Problem: Background: Cary Grant (born Archibald Alec Leach; January 18, 1904 - November 29, 1986) was an English-American actor, known as one of classic Hollywood's definitive leading men. He began a career in Hollywood in the early 1930s, and became known for his transatlantic accent, debonair demeanor, and light-hearted approach to acting and sense of comic timing. He became an American citizen in 1942. Born in Horfield, Bristol, Grant became attracted to theatre at a young age, and began performing with a troupe known as "The Penders" from the age of six.
Context: Stirling refers to Grant as "one of the shrewdest businessmen ever to operate in Hollywood". His long-term friendship with Howard Hughes from the 1930s onward saw him invited into the most glamorous circles in Hollywood and their lavish parties. Biographers Morecambe and Stirling state that Hughes played a major role in the development of Grant's business interests, so that by 1939, he was "already an astute operator with various commercial interests". Scott also played a role, encouraging Grant to invest his money in shares, making him a wealthy man by the end of the 1930s. In the 1940s, Grant and Barbara Hutton invested heavily in real estate development in Acapulco at a time when it was little more than a fishing village, and teamed with Richard Widmark, Roy Rogers, and Red Skelton to buy a hotel there. Behind his business interests was a particularly intelligent mind, to the point that his friend David Niven once said: "Before computers went into general release, Cary had one in his brain". Film critic David Thomson believes that Grant's intelligence came across on screen, and stated that "no one else looked so good and so intelligent at the same time".  After Grant retired from the screen, he became more active in business. He accepted a position on the board of directors at Faberge. This position was not honorary, as some had assumed; Grant regularly attended meetings and travelled internationally to support them. His pay was modest in comparison to the millions of his film career, a salary of a reported $15,000 a year. Such was Grant's influence on the company that George Barrie once claimed that Grant had played a role in the growth of the firm to annual revenues of about $50 million in 1968, a growth of nearly 80% since the inaugural year in 1964. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother, Dyan Cannon, was working.  In 1975, Grant was an appointed director of MGM. In 1980, he sat on the board of MGM Films and MGM Grand Hotels following the division of the parent company. He played an active role in the promotion of MGM Grand Hotel in Las Vegas when opened in 1973, and he continued to promote the city throughout the 1970s. When Allan Warren met Grant for a photo shoot that year he noticed how tired Grant looked, and his "slightly melancholic air". Grant later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle, Hollywood, California), and Western Airlines (acquired by Delta Air Lines in 1987).
Question: what about 1980
Answer: 

Problem: Background: 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.
Context: Latour's work Nous n'avons jamais ete modernes : Essais d'anthropologie symetrique was first published in French in 1991, and then in English in 1993 as We Have Never Been Modern.  Latour encouraged the reader of this anthropology of science to re-think and re-evaluate our mental landscape. He evaluated the work of scientists and contemplated the contribution of the scientific method to knowledge and work, blurring the distinction across various fields and disciplines.  Latour argued that society has never really been modern and promoted nonmodernism (or amodernism) over postmodernism, modernism, or antimodernism. His stance was that we have never been modern and minor divisions alone separate Westerners now from other collectives. Latour viewed modernism as an era that believed it had annulled the entire past in its wake. He presented the antimodern reaction as defending such entities as spirit, rationality, liberty, society, God, or even the past. Postmoderns, according to Latour, also accepted the modernistic abstractions as if they were real. In contrast, the nonmodern approach reestablished symmetry between science and technology on the one hand and society on the other. Latour also referred to the impossibility of returning to premodernism because it precluded the large scale experimentation which was a benefit of modernism.  Latour attempted to prove through case studies the fallacy in the old object/subject and Nature/Society compacts of modernity, which can be traced back to Plato. He refused the concept of "out there" versus "in here". He rendered the object/subject distinction as simply unusable and charted a new approach towards knowledge, work, and circulating reference. Latour considered nonmoderns to be playing on a different field, one vastly different than that of post-moderns. He referred to it as much broader and much less polemical, a creation of an unknown territory, which he playfully referred to as the Middle Kingdom.  In 1998, historian of science Margaret C. Jacob argued that Latour's politicized account of the development of modernism in the 17th century is "a fanciful escape from modern Western history".
Question: What was his definition of modern?
Answer:
Latour viewed modernism as an era that believed it had annulled the entire past in its wake.