Search "Emiliano Malaquez" and you'll find he's a master of the "captured moment" school of sculpture. Even The Terran Times has only praise for his work. To compare his pieces to those of others is to compare mannequins to living models. He accents the illusion of reality --I paraphrase his entry in La Enciclopedia Humanica --by doing life-size scenes in "The full round," never the easier frontal or three-quarters view. Moreover, he never did portraits of famous people; his works were therefore the reality and could never be compared to it. As is typical of his school, his pieces are sealed in stopboxes. The shimmer of light on their surfaces always reminds us that we're looking at an instant snatched from under the hooves of time. They say the cubes will outlast planets and suns, that when the universe dies, the works of Malaquez and his followers will be the last things seen in the final wink of God's eye. Yes, Self, I am also bothered that this observation ignores half-eaten cheese sandwiches, incomplete insect collections, and locks of infants' hair, forgotten in closets, basements, and warehouses. You see the inspiration for my latest play, "Captured Moments." The mindwipe will take its creation from my future self --but time too often does that without aid. The play's second act concludes with the last fight between Tasha and me. I have disguised us in the play, and deleted one brief melodramatic interchange. Now I will mention it, in case I/You decide to restore it. Shortly before she left, Tasha said, "You steal from life for art, Bernardo. You'll impoverish yourself." I only snarled at her and -- My story leaps ahead of itself. Let me retreat and retrench: One night during N'apulco's mild winter, Tasha returned to The Flamingo, saying, "Nardo! Nardo! Guess what?"

Question: "What do Tasha and Bernardo fight about?"

Response: "They fight about who has the bigger part in the play"

A: no

The Golden Heian Era: The geomancers in 794 decided that Heian-kyo (modern Kyoto) would be an auspicious site for the imperial family. It was indeeduntil 1869. Grants of tax-free land over the years had been made to Buddhist temples and members of the court aristocracy. The most powerful families thus carved out for themselves whole regions that were to become the fiefdoms of Japanese feudalism. By the end of the eighth century the clans had created a hierarchy of shiki, or rights, from the highest to the lowest ranks of society. The aristocrat or court patron lent his prestige to a powerful provincial proprietor, who employed a competent estate-manager to oversee smallholders, who in turn worked their farms with dependent laborers. This elaborate structure of interdependent rights and obligations was to serve Japanese society right into the 20th century. Meanwhile, Heian court life blossomed in an effusion of aesthetic expression. Princes and princesses judged the merits of birds, insects, flowers, roots, or seashells. Literary party games held in ornate palace gardens required each guest to compose a small poem as his wine cup floated toward him along a miniature winding channel of water. Expeditions were organized to the best viewing points for the first spring cherry blossoms, and special pavilions were built to watch the rising of the full moon. Every gesture, from the most banal opening of an umbrella to the sublimest act of lovemaking, had its appropriate ceremonial. Conversation often took the form of elegant exchanges of improvised verse. The changing role of Chinese culture in Japanese life was epitomized in the language itself. In the absence of an indigenous alphabet, Japanese scholars had with the greatest difficulty tried to adapt the complex ideograms of monosyllabic Chinese to the essentially polysyllabic Japanese. Thus developed the katakana system used as a vehicle for writing Buddhist names and concepts. After rival Fujiwara factions had been struggling for years to gain control of the imperial throne, they turned to the Taira and Minamoto armies in 1156 to wage the four-year war that heralded the end of the golden age of the Heian court. The Taira, controlling the region along the Inland Sea, defeated the Minamoto armies based in the Kanto province east of the capital.

Question: "What lead to the development of katakana system?"

Response: "A need for language"

A: no

(CNN) -- Tito Joseph "TJ" Jackson, who on Wednesday was named temporary guardian of Michael Jackson's three children, was inspired by his famous uncle to form a singing group with his brothers. TJ had been placed in charge of the children when the kids' grandmother, Katherine, left home on July 15 and will watch the children while the legal proceedings play out in a California court. TJ Jackson, 34, is the son of Tito Jackson and the late Delores Martes Jackson. TJ and his older brothers, Taj and Taryll, form the R&B group 3T. Jackson is married with three children, a boy and two girls. Judge suspends Katherine Jackson as guardian of Michael Jackson's children A 1995 article in People described the brothers' childhood as normal despite their famous father, uncle and aunts. Taj Jackson told the magazine: "My mom made sure that we had a real childhood, with birthday parties, baseball, family outings, all that stuff." They were close to their Uncle Michael. "He's like a third parent to us," Taj told People in 1995. Eventually the brothers went along on one of his tours and decided to form a singing group and were recording their first album in 1994 at the time of their mother's death. Initially it was believed Delores Martes Jackson, who had divorced from Tito Jackson in 1993, drowned in a swimming pool, but the case was reopened, and her sons in 1995 filed a wrongful-death lawsuit against a man they accused of killing her. Three years later, Donald Bohana was convicted of second-degree murder and sentenced to 15 years to life in prison, according to People magazine.

Question: "Who spoke to the magazine?"

Response: "Tito Jackson"

A:
no