" asks Latour: no matter which position you take, "You're always right!" (p. 238-239) Social critics tend to use anti-fetishism against ideas they personally reject; to use "an unrepentant positivist" approach for fields of study they consider valuable; all the while thinking as "a perfectly healthy sturdy realist for what you really cherish." (p. 241) These inconsistencies and double standards go largely unrecognized in social critique because "there is never any crossover between the two lists of objects in the fact position and the fairy position." (p. 241)  The practical result of these approaches being taught to millions of students in elite universities for several decades is a widespread and influential "critical barbarity" that has--like a malign virus created by a "mad scientist"--thus far proven impossible to control. Most troubling, Latour notes that critical ideas have been appropriated by those he describes as conspiracy theorists, including global warming skeptics and the 9/11 Truth movement: "Maybe I am taking conspiracy theories too seriously, but I am worried to detect, in those mad mixtures of knee-jerk disbelief, punctilious demands for proofs, and free use of powerful explanation from the social neverland, many of the weapons of social critique." (p. 230)  The conclusion of the article is to argue for a positive framing of critique, to help understand how matters of concern can be supported rather than undermined: "The critic is not the one who lifts the rugs from under the feet of the naive believers, but the one who offers the participants arenas in which to gather. The critic is not the one who alternates haphazardly between antifetishism and positivism like the drunk iconoclast drawn by Goya, but the one for whom, if something is constructed, then it means it is fragile and thus in great need of care and caution."

Using a quote from the above article, answer the following question: Was anyone critical of Bruno's ideas on this?
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Answer: