romikgosai/squad_modified huggingface dataset:
In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.

Questions and answers:
['
Q: In Du Cubisme who so Metzinger and Gleizes  relate the sense of time to? 
A: Henri Bergson', '
Q: The Cubist used what kind of treatment of space and time?
A: The Salon Cubists']
This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

Questions and answers:
["
Q: What did the technique in Gliezes' piece Le Depiquage represent?
A: relative motion)", '
Q: Who painted the Wedding, show at Salon des Independants in 1912?
A: Léger', "
Q: Which of Gliezes pieces was featured at Salon de la Section d'Or? 
A: Le Dépiquage des Moissons (Harvest Threshing)"]
Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. Jacques Villon exhibited seven important and large drypoints, his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No. 2 (1912). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Questions and answers:
['
Q: What was the name of the show that introduced Cubism to the USA?
A: Armory Show', '
Q: In what city did the show that introduced Cubism to the USA take place? 
A: New York City', '
Q: Which 1907 piece did Picasso present in the show that introduced Cubism to the USA? 
A: Les Arbres', '
Q: What 1910 piece did Albert Gleizes present in that show that introduced Cubism to the USA? 
A: La Femme aux phlox']
Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Questions and answers:
['
Q: What was the name of the 1909 Cubist sculpture Picassos created?
A: Head of a Woman', "
Q: What Douglas Cooper call Picasso's 1909 Cubist sculpture?
A: The first true Cubist sculpture", '
Q: Which  Alexander Archipenko piece was similar to other Cubist scupltures of that time?
A: Woman Walking']
A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal (fr) as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference.

Questions and answers:
["
Q: What did the critic Maurice Raynal begin to refer to Cubism in around 1917-1920?
A: 'crystal' Cubism", "
Q: Who's concept of duration was left  behind for a for more concrete frame's of references? 
A: Henri Bergson's", '
Q: What was the first time period that a significant change began to happen in Cubism?
A: 1914 and 1916', '
Q: What was the second time period that a significant change began to happen in Cubism?
A: between 1917 and 1920']
The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.

Questions and answers:
['
Q: Before what year was Cubism considered the most innovative? 
A: 1914', '
Q: With the assistance of what dealer did Cubism return as  a central consideration for artists after World War I?
A: Léonce Rosenberg', '
Q: In what year did Rosenberg exhibit Cubist works at  Galerie de l’Effort Moderne?
A: 1918', '
Q: In which city did Galerie de l’Effort Moderne take place? 
A: Paris']
The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared.

Questions and answers:
['
Q: Name the three artists who were in part resonsible for the reemergence of Cubism between 1917 and 1924.
A: Gris, Léger and Gleizes', '
Q: Name the three writers who were in part resonsible for the reemergence of Cubism between 1917 and 1924.
A: Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler', '
Q: In 1918 which way did the French idealogies shift that effected Cubism?
A: conservatism']
Cubism formed an important link between early-20th-century art and architecture. The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn. Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity.

Questions and answers:
['
Q: What two things did Cubism in the early 20th century form an important link between?
A: art and architecture.', '
Q: What are the four formal characteristics that are usually connected with Cubism?
A: faceting of form, spatial ambiguity, transparency, and multiplicity.', '
Q: In which four countries were the impacts of avant garde art particularly strong?
A: France, Germany, the Netherlands and Czechoslovakia']
Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.

Questions and answers:
['
Q: In Cubism what was architechtural interested base on?
A: the dissolution and reconstitution of three-dimensional form', '
Q: Who said that Cubism was becoming an influetial aspect in modern architecture ? 
A: Raymond Duchamp-Villon and André Mare', '
Q: Increased use of what material marked Cubism influence in architecture?
A: glass']
Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.

Questions and answers:
['
Q: The ideas of which Cubo Futurist influenced the avant-garde in architecture?
A: Filippo Tommaso Marinetti', '
Q: The De Stijl movement took part in the aesthetic principles of what?
A: Neo-plasticism', '
Q: Who developed Neo Plasticism? 
A: Piet Mondrian', '
Q: Who linked De Stijl to Cubist theory? 
A: Gino Severini', '
Q: Who did Le Corbusier open his Paris studio with in 1922?
A: his cousin Jeanneret']
At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).

Questions and answers:
['
Q: How big was the model of La Maison Cubiste? 
A: 10-by-3-meter', '
Q: Which Metzinger piece was hung in La Maison Cubiste?
A: Woman with a Fan', '
Q: What was La Maison Cubiste ?
A: a fully furnished house']
The original Cubist architecture is very rare. There is only one country in the world where Cubism was really applied to architecture – namely Bohemia (today Czech Republic) and especially its capital, Prague. Czech architects were the first and only ones in the world to ever design original Cubist buildings. Cubist architecture flourished for the most part between 1910–1914, but the Cubist or Cubism-influenced buildings were also built after the World War I. After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes.

Questions and answers:
['
Q: Is original Cubist architecture rare?
A: Cubist architecture is very rare', '
Q: Which country applied Cubism to architecture the most?
A: Bohemia (today Czech Republic', '
Q: What was for the form of architectural Cubism in Prague called?
A: Rondo-Cubism']
In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. hexagonal windows. Czech Cubist architects also designed Cubist furniture.

Questions and answers:
['
Q: What was the essential piece Cubist architects explained in their theoretical rules? 
A: dynamism', "
Q: What's  window shapes di Czech Cubist architects use? 
A: hexagonal", '
Q: What feelings should Cubist architecture evoke in viewer?
A: dynamism and expressive plasticity']
The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol. They worked mostly in Prague but also in other Bohemian towns. The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient. Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad. A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913.

Questions and answers:
['
Q: Who were the leading Cubist architects? 
A: Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol', '
Q: Where did the leading Cubist architects work?
A: Prague', '
Q: What is the best known Cubist architecture building? 
A: House of the Black Madonna', '
Q: Where is the House of the Black Madonna located? 
A: Old Town of Prague', '
Q: Who built the House of the Black Madonna?
A: Vlastislav Hofman']
The influence of cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well. Picasso in turn was an important influence on Stein's writing.

Questions and answers:
['
Q: Did cubism influence other fields outside of painting and scuplture?
A: The influence of cubism extended to other artistic fields,', "
Q: Who's written works used repitition that was similar to Cubist art?
A: Gertrude Stein", "
Q: What was Gertrude Stein's brother's name?
A: Leo", "
Q: What was the title of Gertrude Stein's 1906-1908 book?
A: The Making of Americans"]
The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy. As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada." Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet." Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work. Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.

Questions and answers:
['
Q: Which poets are closely alligned with Cubism?
A: Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy', '
Q: What is the name of the american Poet who is associated with talking about the rigiorous architecture of Cubism?
A: Kenneth Rexroth', "
Q: Which two American poets have recently created new traslations of Reverdy's work?
A: John Ashbery and Ron Padgett", "
Q: What is the name of Wallace Steven's work that explains how cubism can be translated into poetry? 
A: Thirteen Ways of Looking at a Blackbird"]
Chinese political philosophy dates back to the Spring and Autumn Period, specifically with Confucius in the 6th century BC. Chinese political philosophy was developed as a response to the social and political breakdown of the country characteristic of the Spring and Autumn Period and the Warring States period. The major philosophies during the period, Confucianism, Legalism, Mohism, Agrarianism and Taoism, each had a political aspect to their philosophical schools. Philosophers such as Confucius, Mencius, and Mozi, focused on political unity and political stability as the basis of their political philosophies. Confucianism advocated a hierarchical, meritocratic government based on empathy, loyalty, and interpersonal relationships. Legalism advocated a highly authoritarian government based on draconian punishments and laws. Mohism advocated a communal, decentralized government centered on frugality and ascetism. The Agrarians advocated a peasant utopian communalism and egalitarianism. Taoism advocated a proto-anarchism. Legalism was the dominant political philosophy of the Qin Dynasty, but was replaced by State Confucianism in the Han Dynasty. Prior to China's adoption of communism, State Confucianism remained the dominant political philosophy of China up to the 20th century.

Questions and answers:
['
Q: What specifically dates back with Confucius in the 6th century BC?
A: Chinese political philosophy', '
Q: Chinese political philosophy dates back to what century?
A: 6th century BC', '
Q: Chinese political philosophy was developed as a response to what?
A: the social and political breakdown of the country', '
Q: What advocated a communal, decentralized government centered on frugality and ascetism?
A: Mohism']