Please answer this: What is the answer for the question: What is the last name of the lighting designer that explained how the lighting for the Live: With Teeth tour was done in a 2005 interview? from the following article ? Visual elements employed during Nine Inch Nails concerts have often included numerous lighting, stage and projection effects employed to accompany and augment presentation. Prior to the Fragility tour in 2000, Reznor reflected that "I've adopted a philosophy of the way to present Nine Inch Nails live that incorporates a theatrical element. I want it to be drama. I want my rock stars to be larger than life, you know? The Kurt Cobains of the world, I'm sick of that shit. I don't want a gas station attendant being my hero. I grew up with Gene Simmons. I grew up with Ziggy Stardust."Many songs are typically accompanied with specially designed visual aids, including synchronized lighting effects and projected stock-footage montages. Early performances of the song "Hurt", for example, were accompanied by a projected montage of clouds, charred bodies, mushroom clouds, maggots, and war refugees, a performance of which is featured in the song's music video. Recent performances of the song, however, have featured less lighting effects. Since 1999, the visual presentation of Nine Inch Nails live shows have been directed by Rob Sheridan, while Bill Viola designed a large triptych display for the Fragility tour. The images displayed on the triptych focused on storm and water imagery. And All That Could Have Been features an audio commentary track by Viola describing the display and his inspirations for it.For the Live: With Teeth tour, Roy Bennett and Martin Phillips were responsible for the lighting design and stage design respectively. Bennett explained in a 2005 interview that much of the lighting was done using a series of LED lights arranged in "stalactites or stalagmites [formations] to tie in to the album artwork". DLP projectors were also used to project images onto a gauze screen in front of the stage. Using the gauze projection-screen, Phillips, Reznor, and Sheridan devised a "gag" where they projected "a sheet of glass shattering onto a downstage kabuki scrim that would drop as the glass shatters fell....
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Answer: Bennett
Problem: What is the answer for the question: What is the real name of the person who told her parents of her plans? from the following article ? Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.

A: Bronwyn Gooda
Q: What is the answer for the question: What is the first name of the person who had a reputation as an artist and mystic? from the following article ? Lawrence Morton, in a study of the origins of The Rite, records that in 190708 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite...
A:
Nicholas