Problem: Given the question: A friend asked me to answer this question: What form became the primary motif of Moore's sculpture?, using the article: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brancusi, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing..., what would be the answer ?
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The answer is:
the Chac Mool
input question: A friend asked me to answer this question: Who is the boss of Richie's boss?, using the article: In 1978, con artists Irving Rosenfeld and Sydney Prosser have started a relationship, and are working together. Sydney has improved Rosenfeld's scams, posing as English aristocrat "Lady Edith Greensly". Irving loves Sydney, but is hesitant to leave his unstable wife Rosalyn, fearing he will lose contact with his adopted son Danny. Rosalyn has also threatened to report Irving to the police if he leaves her. FBI agent Richie DiMaso catches Irving and Sydney in a loan scam, but offers to release them if Irving can line up four additional arrests. Richie believes Sydney is English, but has proof that her claim of aristocracy is fraudulent. Sydney tells Irving she will manipulate Richie, distancing herself from Irving. Irving has a friend pretending to be a wealthy Arab sheikh looking for potential investments in America. An associate of Irving's suggests the sheikh do business with Mayor Carmine Polito of Camden, New Jersey, who is campaigning to revitalize gambling in Atlantic City, but has struggled in fund-raising. Carmine seems to have a genuine desire to help the area's economy and his constituents. Richie devises a plan to make Mayor Polito the target of a sting operation, despite the objections of Irving and of Richie's boss, Stoddard Thorsen. Sydney helps Richie manipulate an FBI secretary into making an unauthorized wire transfer of $2,000,000. When Stoddard's boss, Anthony Amado, hears of the operation, he praises Richie's initiative, pressuring Stoddard to continue., what would be the answer ????
output answer: Anthony Amado
A friend asked me to answer this question: What is the name of the person that essentially sidestepped thematic interaction and kept sonata form only as an "outline"?, using the article: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed..., what would be the answer ?
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Answer: Tchaikovsky
Please answer this: A friend asked me to answer this question: Whose brother is paralysed?, using the article: Mark (Doherty) is an actor living in a basement flat below his writer friend Pierce. Residing with his girlfriend, Sally, Mark struggles to find work whilst caring for his paralysed brother, David. Desperate to avoid paying overdue rent, Mark continually eludes landlord Jack, meaning he is also unable to inform Jack of the flat's dilapidated state. Discovering that Mark wasted money meant for the overdue rent, Sally finally decides to end her strained relationship with Mark, informs Jack of the repairs needed, and arranges to move out. The damaged state of the flat reaching its peak, Mark witnesses two consecutive freak accidents; a bookshelf falls and kills his dog, and the living room chandelier collapses and crushes David. Reeling in horror from the events, Mark looks on as Jack appears to repair a high lightbulb atop a wobbly stool, only to fall and pierce his throat with his screwdriver. Pierce then arrives and discovers the corpses, causing him to panic. Hiding in the bathroom, Mark and Pierce plot to control the situation, only for Sally to return. Discovering David's body, Sally faints and impales herself on Mark's clarinet stand, killing her too. Realizing the absurdity of four consecutive, fatal accidents occurring in one place, Pierce concocts a plan to move Jack's body to an alternative location, as they both had a strong motive to murder him. Shooing Sally's father when he arrives, a police officer then arrives due to an unrelated noise complaint, causing Pierce to panic and take her hostage., what would be the answer ?
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Answer:
Mark