On his return to Nuremberg in 1495, Durer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Durer's father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca. 1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that Durer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Durer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.

Question: "How long after opening his workshop did Durer's mother die?"

OPTIONS:
- no
- yes

Answer: "18"

Response: yes

The Vice President stated that he called the President to discuss the rules of engagement for the CAP. He recalled feeling that it did no good to establish the CAP unless the pilots had instructions on whether they were authorized to shoot if the plane would not divert. He said the President signed off on that concept. The President said he remembered such a conversation, and that it reminded him of when he had been an interceptor pilot. The President emphasized to us that he had authorized the shootdown of hijacked aircraft. The Vice President's military aide told us he believed the Vice President spoke to the President just after entering the conference room, but he did not hear what they said. Rice, who entered the room shortly after the Vice President and sat next to him, remembered hearing him inform the President, "Sir, the CAPs are up. Sir, they're going to want to know what to do." Then she recalled hearing him say, "Yes sir." She believed this conversation occurred a few minutes, perhaps five, after they entered the conference room. We believe this call would have taken place sometime before 10:10 to 10:15. Among the sources that reflect other important events of that morning, there is no documentary evidence for this call, but the relevant sources are incomplete. Others nearby who were taking notes, such as the Vice President's chief of staff, Scooter Libby, who sat next to him, and Mrs. Cheney, did not note a call between the President and Vice President immediately after the Vice President entered the conference room. At 10:02, the communicators in the shelter began receiving reports from the Secret Service of an inbound aircraft-presumably hijacked-heading toward Washington. That aircraft was United 93. The Secret Service was getting this information directly from the FAA. The FAA may have been tracking the progress of United 93 on a display that showed its projected path to Washington, not its actual radar return. Thus, the Secret Service was relying on projections and was not aware the plane was already down in Pennsylvania.

Question: "Was the Secret Service getting information about United 93 aircraft's actual location or projected location at 10:02?"

OPTIONS:
- no
- yes

Answer: "Projected location"

Response: yes

MALS was formed here more than 30 years ago. Today, 14 staff attorneys, 26 office workers and 21 University of Memphis third- year law students work out of rented offices in the old Claridge Hotel building at 109 N. Main. Offices are spartan. There are no lush rugs or stylish furniture. The large table in the conference room is simple varnished wood. Offices are small and mostly plain, except for the eclectic mix of pop art, African statuary and neon that adorns litigation director Webb Brewer's space. Brewer, who has been at the agency 20 years, said there is a need for lawyers of all stripes to help with the problems of the poor. "The private bar could meet more of the need through pro bono work, but there are still cases that involve the systemic problems for low-income people that we would need to do," said Brewer. "The legal system marketplace just doesn't serve low-income people too well, except in fee-generat-ing type cases," Brewer said. "If a poor person gets run over by a bus, an attorney might take that case because they might be able to recover part of the damage award as attorney fees. But so many of the cases we handle have to do with basic rights and a decent life. There is just no profit motive." Larry Pivnick, law professor at the University of Memphis Law School and director of political programs at MALS, said Legal Services is a great learning laboratory for law students. "There are thousands and thousands of people who have problems that never get an opportunity to appear in court," Pivnick said. "Some people may not be particularly articulate. Courts have rules that clients don't always understand." Brewer said a major focus of the agency's work involves housing. "Although a lot of our work is grant-driven, we find that the lack of safe and decent affordable housing and the prevalence of predatory lending are the biggest problems in our client population," Brewer said, referring to clients such as James.

Question: "What is the economic demographic of MALS' clients?"

OPTIONS:
- no
- yes

Answer: "It's a main focus for VA"

Response: no

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?"

OPTIONS:
- no
- yes

Answer: "Tasha feels Bernando steals life from art"

Response:
yes