Background: John Richard Pilger (; born 9 October 1939) is an Australian journalist and documentary film maker mainly based in the United Kingdom since 1962. Pilger has been a strong critic of American, Australian and British foreign policy, which he considers to be driven by an imperialist agenda. Pilger has also criticised his native country's treatment of Indigenous Australians. His career as a documentary film maker began with The Quiet Mutiny (1970), made during one of his visits to Vietnam, and has continued with over fifty documentaries since then.
Context: Pilger's film The Coming War on China premiered in the UK on Thursday 1 December 2016, and was shown on ITV at 10.40pm on Tuesday 6 December and on the Australian public broadcaster SBS on 16 April 2017. In the documentary, according to Pilger, "the evidence and witnesses warn that nuclear war is no longer a shadow, but a contingency. The greatest build-up of American-led military forces since the Second World War is well under way. They are on the western borders of Russia, and in Asia and the Pacific, confronting China. Like the renewal of post-Soviet Russia, the rise of China as an economic power is declared an 'existential threat' to the divine right of the United States to rule and dominate human affairs". "The first third told, and told well, the unforgivable, unconscionable tale of what has overtaken the Marshall Islanders since 1946, when the US first nuked the test site on Bikini Atoll" beginning an extended series of tests, wrote Euan Ferguson in The Observer. "Over the next 12 years they would unleash a total of 42.2 megatons. The islanders, as forensically proved by Pilger, were effectively guinea pigs for [the] effects of radiation". Ferguson wrote that the rest of the film "was a sane, sober, necessary, deeply troubling bucketful of worries". Peter Bradshaw in The Guardian wrote: "This is a gripping film, which though it comes close to excusing China ... does point out China's insecurities and political cruelties". Although admiring the early sequences on the Marshall Islands, Kevin Maher in The Times was more dismissive. "Abandoning any interest in nuance or subtlety", Pilger claims "that American bases in the region are threatening China with a 'giant noose' around its neck". For Pilger, he writes, China is "a brilliant place with just some 'issues with human rights', but let's not go into that now" and his film's "lack of complexity is depressing".
Question: Did Pilger write it
Answer: In the documentary, according to Pilger, "the evidence and witnesses warn that nuclear war is no longer a shadow, but a contingency.

Background: Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (; Dutch: ['pit 'mondrija:n], later ['mondrijan]; 7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality.
Context: Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiritual pursuits, and in 1913 he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. While Mondrian was visiting the Netherlands in 1914, World War I began, forcing him to remain in there for the duration of the conflict. During this period, he stayed at the Laren artists' colony, where he met Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward abstraction. Van der Leck's use of only primary colors in his art greatly influenced Mondrian. After a meeting with Van der Leck in 1916, Mondrian wrote, "My technique which was more or less Cubist, and therefore more or less pictorial, came under the influence of his precise method." With Van Doesburg, Mondrian founded De Stijl (The Style), a journal of the De Stijl Group, in which he first published essays defining his theory, which he called neoplasticism. Mondrian published "De Nieuwe Beelding in de schilderkunst" ("The New Plastic in Painting") in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian's best and most-often quoted expression of this theory, however, comes from a letter he wrote to H. P. Bremmer in 1914: I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things... I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.
Question: What are the paintings he made?
Answer:
1913 he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting.