Given a paragraph, generate a claim that is supported by the given paragraph. 1) The claim must contain information from within the paragraph. 2) A sentence within the paragraph can be used as a claim. 3) The claim should not have contradictions within the paragraph. 4) The claim should be at most one sentence long.

Input: Consider Input: Wisconsin Department of Natural Resources records show that Tyco Fire Products discovered soil and well contamination on the Marinette manufacturer’s fire training property in 2013, the Milwaukee Journal-Sentinel reported. The contamination involves a class of chemicals known as per- and polyfluoroalkyl substances, or PFAS, which are linked to cancer and other health issues. The company was found to have some of the highest known concentrations of the chemicals in groundwater and soil in Wisconsin, according to the records. In November 2017, Tyco, a Johnson Controls International unit, acknowledged that the chemicals had spread beyond its Marinette facility and suspended spraying foam products outdoors. The following month, the company started distributing bottled water to residents whose private wells may be affected by the contamination. Tyco tested 168 wells and 56 have shown evidence of the chemicals, the company said. State officials said Wisconsin law requires companies to immediately report pollution , but the company defended its actions by saying that little was known about PFAS at the time. “In 2013, there was not the level of awareness and information as there is today associated with PFOS/PFOA,” said Fraser Engerman, a spokesman for Johnson Controls International. But scientists have warned about the health impacts and other companies have phased out production of the chemicals for more than a decade. Tyco has also claimed that the company didn’t know about contamination beyond the property until 2016. “It wasn’t until 2016 that we had data that showed we had concentrations of these compounds at the edge of the property, so we then began the series of tests which led us to where we are today,” the company’s website states. Doug Oitzinger, the city’s former mayor, dismissed Tyco’s explanation. “This isn’t news to them,” he said. “They know that these pollutants have been judged an environmental danger .” Janell and Duane Goldsmith have twice tested their well water and found chemical contamination above the federal health advisory threshold. Duane Goldsmith has been diagnosed with gastrointestinal stromal tumor cancer and Janell Goldsmith had pregnancy-induced high blood pressure, according to a lawsuit filed in December. The couple’s two sons also have had developmental delays, the lawsuit states. “They’ve known about this for how long — and they have been using these chemicals?” Janell Goldsmith said. “You don’t expect it to happen to your family and to your community. So much crosses your mind.” ___ Information from: Milwaukee Journal Sentinel, http://www.jsonline.com

Output: Records: Tyco knew of contamination 4 years before reporting.


Input: Consider Input: Taiwan’s exclusion from the WHO, due to objections from China which claims the island as its own, has infuriated the Taipei government during the coronavirus outbreak. Taiwan says it has been unable to get timely information and that Taiwanese lives have become political pawns. The WHO denies this. Taiwan has long described this as a pattern of behaviour that puts it at risk because of Chinese pressure to exclude it from international bodies. On Wednesday, WHO Director General Tedros Adhanom Ghebreyesus rejected “racist slurs” against him, which he said had originated in Taiwan. Taiwan President Tsai Ing-wen said Taiwan opposed any form of discrimination. “For years, we have been excluded from international organisations, and we know better than anyone else what it feels like to be discriminated against and isolated,” she said in a statement. “If Director-General Tedros could withstand pressure from China and come to Taiwan to see Taiwan’s efforts to fight COVID-19 for himself, he would be able to see that the Taiwanese people are the true victims of unfair treatment.”  Tedros is not a popular figure in Taiwan due to suspicions he is too close to China and the WHO’s listing of Taiwan’s virus case numbers under China’s, despite it being totally separately governed. U.S. President Donald Trump sharply criticised the WHO on Tuesday, accusing it of being too focused on China and issuing bad advice during the coronavirus outbreak. Taiwan Foreign Ministry spokeswoman Joanne Ou said Tedros’ accusations were groundless and “imaginary” and Taiwan had not made any racist comments nor encouraged anyone to do so. Tedros’ comments were irresponsible and he should clarify them and apologise to Taiwan, Ou said. “The concept of racism does not exist in Taiwan. We do not have a problem of racism,” she told reporters. In Beijing, China’s Foreign Ministry did not directly say whether it believed Taiwan was responsible for racist attacks on Tedros, but said the island was trying “to use the epidemic to seek independence” and that its plots would not succeed. Taiwan has been proud of its early and so far effective measures against the coronavirus, logging just 380 cases and five deaths to date, far lower than many of its neighbours. Taiwan reported just one new case on Thursday. The WHO said last month it was closely following the development of the coronavirus in Taiwan and learning lessons from how they are fighting it. However, Taiwan says the WHO ignored its questions at the start of the outbreak and has not shared with member states information Taiwan has provided, including details on its coronavirus cases and prevention methods. Under the slogan “Taiwan can help”, the government last week announced the donation of 10 million faces masks to the United States, Europe and the 15 countries that still maintain formal diplomatic ties with the island. Ou said Taiwan would donate another six million masks, to northern and eastern Europe, Latin America, Southeast Asia and U.S. states hardest hit by the pandemic.

Output: Taiwan rebuffs accusations it racially attacked WHO chief.


Input: Consider Input: The unveiling of former President Barack Obama’s official portrait on 12 February 2018 also introduced many Americans to artist Kehinde Wiley for the first time as well, as opening the door to late-breaking controversy over some of Wiley’s earlier work. Wiley, who has described his own visual style as “bombastic, syrupy, and garish,” is celebrated in the contemporary art world for his large-scale portraits of black and brown men and women striking heroic poses modeled on those of aristocrats in classic European paintings. Two portraits in particular, both of them modern takes on the biblical story of Judith beheading Holofernes and featuring elegantly-dressed black women brandishing the severed heads of white women, suddenly turned controversial in the context of Wiley’s new role as a presidential portraitist. Images of the paintings were shared on social media with comments stating or implying that their content is racist: This what is confusing to me … you can’t have Confederate flags … you take down historical statues because they are racist but the 44th POTUS picks the guy who painted these pictures to paint his presidential portrait and that’s just fine? Maybe I’m missing something? #tcot pic.twitter.com/9RhYCGPQK7 — Jeannie-ology (@jeanniology) February 12, 2018  So a racist ex-President selects a racist artist to paint his picture. Anyone surprised? Artist Who Painted Obama’s Official Portrait Known For Painting Blacks Beheading Whites https://t.co/JarXVYUQ27 — American Real News (@USArealnews) February 13, 2018  In a post on right-wing blog TheGatewayPundit.com, Kehinde Wiley was described as being “known for” and “having a great fondness for” painting black people beheading white people: Both beheading pieces are titled “Judith beheading Holofernes”, referencing a story in the Book of Judith, which involves a beautiful woman who seduces an invading general before he is able to destroy their land, gets him drunk, and then decapitates him. Typical artists from the Rennaissance [sic] era have placed Judith in the role of a scriptural savior, “a type of the praying Virgin or the church or as a figure who tramples Satan and harrows Hell.” Given the historical context and how Wiley recreated it in his works, is hard to interpret his use of this theme as anything other than a blatant statement of racism; black women are the powerful angels of the earth, conquering the white devils. Can you imagine for a second if George W. Bush, or any other former president, decided on a painter who was famous for depicting white people killing black people to paint his official portrait? It’s hard to imagine, right? Yea, that’s because it’s disgusting and backward. It is not the case, however, that Wiley was “famous for depicting black people killing white people” before politically motivated commentators chose to make it so. Far from it. Of the scores of paintings the artist has produced, only the two based on the biblical beheading story depict such a scene. They generated very little controversy before Wiley’s portrait of Obama was publicly unveiled. That the strong, couture-clad black females in the paintings are depicted in the immediate aftermath of decapitating white women is not incidental. As with many works of art, this was meant to be provocative (“I think at its best what art is doing is setting up a set of provocations,” Wiley said in a 2015 interview). A 2012 article on the web site of the North Carolina Museum of Art (NCMA) supplies some needed context: Known for his monumental portraits of young black men, placed in historical poses and settings appropriated from Old Master paintings, Kehinde Wiley critiques the racism of art history while also commenting on contemporary street culture and masculine identity. Reinventing classical portraiture and questioning who is represented in the portraits found in museums worldwide, Wiley states, “The whole conversation of my work has to do with power and who has it.” Judith and Holofernes is from Wiley’s most recent body of work and his first series of paintings to feature female subjects. Wiley uses “street casting” to find his models — walking city streets and asking ordinary people if they would pose for a portrait. He met the model for this painting, Treisha Lowe, at Fulton Mall, a pedestrian shopping street in downtown Brooklyn. This painting references a specific art-historical work, a 17th-century painting by Giovanni Baglione, Judith and the Head of Holofernes (1608). The subject is taken from the apocryphal Old Testament Book of Judith, in which a Jewish town is under attack by the Assyrian army led by the general Holofernes. Judith, a widow from the town, goes to Holofernes under the pretense of helping him defeat the Jews. After he falls asleep, she cuts his head off with his own sword, and the town defeats the army. Wiley translates this image of a courageous, powerful woman into a contemporary version that resonates with fury and righteousness. “It’s sort of a play on the ‘kill whitey’ thing,” Wiley said in a 2012 interview with New York Magazine. The operative word is “play.”  What is all too easy to miss on a cursory glance is the deeply conceptual nature of these works. We turn again to the NCMA’s commentary: Wiley takes obvious artistic license with the story — Holofernes is represented by a woman’s head, and Judith wears a gown designed by Riccardo Tisci of Givenchy. This new rendition can be interpreted on many different levels, including racial and gender identity and inequity, the representation of women throughout art history, and society’s ideals for beauty. In Wiley’s words, “I am painting women in order to come to terms with the depictions of gender within the context of art history. One has to broaden the conversation . . . This series of works attempts to reconcile the presence of black female stereotypes that surrounds their presence and/or absence in art history, and the notions of beauty, spectacle, and the ‘grand’ in painting.” In contrast to the blunt literalism of those who prefer to interpret these paintings as a celebration of racial violence, art critic Walter Robinson writes that Wiley’s take on Judith and Holofernes “suggests, with a jovial brutality, that Judith would prefer to be done with white standards of beauty.” If, as Wiley has said, his intent as an artist is to be provocative, he can consider himself successful.


Output: Kehinde Wiley, the artist who painted former President Barack Obama's official portrait, also produced a pair of paintings depicting black women decapitating white people.