Advertising: Finding a Documentary Audience, for a Cause

DOCUMENTARY films are notoriously difficult to finance, with filmmakers often spending more time scrounging up money to make a film than actually producing it. Unlike big Hollywood films, where having the presence of a marquee name can attract dollars, documentary filmmakers often must try to explain how a niche idea can succeed at the box office.

The director and backers of “Girl Rising,” a documentary that is a cornerstone of a media campaign about educating girls around the world, hope to change that. To promote the new film, and demonstrate the impact that documentaries can have on audiences, they will rely on technologies often used by more traditional advertisers, including personalized ads for employees of companies viewing them online.

“If what you are after is engagement and connection to a cause,” said Richard E. Robbins, the director, “how you use the tools that are available to you is very different than if you are trying to market ‘Batman.’ ”

Money donated by consumers seeing the film will be funneled to a nonprofit group, 10x10, which will then distribute the funds to various nonprofits helping to educate girls.

Many documentary filmmakers have trouble quantifying the social and financial impact their films can have, Mr. Robbins said. And many are confronted with “a dearth of evidence to support the idea that documentary films affect change.”

But using highly targeted advertising can help filmmakers learn who is donating, how much they are donating, how much interest there is in a film and whether there is enough interest to warrant a screening in a city, he said. Having that information might also help persuade future investors to support documentaries connected to causes.

“Girl Rising,” which will be released in March, is being financed in part by 10x10, which supports educating girls around the world through film and social media advocacy.

Ads promoting “Girl Rising” will be shown to employees of 57 companies that the filmmakers selected in hopes they will support efforts to educate girls in developing countries. Those companies include Apple, Bank of America, Oracle, Goldman Sachs, Wal-Mart, Disney and Procter & Gamble.

“Those companies are deeply invested in vibrant economies overseas, healthy supply chains, diversity, attracting and retaining and identifying new employees, skilled employees,” said Holly Gordon, executive director at 10x10. “We thought that they would be advocates for these issues of gender diversity and global education.”

Employees at the companies will see ads on their computers at work, customized to use the company name. For example, an Oracle employee will see an ad that says “Oracle employees can change the world,” with a link to see a trailer for the film and donate to the cause.

A group of former ABC News journalists, known as the Documentary Group, and Vulcan Productions announced the creation of 10x10 and its media campaign at the United Nation’s first International Day of the Girl in October. Additional funds for organization came from Intel, the Ford Foundation, Google, the Nike Foundation, the Skoll Foundation and the Fledgling Fund.

“Girl Rising,” the first film backed by the group, features stories inspired by nine girls in countries like Haiti, Nepal, Sierra Leone, Uganda and Afghanistan. Some of the segments are narrated by celebrities like Meryl Streep, Selena Gomez and Kerry Washington.

Well-known writers from each of the countries, including Mona Eltahawy, an Egyptian-American author, and Edwidge Danticat of Haiti helped to write the stories of each of the girls to whom they were paired. Each story will be presented differently; some will be animated while others will be live action.

Chris Golec, the chief executive of Demandbase, the company behind the ads, said technology that aimed at the Internet addresses at the companies would be used to find the right users for each ad.

“Targeting people at work is four times more likely to drive engagement than somebody coming from a residential I.P. address,” said Mr. Golec, referring to the Internet addresses of home viewers. “If you personalize the ad with the company name that they work for you get a three times higher click through rate on the ad.”

Using such digital advertising also helps the filmmakers and producers in another way, said Mr. Robbins. “It’s infinitely more trackable, there’s so much more data,” he said. “We can measure conversion rates, who our audience is — its not just anonymous people buying tickets.”

Distribution of “Girl Rising” will be in phases, beginning in January at the Sundance Film Festival, where one chapter will be shown. It will make its official debut in March for International Women’s Day at an event in New York City, and with a smaller event in Los Angeles. CNN will show the film in June as part of the network’s new film division.

Organizers are also using technology to get viewers to book a screening of the film in the city of their choice. Supporters of 10x10 will receive an e-mail asking them to go to a Web site, Gathr.us, which will keep track of the number of screening requests from various cities.

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U.S. moves ahead on new downtown L.A. courthouse

Downtown Los Angeles is finally getting its new federal courthouse, and it's going to stand out amid the aging government buildings in the Civic Center.

A 550,000-square-foot courthouse — planned for the southwest corner of Broadway and 1st Street, across from the old county law library and the Los Angeles Times building — will feature a bright, serrated facade and a structural design that allow the structure to appear to float over its stone base, officials said.

It will have a public plaza along 1st Street near recently opened Grand Park. Officials say the building's design has received a "platinum" rating for energy efficiency from the U.S. Green Building Council.

The U.S. General Services Administration is moving forward on the project despite last-minute opposition from some Republicans in Congress, who question the viability of the agency's plans to sell the federal courthouse on North Spring Street to private developers. The lawmakers also questioned whether the extra courtrooms were actually necessary.

The GSA awarded a $318-million contract last week to the architecture firm Skidmore, Owings & Merrill and Clark Construction Group, and released several renderings of the proposed design. The building will rise on a 3.6-acre lot on Broadway that city officials have long wanted to develop.

"We are moving toward the groundbreaking of a critically needed facility that will resolve long-standing security and space issues," Rep. Lucille Roybal-Allard (D-East Los Angeles) said in a statement. "At a time when we need to keep investing in our recovering economy, we expect the courthouse to create thousands of new jobs in the construction industry and related businesses."

Peter Zellner, faculty member at Southern California Institute of Architecture, noted that the courthouse design in some ways is reminiscent of Mid-Century architectural styles of other Los Angeles government centers, particularly the Wilshire Federal Building. Zellner also suggested the architects consider the courthouse plaza as part of a chain of public spaces spilling down from the Walt Disney Concert Hall.

The courthouse will include 24 courtrooms and 32 judicial chambers. Along with the judges of the U.S. District Court, the building will be used by the U.S. Marshals Service, U.S. attorneys' office and the Federal Public Defender.

Federal judges have been pushing for new space downtown since the late 1990s. In addition to the Spring Street courthouse, federal judges occupy space elsewhere in downtown, but they have complained about overcrowding and security issues.

Construction on the courthouse is expected to begin sometime next year, with completion set for 2016, the GSA said.

The agency also announced that it had released a formal "request for information" to solicit ideas for adaptive reuse of one of the old federal courthouses, on North Spring Street. Under the agency's plan, the 72-year-old building would be sold to a private developer, with the proceeds to help finance construction of a second federal office building next to the new courthouse.

Some real estate experts have questioned whether the exchange proposal would be feasible, saying it could be difficult for a private owner to adapt the old courthouse because of its structural issues, location and historic status. And the Republican critics of the courthouse plan expressed concern that if the GSA could not manage to sell the old courthouse, it would be stuck with a vacant building and higher costs to taxpayers.

There is still no specific timeline on when the exchange would be made, a GSA spokeswoman said, but officials remain upbeat about the plan.

"This step is just another example of GSA's commitment to providing real value to the American public," said acting GSA Administrator Dan Tangherlini.

sam.allen@latimes.com

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Out of the Factory, Into the Field: Robots Go to Work for Architects

A student at the Vienna University of Technology uses an iPad to control a robot arm. Photo: TU Vienna

Sigrid Brell-Cokcan and Johannes Braumann want you to make architecture with robot arms.

For decades, robots have been used on assembly lines to do things like make cars and package food. Over a long period of refinement, the iconic robot arm has become a nearly commoditized piece of hardware. You can buy them, and essentially plug then play. Their generalized capabilities make them very flexible in terms of application.

Brell-Cokcan and Braumann are co-founders of the Association for Robots in Architecture and organizers of the Rob|Arch 2012 conference, being held in Vienna on Dec. 17 and 18. Over this past weekend they ran a series of workshops in Vienna, Graz, Zürich, Rotterdam, and Stuttgart to expose architects and designers to the possibilities of utilizing this technology. “We try create a platform that shows the innovative uses of robotic fabrication in the creative industry, and brings together members of industry and academia, as well as architects, artists, and designers,” says Braumann.

Unlike a lot of the machines involved in industrial production, robot arms are generalists. They can be easily reconfigured to do different tasks via software and changing the attachments on the end of the arm. This is why they are ideal for assembly-line work where the shape of the product changes frequently (as with annually changing car models) and, Brell-Cokcan and Braumann say, why they are ideal for architecture. In fact, because architecture generally involves tolerances measured in millimeters or even centimeters — units robotic arms work in — the hyper-precision of tools like 5-axis CNC machines are generally wasted when used for building purposes.

In the lead up to Rob|Arch2012, the team has been collecting example of robots arms being used to build structures. A variety of the submitted photos and videos are shown in the gallery above, ranging from formed concrete blocks to massive structures made from individually glued plastic spheres; more can be found on their Vimeo page.

Beyond the conference and workshops, the Association for Robots in Architecture has been working to make robots more accessible by creating tools to help architects get started. They recently released KUKA|prc in order to encourage the use of robots in architecture. KUKA|prc is a parametric robot controller plugin for Grasshopper, a visual programming tool that works inside the architectural-standard 3-D CAD modeler software Rhinoceros.

Braumann says the use of robotics in architecture has made huge strides since the mid-2000s. On the one hand, he sees a growing number of faculties and firms that are making use of these tools. On the other, he sees a production industry that is moving toward increasingly creative and custom applications.

“Not too long ago, the creative industry looked up toward the large industry players and attempted to duplicate their automated processes,” he says, “We are now at a stage, where individualized and customized products are increasingly important and the sides are switching — as architects and designers often work with such small series of objects, industry is now looking at ways to adapt strategies developed by creative minds.”

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Beck looks for new connection with ‘Song Reader’

NASHVILLE, Tenn. (AP) — Beck Hansen wants you to think about the way music has changed over the last century and what that means about how human beings engage each other these days.

Laboring over the intricate and ornate details of his new “Song Reader” sheet music project, he was struck by how social music used to be — something we’ve lost in the age of ear buds.

“You watch an old film and see how people would dance together in the ’20s, ’30s and ’40s. You’d go out and people would switch partners and it was a way of social interaction,” Hansen said. “It’s something that was part of what brought people together. Playing music in the home is another aspect of that that’s been lost. Again, I’m not on a campaign to get people to take up songs and play music in their home or anything. But it is interesting to me, the loss of that, what it means.”

Beck hopes the “Song Reader” inspires some of us to pick up instruments and limber our vocal cords. It includes 20 songs annotated on sheet music that’s been decorated in the style popular in the early 20th century when the songwriting industry was a thriving enterprise with billions of songs sold.

The 42-year-old singer notes in the book’s preface that Bing Crosby’s “Sweet Leilani” sold an estimated 54 million copies in 1937, meaning about 40 percent or more of the U.S. population was engaged in learning how to play that song. They were touching it directly, speeding it up, slowing it down, changing the lyrics and creating something new.

“There’s popular bands now that people know the words to their songs and can sing along, but there’s something about playing a song for yourself or for your friends and family that allows you to inhabit the song and by some sort of osmosis it becomes part of who you are in a way,” he said. “So when I think of my great-grandparents’ generations, music defined their lives in a different way than it does now.”

Beck proposed the idea to McSweeney’s Dave Eggers in 2004 and it soon blossomed into something more ambitious as the artist wrapped his mind around the challenge of not just writing a song, but presenting it in a classic way that also engages fans who might not be able to read music or play their own instruments.

They quickly agreed it would make no money, but it seemed like an idea worth exploring.

“And it seemed like only Beck would have thought of it,” Eggers said in an email to the Associated Press. “It’s a very generous project, in that he wrote a bunch of songs and just gives them to the world to interpret. That’s a very expansive kind of generosity and inclusiveness that we’re happy to be part of. On a formal level, we love projects like this, that are unprecedented, and that result in a beautiful object full of great art and great writing. And it all started with Beck. It’s a testament to his groundbreaking approach to everything he does.”

Beck hopes fans will record their own versions and upload them to the Internet so those songs grow into something more universal.

As for his own recorded music, that’s a little more complicated.

Beck’s not sure where he’s headed at the moment. He recorded an album in 2008, but set it aside to work with Charlotte Gainsbourg on “IRM,” which he wrote and produced. He’s also been writing songs for soundtracks and special projects and producing artists like Thurston Moore, Stephen Malkmus and Dwight Yoakam. All that has left him feeling creatively satisfied, but he does acknowledge it’s been a while since he released 2008′s Danger Mouse-produced “Modern Guilt.”

He says in many ways he’s reached a crossroads he’s not yet sure how to navigate.

“This last year I’ve been thinking about whether I’d finish those songs (from 2008), whether they’re relevant or worthy of releasing. I know that doesn’t sound very definitive,” he said, laughing, “but that’s the kind of place I’m in — in this kind of limbo — and, um, yeah.”

The “Song Reader” spurred Beck to think about his own work in a new light as well. Spending six months finishing off the project after working on it sporadically over the years, he was struck by how much craft went into the creation of each song and how quickly music can come into existence today.

“There is so much music out there, to me,” he said. “I don’t know if it’s just where I am in my own music making or if it’s a product of the amount of music out there, but I feel like a piece of music does have to have a certain validity to be put out there and to ask people to listen. … I feel like it’s impossible for everyone to keep up, you know, so I guess I’ve been feeling like maybe there’s something to picking what you’re going to put out, about being more particular about what you put out.”

___

Online:

http://beck.com

___

Follow AP Music Writer Chris Talbott: http://twitter.com/Chris_Talbott.

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The New Old Age Blog: In the Middle: Why Elderly Couples Fight

George and Gracie (let’s call them that because using their real names would make them even unhappier than they already appear to be) are in their 80s and have been married for more than 65 years. Until recently they seemed to ride the waves that are inevitable in any marriage that spans nearly seven decades; through good and bad, they were partners and best friends.

But lately — ever since her hospitalization and his fall — they have been arguing more bitterly than usual (“Do you have to make such a mess in the kitchen?”), criticizing each other (“Why haven’t you dealt with the insurance company yet?”), withdrawing from each other, and generally making each other more miserable, more often than ever before.

This kind of degenerative relationship is not uncommon among the elderly in even the happiest marriages, marriage therapists and geriatricians said. But that is small comfort to either the couple in the middle of the maelstrom, or the children who care for them, as evidenced by a number of postings on caregiver blogs. As some of the children have wondered there: “Why can’t we all just get along?”

Therapists and others who work with the elderly said the first step to addressing the problem is understanding where it came from.

“A key question is whether the marital bickering is part of a lifelong marital style or a change,” said Dr. Linda Waite, director of the Center on Demography and Economics of Aging at NORC/University of Chicago. Is it new behavior – or just new to the grown children who are suddenly so deeply enmeshed in their parents’ lives that they are only now noticing that something is amiss?

How much of the problem is really just the marriage style? “Some couples like to fight and argue – it keeps their adrenaline going,” said Dr. Nancy K. Schlossberg, professor emerita of counseling psychology at the University of Maryland and author of “Overwhelmed: Coping With Life’s Ups and Downs.”

Sometimes the best judges of whether there is a problem are outsiders, said Dr. William Dale, chief of geriatrics at the University of Chicago Geriatrics Medicine. Pay attention if someone says, “‘Gee, Mom seems more argumentative or withdrawn than the last time I saw her,’” Dr. Dale advised.

If the tone or severity of the marital tensions seem new, then it is important to find out why. The causes could be mental or physical, doctors say.

On the mental front, increased anger and fighting could be one of the first signs of mild cognitive impairment, a precursor of dementia or Alzheimer’s, in one or both of the spouses, said Dr. Lisa Gwyther, director of the Duke Center for Aging Family Support Program and an associate professor in the department of psychiatry and behavioral sciences.

Dr. Dale concurs: “There is good evidence that the earliest signs of cognitive impairment are often emotional changes” — anger, anxiety, depression — “rather than cognitive ones” — memory, abstract thought.

But these early signs of cognitive decline can be so subtle that neither the spouses themselves, or their grown children, recognize them for what they are, Dr. Gwyther said. So husband and wife blame each other for the changes and allow feelings of hurt and resentment to grow.

Withdrawing from activities that used to give them pleasure can be a telltale sign of mild cognitive impairment – and can trigger anger and arguments.

“In one couple, the husband just didn’t want to participate in the holidays — the wife got angry and said he was being lazy and stubborn,” said Dr. Gwyther. But the truth was that his cognitive decline made all the activity overwhelming, and he didn’t want anyone to know that he was anxious about not remembering everyone’s names and embarrassing himself.

Suspicion and paranoia can also accompany mild cognitive decline and precipitate distrust and hurtful accusations. Dr. Gwyther recalled another woman who “called her daughter frantic because she said her husband dropped her at her chemo appointment, went to park the car, and didn’t return to get her.” The woman couldn’t imagine that her husband could possibly have lost his sense of time and direction, Dr. Gwyther added. She took it personally, complaining to her daughter that “your father doesn’t seem to care any more.”

Dr. Dale told of a spouse who accused her mate of infidelity because “she was convinced that when he was out grocery shopping he was really having an affair.”

Hoarding, an early symptom of mild cognitive impairment, can also create tension in a marriage. (For new treatments, see this recent post by my colleague Paula Span.)

When one couple came to a counseling session with Dr. Norman Abeles, emeritus professor of psychology and former director of psychological clinic at Michigan State University, the hoarding spouse finally said she did it because she thought that they would run out of money, “even though there was enough money to go around.” Dr. Abeles said that incident led to her diagnosis of mild cognitive impairment.

Adding to the confusion, mild cognitive impairment, or M.C.I., comes and goes. “There are good days and bad days, good hours and bad hours,” said Dr. Gwyther. “Alzheimer’s and dementia don’t start on Tuesday — it’s a slow insidious onset.” But the diagnosis is becoming more common: The Institute for Dementia Research and Prevention predicts that 1 in 6 women, and 1 in 10 men, who live past the age of 55 will develop dementia in their lifetime.

“Spouses find it difficult to know when their partner with M.C.I. is acting differently, usually badly, due to the advancing illness or due to ‘willful’ personality issues,” said Dr. Dale, citing a 2007 study in the journal Family Relations exploring the problems this can create for couples.

Blaming is often easier than understanding. Another of Dr. Gwyther’s patients was furious at her husband for not filing their taxes. “He’s a C.P.A.,” she said. “How could we owe back taxes?” It did not occur to her that he might be unable to handle that task — and was too frightened about his deteriorating mental focus to let her know.

But as harmful as mental decline can be for a marriage, it is just part of the equation. Physical ailments – even those that seem completely unrelated to marital relations – “can upset the equilibrium of the marriage,” according to a study in The Canadian Medical Association Journal.

“Most men get angry at what’s happened to them when they get ill, women get angry and scared when he’s not what he used to be — so they fight,” said Dr. Schlossberg.

Chronic illnesses, like diabetes, arthritis and heart disease, can have a strong negative effect on mood, said Dr. Waite, who will soon be publishing a study on the subject. Diabetes is so often accompanied by depression that Dr. Waite said “one of my colleagues argues that that it is even part of the disease.”

And ailments can have an effect on a couple’s sex life — which can compound the marital problems, doctors said.

“Diabetes brings on neuropathy,” said Dr. Waite. “That means touching and feeling in sex is not as rewarding.” Without the pleasures of affectionate touching — whether a passing hug at the sink or more — tensions can build. That’s why, if a couple is having problems with sex, they are more likely to have problems in the relationship — and vice versa, according to a 2007 New England Journal of Medicine study of sex and health among older adults.

Other changes in circumstances — retirement, shifting roles, the loss of autonomy, disparities in health and abilities — can wreak havoc. Losing independence can feel like losing oneself — and if you don’t know who you are any more, how can you know how to relate to your spouse?

“Fighting may come from a misguided notion that you can regain power by asserting it over your spouse,” said Dr. Schlossberg, whose observations are echoed in a 1984 study in The Canadian Journal of Medicine. “It doesn’t work, it’s false power – but they’ll try anything.”

The sheer exhaustion that can come from being the caregiving spouse is also bound to “make them stressed and angry,” said Dr. Waite. Not to mention guilty and resentful — never a prescription for happy marital relations.

“Part of the trap for the caregiver is the idea that you have to do it all, and the guilt you feel when you cannot live up to it,” said Dr. Gordon Herz, a psychologist in private practice in Madison, Wisc. Not surprisingly, resentment can soon follow, Dr. Herz added, because it is hard to admit to anyone that, “‘this is too much for me.’”

What can outside caregivers — children or other loved ones — do about these golden marriages on the rocks? Should they intervene — or butt out? And can marital therapy help — or is it too late to change?

Share your thoughts and experiences — and on Tuesday we will try to provide some advice from experts.

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La Comay of ‘SuperXclusivo’ Stirs Anger Over Comments on Man’s Death

It’s been a bad few months for puppets in the media.

WAPA-TV

La Comay, left, with Hector Travieso, co-hosts of “SuperXclusivo,” a Spanish-language program shown in some United States markets.

WAPA-TV

Jose E. Ramos, president of WAPA Television, said the network tried to use La Comay to keep the officials attuned to issues.

In October, Big Bird was dragged into the presidential debate over PBS funds and in November, Kevin Clash, the puppeteer behind Elmo, left Sesame Street after allegations that he had sex with minors.

The latest puppet scandal involves a gossipy, big-haired crone puppet in Puerto Rico, known as La Comay, who has become one of the most controversial media figures on the island — and one of the most watched. On a recent show, the puppet commented on the murder of a 32-year-old publicist by pointing out that the victim was in an area frequented by prostitutes and wondered whether he was “asking for this.”

The reaction was swift. A Facebook page calling for a boycott of La Comay has drawn more than 72,000 signatures, and prominent advertisers like Walmart and AT&T withdrew their ads from “SuperXclusivo,” the program that features her.

The outrage was in part because of fears over a growing crime wave on the island and a reaction to La Comay, a puppet version of the television program “TMZ” with gossipy segments about celebrities, politics and crime.

La Comay (roughly translated as “the godmother”) was created by Antulio Kobbo Santarrosa, a former comedian and television personality. Since 1999 the show has been broadcast on WAPA Television, an independent Puerto Rican network owned by the private equity firm InterMedia. Before WAPA, Mr. Santarrosa had shows with similar characters on other networks including Telemundo.

“SuperXclusivo” is broadcast on the island but also on the mainland in states with large Puerto Rican populations like New York and Florida. On the hourlong show, La Comay frequently asks viewers to call her show with crime tips, which producers investigate. “We tried to use her to bring out issues that other mediums would not touch,” said Jose E. Ramos, the president of WAPA.

In the last Puerto Rican race for governor, two of the candidates visited the show the night before the election, Mr. Ramos said. “People will report incidents and things that happen on the island to La Comay instead of going to the police and going to the newspapers,” he said.

“She ensures that the police and the government cover the main issues and are on top of the issues, and she does it in a way that is very entertaining, that’s what offends some people,” Mr. Ramos said.

In an e-mail, Mr. Santarrosa said: “We respect our audience and it was never my intention to offend anyone with the information we presented, which had already been presented in other media.” The comments were similar to the ones made by La Comay on her show in the days after the controversy where she tried to apologize to the audience.

The uproar began when, on Dec. 4, “SuperXclusivo” featured a segment on the publicist José Enrique Gómez Saladín, whose disappearance had been extensively covered by local media. On Nov. 29, according to published reports, Mr. Gomez Saladín attended a meeting in San Juan and then called his wife to tell her he was on his way home.

Instead, Mr. Gomez Saladín’s body was found four days later. He had been doused with gasoline, burned and then bludgeoned to death. The case is being handled by the United States Attorney’s Office in Puerto Rico. Four people were arrested on Dec. 4 in connection with the crime. They have been charged on two counts, carjacking resulting in murder and bank fraud. A preliminary hearing is set for Wednesday. The crime, which came less than two weeks after the shooting death of the boxer Hector Camacho, rattled the island.

After the news of the murder, residents began a social media protest for peace called “Todos Somos José Enrique” (We are all José Enrique).

Details of what happened that night remain unclear, with some reports saying Mr. Gomez Saladín had been a victim of a carjacking. But in her Dec. 4 segment, La Comay raised another issue: Mr. Gomez Saladín was on Padial Street in Caguas, a town near San Juan. The street, La Comay said, is “a center of male and female prostitution.”

Couching her statements with the phrase “apparently and allegedly,” La Comay asked, “Was this man, José Enrique, asking for this?” Of the four suspects in the case she asked, “Was he friends with these people? Did he used to be a client of these people?” At the end of her remarks she called for Puerto Rico to reinstate the death penalty.

The remarks created protests against the puppet, her show and the network.

“We didn’t know that this was going to explode the way it did,” said Carlos Rivera, an unemployed I.T. specialist from Puerto Rico who created the Facebook page calling for the boycott of La Comay by advertisers and viewers.

Mr. Ramos of WAPA said the boycotts have not hurt the show’s ratings. “If anything they have increased,” he said. “People want to see what’s going on.”

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Speculation over autism, but shooter's 'why' has no easy answer

Among the details to emerge in the aftermath of the Connecticut elementary school massacre was the possibility that the gunman had some form of autism.

Adam Lanza, 20, had a personality disorder or autism, his brother reportedly told police. Former classmates described him as socially awkward, friendless and painfully shy.

While those are all traits of autism, a propensity for premeditated violence is not. Several experts said that at most, autism would have played a tangential role in the mass shooting -- if Lanza had it at all.

FULL COVERAGE: Connecticut school shooting

“Many significant psychiatric disorders involve social isolation,” said Catherine Lord, director of the Center for Autism and the Developing Brain at New York-Presbyterian Hospital.

Autism, she said, has become a catch-all term to describe anybody who is awkward.

Some type of schizophrenia, delusional disorder or psychotic break would more clearly fit the crime, experts said.

The hallmark characteristics of autism are social inability, communication problems and repetitive behaviors or obsessive interests. It emerges in early childhood and exists on a vast spectrum, from those who bang their head against the wall to those who can recite train schedules from memory.

PHOTOS: Connecticut school shooting

The rate of autism has skyrocketed over the last two decades, largely because of an expanded definition of the disorder and increasing awareness. The U.S. Centers for Disease Control and Prevention estimates that 1 in 88 children have it.

Researchers have struggled to draw clear lines between the various forms. As a result, the American Psychiatric Assn. is folding all of its varieties into a single diagnosis next year: autism spectrum disorder.

It will include people with Asperger’s syndrome -- the higher-functioning type that Lanza was most likely to have had.

There is more aggression associated with autism than with other disabilities. But it usually amounts to a tantrum and does not involve planning, weapons or an intention to harm anybody.

People with autism are more likely to be victims of violence than perpetrators. Those who are bright -- as Lanza was by several accounts -- often face bullying.

Some wind up in trouble with the law because they are unaware of social convention, and quirkiness or attempts at being friendly get misinterpreted.

Dr. John Constantino, an autism specialist at Washington University in St. Louis, said the social detachment and withdrawal associated with the disorder can accentuate other psychiatric conditions that are connected to violence.

And the feelings of isolation often intensify after high school, with the loss of a structured environment that allows many people with autism to stay afloat.

“They sort of fall off this cliff when they don’t have a village,” Constantino said.

Lanza finished high school early and was living with his mother. Police said he was disturbed by the divorce of his parents in 2009.

None of that, of course, explains why his killed his mother, 20 elementary school students, six women at the school and then himself.

“The only way somebody could do something like this is if they totally lost touch with reality,” said Dr. Daniel Geschwind, an autism expert at UCLA. “Autistic people are not sociopaths.”

ALSO:

Suspect in massacre tried to buy rifle days before, sources say

In Newtown, death's chill haunts the morning after school shooting

Connecticut shooting: Gunman forced his way into school, police say

alan.zarembo@latimes.com

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Wired Science Space Photo of the Day: Painted Swan Nebula

Astronomers using data from ESO's Very Large Telescope (VLT), at the Paranal Observatory in Chile, have made an impressive composite of the nebula Messier 17, also known as the Omega Nebula or the Swan Nebula. The painting-like image shows vast clouds of gas and dust illuminated by the intense radiation from young stars.

The image shows a central region about 15 light-years across, although the entire nebula is even larger, about 40 light-years in total. Messier 17 is in the constellation of Sagittarius (the Archer), about 6000 light-years from Earth. It is a popular target for amateur astronomers, who can obtain good quality images using small telescopes.

These deep VLT observations were made at near-infrared wavelengths with the ISAAC instrument. The filters used were J (1.25 µm, shown in blue), H (1.6 µm, shown in green), and K (2.2 µm, shown in red). In the centre of the image is a cluster of massive young stars whose intense radiation makes the surrounding hydrogen gas glow. To the lower right of the cluster is a huge cloud of molecular gas. At visible wavelengths, dust grains in the cloud obscure our view, but by observing in infrared light, the glow of the hydrogen gas behind the cloud can be seen shining faintly through. Hidden in this region, which has a dark reddish appearance, the astronomers found the opaque silhouette of a disc of gas and dust. Although it is small in this image, the disc has a diameter of about 20 000 AU, dwarfing our Solar System (1 AU is the distance between the Earth and the Sun). It is thought that this disc is rotating and feeding material onto a central protostar — an early stage in the formation of a new star.

Image: ESO/R. Chini [high-resolution]

Caption: ESO

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Sundance film “End of Love” finds distributor

LOS ANGELES (TheWrap.com) – Gravitas Ventures and Variance Films have acquired all North American rights to writer-director Mark Webber‘s drama “The End of Love,” the companies announced on Thursday.

The father-son drama, which debuted at this year’s Sundance Film Festival, stars Webber alongside Shannyn Sossamon (pictured), and Webber’s real-life son Isaac Love, and features appearances by Michael Cera, Jason Ritter, and Amanda Seyfried.

The film tells the story of struggling actor Mark (Webber), who is forced to grapple with his inability to grow up when the mother of his two-year-old son Isaac suddenly dies. As he kindles a relationship with a young single mother, Mark begins to realize that he can no longer remain in denial about the real-life consequences his choices have on Isaac.

Gravitas Ventures will debut the film across all major video on demand (VOD) platforms on January 21, 2013 with a theatrical release from Variance Films beginning March 1 2013 in select markets.

“Propelled by the authenticity and intimacy of the performances, our acquisition team was unanimous that ‘The End of Love’ was one of the strongest films not only of Sundance, but of all of the films we saw last year,” said Nolan Gallagher, founder and CEO of Gravitas Ventures.

“I’m thrilled that ‘The End of Love’ has found a home with Gravitas and Variance,” said Webber. “In the rapidly changing landscape of how films are seen, these two companies are at the forefront of embracing that change.”

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Dr. William F. House, Inventor of Cochlear Implant, Dies

Dr. William F. House, a medical researcher who braved skepticism to invent the cochlear implant, an electronic device considered to be the first to restore a human sense, died on Dec. 7 at his home in Aurora, Ore. He was 89.

The cause was metastatic melanoma, his daughter, Karen House, said.

Dr. House pushed against conventional thinking throughout his career. Over the objections of some, he introduced the surgical microscope to ear surgery. Tackling a form of vertigo that doctors had believed was psychosomatic, he developed a surgical procedure that enabled the first American in space to travel to the moon. Peering at the bones of the inner ear, he found enrapturing beauty.

Even after his ear-implant device had largely been supplanted by more sophisticated, and more expensive, devices, Dr. House remained convinced of his own version’s utility and advocated that it be used to help the world’s poor.

Today, more than 200,000 people in the world have inner-ear implants, a third of them in the United States. A majority of young deaf children receive them, and most people with the implants learn to understand speech with no visual help.

Hearing aids amplify sound to help the hearing-impaired. But many deaf people cannot hear at all because sound cannot be transmitted to their brains, however much it is amplified. This is because the delicate hair cells that line the cochlea, the liquid-filled spiral cavity of the inner ear, are damaged. When healthy, these hairs — more than 15,000 altogether — translate mechanical vibrations produced by sound into electrical signals and deliver them to the auditory nerve.

Dr. House’s cochlear implant electronically translated sound into mechanical vibrations. His initial device, implanted in 1961, was eventually rejected by the body. But after refining its materials, he created a long-lasting version and implanted it in 1969.

More than a decade would pass before the Food and Drug Administration approved the cochlear implant, but when it did, in 1984, Mark Novitch, the agency’s deputy commissioner, said, “For the first time a device can, to a degree, replace an organ of the human senses.”

One of Dr. House’s early implant patients, from an experimental trial, wrote to him in 1981 saying, “I no longer live in a world of soundless movement and voiceless faces.”

But for 27 years, Dr. House had faced stern opposition while he was developing the device. Doctors and scientists said it would not work, or not work very well, calling it a cruel hoax on people desperate to hear. Some said he was motivated by the prospect of financial gain. Some criticized him for experimenting on human subjects. Some advocates for the deaf said the device deprived its users of the dignity of their deafness without fully integrating them into the hearing world.

Even when the American Academy of Ophthalmology and Otolaryngology endorsed implants in 1977, it specifically denounced Dr. House’s version. It recommended more complicated versions, which were then under development and later became the standard.

But his work is broadly viewed as having sped the development of implants and enlarged understanding of the inner ear. Jack Urban, an aerospace engineer, helped develop the surgical microscope as well as mechanical and electronic aspects of the House implant.

Karl White, founding director of the National Center for Hearing Assessment and Management, said in an interview that it would have taken a decade longer to invent the cochlear implant without Dr. House’s contributions. He called him “a giant in the field.”

After embracing the use of the microscope in ear surgery, Dr. House developed procedures — radical for their time — for removing tumors from the back portion of the brain without causing facial paralysis; they cut the death rate from the surgery to less than 1 percent from 40 percent.

He also developed the first surgical treatment for Meniere’s disease, which involves debilitating vertigo and had been viewed as a psychosomatic condition. His procedure cured the astronaut Alan B. Shepard Jr. of the disease, clearing him to command the Apollo 14 mission to the moon in 1971. In 1961, Shepard had become the first American launched into space.

In presenting Dr. House with an award in 1995, the American Academy of Otolaryngology-Head and Neck Surgery Foundation said, “He has developed more new concepts in otology than almost any other single person in history.”

William Fouts House was born in Kansas City, Mo., on Dec. 1, 1923. When he was 3 his family moved to Whittier, Calif., where he grew up on a ranch. He did pre-dental studies at Whittier College and the University of Southern California, and earned a doctorate in dentistry at the University of California, Berkeley. After serving his required two years in the Navy — and filling the requisite 300 cavities a month — he went back to U.S.C. to pursue an interest in oral surgery. He earned his medical degree in 1953. After a residency at Los Angeles County Hospital, he joined the Los Angeles Foundation of Otology, a nonprofit research institution founded by his brother, Howard. Today it is called the House Research Institute.

Many at the time thought ear surgery was a declining field because of the effectiveness of antibiotics in dealing with ear maladies. But Dr. House saw antibiotics as enabling more sophisticated surgery by diminishing the threat of infection.

When his brother returned from West Germany with a surgical microscope, Dr. House saw its potential and adopted it for ear surgery; he is credited with introducing the device to the field. But again there was resistance. As Dr. House wrote in his memoir, “The Struggles of a Medical Innovator: Cochlear Implants and Other Ear Surgeries” (2011), some eye doctors initially criticized his use of a microscope in surgery as reckless and unnecessary for a surgeon with good eyesight.

Dr. House also used the microscope as a research tool. One night a week he would take one to a morgue for use in dissecting ears to gain insights that might lead to new surgical procedures. His initial reaction, he said, was how beautiful the bones seemed; he compared the experience to one’s first view of the Grand Canyon. His wife, the former June Stendhal, a nurse, often helped.

She died in 2008 after 64 years of marriage. In addition to his daughter, Dr. House is survived by a son, David; three grandchildren; and two great-grandchildren.

The implant Dr. House invented used a single channel to deliver information to the hearing system, as opposed to the multiple channels of competing models. The 3M Company, the original licensee of the House implant, sold its rights to another company, the Cochlear Corporation, in 1989. Cochlear later abandoned his design in favor of the multichannel version.

But Dr. House continued to fight for his single-electrode approach, saying it was far cheaper, and offered voluminous material as evidence of its efficacy. He had hoped to resume production of it and make it available to the poor around the world.

Neither the institute nor Dr. House made any money on the implant. He never sought a patent on any of his inventions, he said, because he did not want to restrict other researchers. A nephew, Dr. John House, the current president of the House institute, said his uncle had made the deal to license it to the 3M Company not for profit but simply to get it built by a reputable manufacturer.

Reflecting on his business decisions in his memoir, Dr. House acknowledged, “I might be a little richer today.”

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