Question:
Claude Elwood Shannon (April 30, 1916 - February 24, 2001) was an American mathematician, electrical engineer, and cryptographer known as "the father of information theory". Shannon is noted for having founded information theory with a landmark paper, A Mathematical Theory of Communication, that he published in 1948. He is, perhaps, equally well known for founding digital circuit design theory in 1937, when--as a 21-year-old master's degree student at the Massachusetts Institute of Technology (MIT)--he wrote his thesis demonstrating that electrical applications of Boolean algebra could construct any logical, numerical relationship. Shannon contributed to the field of cryptanalysis for national defense during World War II, including his fundamental work on codebreaking and secure telecommunications.
In 1948, the promised memorandum appeared as "A Mathematical Theory of Communication," an article in two parts in the July and October issues of the Bell System Technical Journal. This work focuses on the problem of how best to encode the information a sender wants to transmit. In this fundamental work, he used tools in probability theory, developed by Norbert Wiener, which were in their nascent stages of being applied to communication theory at that time. Shannon developed information entropy as a measure of the uncertainty in a message while essentially inventing the field of information theory. The book, co-authored with Warren Weaver, The Mathematical Theory of Communication, reprints Shannon's 1948 article and Weaver's popularization of it, which is accessible to the non-specialist. Warren Weaver pointed out that the word information in communication theory is not related to what you do say, but to what you could say. That is, information is a measure of one's freedom of choice when one selects a message. Shannon's concepts were also popularized, subject to his own proofreading, in John Robinson Pierce's Symbols, Signals, and Noise. Information theory's fundamental contribution to natural language processing and computational linguistics was further established in 1951, in his article "Prediction and Entropy of Printed English", showing upper and lower bounds of entropy on the statistics of English - giving a statistical foundation to language analysis. In addition, he proved that treating whitespace as the 27th letter of the alphabet actually lowers uncertainty in written language, providing a clear quantifiable link between cultural practice and probabilistic cognition. Another notable paper published in 1949 is "Communication Theory of Secrecy Systems", a declassified version of his wartime work on the mathematical theory of cryptography, in which he proved that all theoretically unbreakable ciphers must have the same requirements as the one-time pad. He is also credited with the introduction of sampling theory, which is concerned with representing a continuous-time signal from a (uniform) discrete set of samples. This theory was essential in enabling telecommunications to move from analog to digital transmissions systems in the 1960s and later. He returned to MIT to hold an endowed chair in 1956.
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What information theory did Shannon propose?

Answer:
In 1948, the promised memorandum appeared as "A Mathematical Theory of Communication,

input: Even before the original Pink Floyd album was recorded, a film was intended to be made from it. However, the concept of the film was intended to be live footage from the album's tour, with Scarfe's animation and extra scenes. The film was going to star Waters himself. EMI did not intend to make the film, as they did not understand the concept. Director Alan Parker, a Pink Floyd fan, asked EMI whether The Wall could be adapted to film. EMI suggested that Parker talk to Waters, who had asked Parker to direct the film. Parker instead suggested that he produce it and give the directing task to Gerald Scarfe and Michael Seresin, a cinematographer. Waters began work on the film's screenplay after studying scriptwriting books. He and Scarfe produced a special-edition book containing the screenplay and art to pitch the project to investors. While the book depicted Waters in the role of Pink, after screen tests, he was removed from the starring role and replaced with punk musician and frontman of the Boomtown Rats, Bob Geldof. In Behind the Wall, both Waters and Geldof later admitted to a story during casting where Geldof and his manager took a taxi to an airport, and Geldof's manager pitched the role to the singer, who continued to reject the offer and express his contempt for the project throughout the fare, unaware that the taxi driver was Waters' brother, who promptly proceeded to tell Waters about Geldof's opinion. Since Waters was no longer in the starring role, it no longer made sense for the feature to include Pink Floyd footage, so the live film aspect was dropped. The footage culled from the five Wall concerts at Earl's Court from 13-17 June 1981 that were held specifically for filming was deemed unusable also for technical reasons as the fast Panavision lenses needed for the low light levels turned out to have insufficient resolution for the movie screen. Complex parts such as "Hey You" still had not been properly shot by the end of the live shows. Parker also managed to convince Waters and Scarfe that the concert footage was too theatrical and that it would jar with the animation and stage live action. After the concert footage was dropped, Seresin left the project and Parker became the only director connected to The Wall.

Answer this question "can you tell me about the developement?"
output: the concept of the film was intended to be live footage from the album's tour, with Scarfe's animation and extra scenes.

Answer the question at the end by quoting:

David Lee Marks (born August 22, 1948) is an American guitarist, singer and songwriter. He is best known as a member of the American rock band The Beach Boys, with whom he recorded four studio albums, and of whom he was a member from 1962 until 1963, again from 1997 until 1999, and lastly in 2012. Following his initial departure from the band, Marks fronted the Marksmen and performed and recorded as a session musician. A neighbor of the Wilson family - Brian, Dennis, and Carl Wilson - and a frequent participant at the Wilson family's Sunday night singalongs, Marks officially joined the Beach Boys in February 1962 as its rhythm guitarist.
At age seven, David Lee Marks moved into a house across the street from the family home of the three Wilson brothers, Brian, Dennis, and Carl Wilson, later to become the founding members of The Beach Boys. Describing the neighborhood, Marks noted, "It was run down. There were no sidewalks. The houses were older and the Wilsons lived in a pretty small, modest two-bedroom home. The boys all shared a bedroom. When they got older, Brian started sleeping in the den more and more, which was a converted garage they had turned into a music room. They had a Hammond B-3 organ, an upright piano and a little hi-fi in there." As the 1950s progressed Marks sang and played music with the Wilson family at their Sunday night singalongs. Inspired by a 1958 performance by guitarist John Maus (later of the 1960s Walker Brothers), Marks asked his parents to buy him a guitar, which they did on Christmas Eve, 1958. He began taking lessons from Maus, who had been a student of Ritchie Valens. In 1959, Marks and Brian Wilson's youngest brother Carl had begun to develop their own style of playing electric guitars. Brian realized that the combination of Carl and Marks' playing brought a rock guitar sound to his original compositions, and the two teenagers participated in Brian's first songwriting efforts that led to the band's 1963 hit single "Surfer Girl". Marks was not on the Beach Boys first recording, "Surfin'" for Candix Records on October 16, 1961; this roster included Al Jardine, a high school classmate of Brian Wilson's who had been singing and playing stand-up bass with the Wilson brothers and their cousin Mike Love. Over the next couple of months, Brian experimented with various combinations of musicians, including his mother Audree Wilson, but was not able to secure interest from a major label.

Are there any other interesting aspects about this article?
Describing the neighborhood, Marks noted, "It was run down. There were no sidewalks.