Problem: Background: Wilson was born on November 26, 1895, in East Dorset, Vermont, the son of Emily (nee Griffith) and Gilman Barrows Wilson. He was born at his parents' home and business, the Mount Aeolus Inn and Tavern. His paternal grandfather, William C. Wilson, was also an alcoholic. William C. Wilson decided to stop drinking alcohol immediately after having a "religious experience" when he was under the influence of psilocybin ( sy-l@-SY-bin) during a "soul searching" hike on Mount Aeolus.
Context: In November 1934, Wilson was visited by old drinking companion Ebby Thacher. Wilson was astounded to find that Thacher had been sober for several weeks under the guidance of the evangelical Christian Oxford Group. Wilson took some interest in the group, but shortly after Thacher's visit, he was again admitted to Towns Hospital to recover from a bout of drinking. This was his fourth and last stay at Towns hospital under Doctor Silkworth's care and he showed signs of delirium tremens. It was while undergoing treatment with The Belladonna Cure that Wilson experienced his "Hot Flash" spiritual conversion and quit drinking. Earlier that evening, Thacher had visited and tried to persuade him to turn himself over to the care of a Christian deity who would liberate him from alcohol. According to Wilson, while lying in bed depressed and despairing, he cried out, "I'll do anything! Anything at all! If there be a God, let Him show Himself!" He then had the sensation of a bright light, a feeling of ecstasy, and a new serenity. He never drank again for the remainder of his life. Wilson described his experience to Dr. Silkworth, who told him, "Something has happened to you I don't understand. But you had better hang on to it". Wilson joined the Oxford Group and tried to help other alcoholics, but succeeded only in keeping sober himself. During a failed business trip to Akron, Ohio, Wilson was tempted to drink again and decided that to remain sober he needed to help another alcoholic. He called phone numbers in a church directory and eventually secured an introduction to Dr. Bob Smith, an alcoholic Oxford Group member. Wilson explained Doctor Silkworth's theory that alcoholics suffer from a physical allergy and a mental obsession. Wilson shared that the only way he was able to stay sober was through having had a spiritual experience. Smith was familiar with the tenets of the Oxford Group and upon hearing Wilson's experience, "began to pursue the spiritual remedy for his malady with a willingness that he had never before been able to muster. After a brief relapse, he sobered, never to drink again up to the moment of his death in 1950". Wilson and Smith began working with other alcoholics. After that summer in Akron, Wilson returned to New York where he began having success helping alcoholics in what they called "a nameless squad of drunks" in an Oxford Group there. In 1938, after about 100 alcoholics in Akron and New York had become sober, the fellowship decided to promote its program of recovery through the publication of a book, for which Wilson was chosen as primary author. The book was given the title Alcoholics Anonymous and included the list of suggested activities for spiritual growth known as the Twelve Steps. The movement itself took on the name of the book. Later Wilson also wrote the Twelve Traditions, a set of spiritual guidelines to ensure the survival of individual AA groups. The AA general service conference of 1955 was a landmark event for Wilson in which he turned over the leadership of the maturing organization to an elected board.
Question: how long ws he in the program?
Answer:

Problem: Background: Paul Klee (German: [paUl 'kle:]; 18 December 1879 - 29 June 1940) was a Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture.
Context: During his twelve-day educational trip to Tunis in April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of Paul Cezanne and Robert Delaunays' cubistic form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works In den Hausern von Saint-Germain (In the Houses of Saint-Germain) and Strassencafe (Streetcafe). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as Abstract and Farbige Kreise durch Farbbander verbunden (Colored Circles Tied Through Inked Ribbons). He never abandoned the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental world. Fohn im Marc'schen Garten (Foehn at Marc's Garden) was made after the Turin trip. It indicates the relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time: In the large molding pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. [...] The terrible the world, the abstract the art, while a happy world produces secularistic art. Under the impression of his military service he created the painting Trauerblumen (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For the first time birds appear in the pictures, such as in Blumenmythos (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes. In the 1918 watercolor painting Einst dem Grau der Nacht enttaucht, a compositional implemented poem, possible written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper. At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. Herwarth Walden, Klee's art dealer, saw in them a "Wachablosung" (changing of the guard) of his art. Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The Villa R (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.
Question: Why was the Mystical-abstract period special?
Answer:
strong light and color stimulus