Problem: Given the question: Found the following article online, use it to answer the question: What is the first name of the person whose biographer considers Sissinghurst to be her "one magnificent act of creation"? Vita Sackville-West, poet, author, and gardener, was born at Knole, about 25 miles from Sissinghurst, on 9 March 1892. The great Elizabethan mansion, home of her ancestors but denied to her through agnatic primogeniture, held enormous importance for her throughout her life. Sissinghurst was a substitute for Knole, and she greatly valued its familial connections. In 1913 Sackville-West married Harold Nicolson, a diplomat at the start of his career. Their relationship was unconventional, with both pursuing multiple, mainly same-sex, affairs. After breaking with her lover Violet Trefusis in 1921, Sackville-West became increasingly withdrawn. She wrote to her mother that she would like "to live alone in a tower with her books", an ambition she achieved in the tower at Sissinghurst where only her dogs were regularly admitted. From 1946 until a few years before her death, Sackville-West wrote a gardening column for The Observer, in which, although she never referred directly to Sissinghurst, she discussed a wide array of horticultural issues. In an article, "Some Flowers", she discussed the challenge of writing effectively about flowers: "I discovered this only when I started to do so. Before ... I found myself losing my temper with the nauseating phraseology ... and sickly vocabulary employed." In 1955, in recognition of her achievement at Sissinghurst, "bending some stubborn acres to my will", she was awarded the Royal Horticultural Society's Veitch Medal. Her biographer Victoria Glendinning considers Sissinghurst to be Sackville-West's "one magnificent act of creation".
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The answer is:
Vita
input question: Found the following article online, use it to answer the question: What is the first name of the person who arrived in England in mid-1986? In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.???
output answer: Bob
Please answer this: Found the following article online, use it to answer the question: What did Eakins originally title the painting? Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (18491928), Benjamin Fox (c. 1865 c. 1900), J. Laurie Wallace (18641953), Jesse Godley (18621889), Harry the dog (Eakins' Irish Setter, c. 188090), George Reynolds (c. 183989), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the workno shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast. The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scene d'ete, painted in 1869 by Frederic Bazille (184170). It is not unlikely that Eakins saw the painting at the Salon while...
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Answer:
Swimming