["[Dialogue between User and Assistant on 2024-01-01 00:00]\n<User>The following are some new knowledge:\nIn England, partly in response to a philosophy propounded by the Oxford Movement and others associated with the emerging revival of 'high church' or Anglo-Catholic ideas during the second quarter of the 19th century, neo-Gothic began to become promoted by influential establishment figures as the preferred style for ecclesiastical, civic and institutional architecture. The appeal of this Gothic revival (which after 1837, in Britain, is sometimes termed Victorian Gothic), gradually widened to encompass \"low church\" as well as \"high church\" clients. This period of more universal appeal, spanning 1855\u20131885, is known in Britain as High Victorian Gothic.\n<Assistant>I've successfully recorded all of this data.", "[Dialogue between User and Assistant on 2024-01-02 00:00]\n<User>I just discovered some interesting information:\nThe Houses of Parliament in London by Sir Charles Barry with interiors by a major exponent of the early Gothic Revival, Augustus Welby Pugin, is an example of the Gothic revival style from its earlier period in the second quarter of the 19th century. Examples from the High Victorian Gothic period include George Gilbert Scott's design for the Albert Memorial in London, and William Butterfield's chapel at Keble College, Oxford. From the second half of the 19th century onwards it became more common in Britain for neo-Gothic to be used in the design of non-ecclesiastical and non-governmental buildings types. Gothic details even began to appear in working-class housing schemes subsidised by philanthropy, though given the expense, less frequently than in the design of upper and middle-class housing.\n\nIn France, simultaneously, the towering figure of the Gothic Revival was Eug\u00e8ne Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclop\u00e9die m\u00e9di\u00e9vale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame de Paris, where many of whose most \"Gothic\" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.\n\nThe movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand L\u00e9ger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul C\u00e9zanne. A retrospective of C\u00e9zanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.\n\nIn France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.\n\nCubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L\u2019Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Ind\u00e9pendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand L\u00e9ger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.\n<Assistant>Thanks for sharing. I've committed this to memory.", "[Dialogue between User and Assistant on 2024-01-03 00:00]\n<User>I'd like to share some important information:\nHistorians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was \"Early Cubism\", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called \"High Cubism\", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to \"Late Cubism\" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and L\u00e9ger (to a lesser extent) implied an intentional value judgement.\n\nThe assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the \"Salle 41\" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the \"Salle 41\" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, Franti\u0161ek Kupka, Diego Rivera, L\u00e9opold Survage, Auguste Herbin, Andr\u00e9 Lhote, Gino Severini (after 1916), Mar\u00eda Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were \"later undermined by interpretations of the work of Picasso, Braque, Gris and L\u00e9ger that stress iconographic and ideological questions rather than methods of representation.\"\n\nDuring the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.\n\nThe art historian Douglas Cooper states that Paul Gauguin and Paul C\u00e9zanne \"were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907\". Cooper goes on to say: \"The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it.\"\n\nThe most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that \"such deductions are unhistorical\", wrote the art historian Daniel Robbins. This familiar explanation \"fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed.\" Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, Holland, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired C\u00e9zanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, Le Chahut and Le Cirque), was another important influence. There were also parallels in the development of literature and social thought.\n<Assistant>Thanks for sharing. I've committed this to memory.", "[Dialogue between User and Assistant on 2024-01-04 00:00]\n<User>Let me share some additional facts I found:\nIn addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of C\u00e9zanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than C\u00e9zanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.\n\nThe historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, L\u00e9ger, and Gris. The terms \"analytical\" and \"synthetic\" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. \"If Kahnweiler considers Cubism as Picasso and Braque,\" wrote Daniel Robbins, \"our only fault is in subjecting other Cubists' works to the rigors of that limited definition.\"\n\nThe traditional interpretation of \"Cubism\", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all. According to Daniel Robbins, \"To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake.\"\n\nThe term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and L\u00e9ger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Ind\u00e9pendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du \"Cubisme\" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Ind\u00e9pendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the \"artists of Passy\", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du \"Cubisme\" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.\n\nThere was a distinct difference between Kahnweiler\u2019s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and L\u00e9ger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. L\u00e9ger was based in Montparnasse.\n\nIn contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Ind\u00e9pendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and L\u00e9ger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soir\u00e9es often included writers such as Guillaume Apollinaire and Andr\u00e9 Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.\n\nAt the Salon d'Automne of the same year, in addition to the Ind\u00e9pendants group of Salle 41, were exhibited works by Andr\u00e9 Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, Andr\u00e9 Dunoyer de Segonzac and Franti\u0161ek Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The \"Cubists\" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.\n\nThe subsequent 1912 Salon des Ind\u00e9pendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Mus\u00e9e d'art moderne de la Ville de Paris) and L\u00e9ger's La Noce, The Wedding (Mus\u00e9e National d'Art Moderne, Paris) were also exhibited.\n\nThe Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampu\u00e9 made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des D\u00e9put\u00e9s about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.\n\nIt was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du \"Cubisme\" (published by Eug\u00e8ne Figui\u00e8re in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqu\u00e9s par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).\n<Assistant>Perfect. I've stored this information in my memory.", "[Dialogue between User and Assistant on 2024-01-05 00:00]\n<User>Let me share some additional facts I found:\nThe most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially Franti\u0161ek Kupka, and those considered Orphists by Apollinaire (Delaunay, L\u00e9ger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka\u2019s two entries at the 1912 Salon d'Automne, Amorpha-Fugue \u00e0 deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913\u201314 L\u00e9ger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new \"pure\" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.\n\nAlso labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier coll\u00e9 in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.\n\nThe Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Ind\u00e9pendants. The Salon de la Section d'Or at the Galerie La Bo\u00e9tie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.\n\nThe fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du \"Cubisme\" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.\n\nThe Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. \"It is by no means clear, in any case,\" wrote Christopher Green, \"to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of C\u00e9zanne.\" The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional C\u00e9zanne-like subjects\u2014the posed model, still-life and landscape\u2014favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.\n\nIn Du \"Cubisme\" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of \u2018duration\u2019 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 Poincar\u00e9, 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.\n\nThis technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le D\u00e9piquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier\u2019s Abundance shown at the Ind\u00e9pendants of 1911, and Delaunay's City of Paris, shown at the Ind\u00e9pendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. L\u00e9ger\u2019s The Wedding, also shown at the Salon des Ind\u00e9pendants 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 Carr\u00e0; themselves made in response to early Cubism.\n\nCubism 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\u201310), 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 \u00e0 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 L\u00e9ger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.\n<Assistant>Thank you for sharing. I've noted this information.", "[Dialogue between User and Assistant on 2024-01-06 00:00]\n<User>Here are some facts I recently discovered:\nCubist 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\u201310, 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\u201313, 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.\n\nA 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 L\u00e9once 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\u2014such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration\u2014had now been vacated, replaced by a purely formal frame of reference.\n\nThe most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer L\u00e9once 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, L\u00e9ger, 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. L\u00e9once Rosenberg exhibited not only the artists stranded by Kahnweiler\u2019s 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\u2019Effort 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 Ind\u00e9pendants and a revival of the Salon de la Section d\u2019Or in the same year, demonstrated it was still alive.\n\nThe reemergence of Cubism coincided with the appearance from about 1917\u201324 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, L\u00e9ger and Gleizes. The occasional return to classicism\u2014figurative work either exclusively or alongside Cubist work\u2014experienced 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, L\u00e9ger 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.\n\nCubism 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.\n\nArchitectural 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 Andr\u00e9 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.\n\nCubism 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\u2014which had been prefigured by Marcel Duchamp from 1914\u2014was left to the founders of Purism, Am\u00e9d\u00e9e Ozenfant and Charles-\u00c9douard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Apr\u00e8s 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 S\u00e8vres. His theoretical studies soon advanced into many different architectural projects.\n<Assistant>Thanks for the update. I've recorded these facts.", "[Dialogue between User and Assistant on 2024-01-07 00:00]\n<User>Here are some facts I recently discovered:\nAt the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and Andr\u00e9 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'\u00eatre 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 L\u00e9ger and Roger La Fresnaye\". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room\u2014the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and L\u00e9ger were hung\u2014and a bedroom. It was an example of L'art d\u00e9coratif, 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\" (Fa\u00e7ade architecturale).\n\nThe original Cubist architecture is very rare. There is only one country in the world where Cubism was really applied to architecture \u2013 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\u20131914, 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.\n\nIn 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.\n\nThe leading Cubist architects were Pavel Jan\u00e1k, Josef Go\u010d\u00e1r, Vlastislav Hofman, Emil Kr\u00e1l\u00ed\u010dek 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 Go\u010d\u00e1r with the only Cubist caf\u00e9 in the world, Grand Caf\u00e9 Orient. Vlastislav Hofman built the entrance pavilions of \u010e\u00e1blice Cemetery in 1912\u20131914, Josef Chochol designed several residential houses under Vy\u0161ehrad. A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Kr\u00e1l\u00ed\u010dek in 1912, who also built the Diamond House in the New Town of Prague around 1913.\n\nThe 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\u201308). 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.\n\nThe poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, Andr\u00e9 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, \u00c9luard 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.\n\nChinese 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.\n\nWestern political philosophy originates in the philosophy of ancient Greece, where political philosophy dates back to at least Plato. Ancient Greece was dominated by city-states, which experimented with various forms of political organization, grouped by Plato into four categories: timocracy, tyranny, democracy and oligarchy. One of the first, extremely important classical works of political philosophy is Plato's Republic, which was followed by Aristotle's Nichomachean Ethics and Politics. Roman political philosophy was influenced by the Stoics, including the Roman statesman Cicero.\n<Assistant>I've processed this information and will remember it.", "[Dialogue between User and Assistant on 2024-01-08 00:00]\n<User>The following are some more news I learnt:\nIndian political philosophy evolved in ancient times and demarcated a clear distinction between (1) nation and state (2) religion and state. The constitutions of Hindu states evolved over time and were based on political and legal treatises and prevalent social institutions. The institutions of state were broadly divided into governance, administration, defense, law and order. Mantranga, the principal governing body of these states, consisted of the King, Prime Minister, Commander in chief of army, Chief Priest of the King. The Prime Minister headed the committee of ministers along with head of executive (Maha Amatya).\n\nChanakya, 4th Century BC Indian political philosopher. The Arthashastra provides an account of the science of politics for a wise ruler, policies for foreign affairs and wars, the system of a spy state and surveillance and economic stability of the state. Chanakya quotes several authorities including Bruhaspati, Ushanas, Prachetasa Manu, Parasara, and Ambi, and described himself as a descendant of a lineage of political philosophers, with his father Chanaka being his immediate predecessor. Another influential extant Indian treatise on political philosophy is the Sukra Neeti. An example of a code of law in ancient India is the Manusm\u1e5bti or Laws of Manu.\n\nThe early Christian philosophy of Augustine of Hippo was heavily influenced by Plato. A key change brought about by Christian thought was the moderatation of the Stoicism and theory of justice of the Roman world, as well emphasis on the role of the state in applying mercy as a moral example. Augustine also preached that one was not a member of his or her city, but was either a citizen of the City of God (Civitas Dei) or the City of Man (Civitas Terrena). Augustine's City of God is an influential work of this period that attacked the thesis, held by many Christian Romans, that the Christian view could be realized on Earth.\n\nThe rise of Islam, based on both the Qur'an and Muhammad strongly altered the power balances and perceptions of origin of power in the Mediterranean region. Early Islamic philosophy emphasized an inexorable link between science and religion, and the process of ijtihad to find truth\u2014in effect all philosophy was \"political\" as it had real implications for governance. This view was challenged by the \"rationalist\" Mutazilite philosophers, who held a more Hellenic view, reason above revelation, and as such are known to modern scholars as the first speculative theologians of Islam; they were supported by a secular aristocracy who sought freedom of action independent of the Caliphate. By the late ancient period, however, the \"traditionalist\" Asharite view of Islam had in general triumphed. According to the Asharites, reason must be subordinate to the Quran and the Sunna.\n\nIslamic political philosophy, was, indeed, rooted in the very sources of Islam\u2014i.e., the Qur'an and the Sunnah, the words and practices of Muhammad\u2014thus making it essentially theocratic. However, in the Western thought, it is generally supposed that it was a specific area peculiar merely to the great philosophers of Islam: al-Kindi (Alkindus), al-Farabi (Abunaser), \u0130bn Sina (Avicenna), Ibn Bajjah (Avempace), Ibn Rushd (Averroes), and Ibn Khaldun. The political conceptions of Islam such as kudrah (power), sultan, ummah, cemaa (obligation)-and even the \"core\" terms of the Qur'an\u2014i.e., ibadah (worship), din (religion), rab (master) and ilah (deity)\u2014is taken as the basis of an analysis. Hence, not only the ideas of the Muslim political philosophers but also many other jurists and ulama posed political ideas and theories. For example, the ideas of the Khawarij in the very early years of Islamic history on Khilafa and Ummah, or that of Shia Islam on the concept of Imamah are considered proofs of political thought. The clashes between the Ehl-i Sunna and Shia in the 7th and 8th centuries had a genuine political character.\n\nMedieval political philosophy in Europe was heavily influenced by Christian thinking. It had much in common with the Mutazalite Islamic thinking in that the Roman Catholics though subordinating philosophy to theology did not subject reason to revelation but in the case of contradictions, subordinated reason to faith as the Asharite of Islam. The Scholastics by combining the philosophy of Aristotle with the Christianity of St. Augustine emphasized the potential harmony inherent in reason and revelation. Perhaps the most influential political philosopher of medieval Europe was St. Thomas Aquinas who helped reintroduce Aristotle's works, which had only been transmitted to Catholic Europe through Muslim Spain, along with the commentaries of Averroes. Aquinas's use of them set the agenda, for scholastic political philosophy dominated European thought for centuries even unto the Renaissance.\n\nOne of the most influential works during this burgeoning period was Niccol\u00f2 Machiavelli's The Prince, written between 1511\u201312 and published in 1532, after Machiavelli's death. That work, as well as The Discourses, a rigorous analysis of the classical period, did much to influence modern political thought in the West. A minority (including Jean-Jacques Rousseau) interpreted The Prince as a satire meant to be given to the Medici after their recapture of Florence and their subsequent expulsion of Machiavelli from Florence. Though the work was written for the di Medici family in order to perhaps influence them to free him from exile, Machiavelli supported the Republic of Florence rather than the oligarchy of the di Medici family. At any rate, Machiavelli presents a pragmatic and somewhat consequentialist view of politics, whereby good and evil are mere means used to bring about an end\u2014i.e., the secure and powerful state. Thomas Hobbes, well known for his theory of the social contract, goes on to expand this view at the start of the 17th century during the English Renaissance. Although neither Machiavelli nor Hobbes believed in the divine right of kings, they both believed in the inherent selfishness of the individual. It was necessarily this belief that led them to adopt a strong central power as the only means of preventing the disintegration of the social order.\n\nThese theorists were driven by two basic questions: one, by what right or need do people form states; and two, what the best form for a state could be. These fundamental questions involved a conceptual distinction between the concepts of \"state\" and \"government.\" It was decided that \"state\" would refer to a set of enduring institutions through which power would be distributed and its use justified. The term \"government\" would refer to a specific group of people who occupied the institutions of the state, and create the laws and ordinances by which the people, themselves included, would be bound. This conceptual distinction continues to operate in political science, although some political scientists, philosophers, historians and cultural anthropologists have argued that most political action in any given society occurs outside of its state, and that there are societies that are not organized into states that nevertheless must be considered in political terms. As long as the concept of natural order was not introduced, the social sciences could not evolve independently of theistic thinking. Since the cultural revolution of the 17th century in England, which spread to France and the rest of Europe, society has been considered subject to natural laws akin to the physical world.\n<Assistant>I've successfully recorded all of this data.", "[Dialogue between User and Assistant on 2024-01-09 00:00]\n<User>Here are some news I learnt earlier:\nPolitical and economic relations were drastically influenced by these theories as the concept of the guild was subordinated to the theory of free trade, and Roman Catholic dominance of theology was increasingly challenged by Protestant churches subordinate to each nation-state, which also (in a fashion the Roman Catholic Church often decried angrily) preached in the vulgar or native language of each region. However, the enlightenment was an outright attack on religion, particularly Christianity. The most outspoken critic of the church in France was Fran\u00e7ois Marie Arouet de Voltaire, a representative figure of the enlightenment. After Voltaire, religion would never be the same again in France.\n\nIn the Ottoman Empire, these ideological reforms did not take place and these views did not integrate into common thought until much later. As well, there was no spread of this doctrine within the New World and the advanced civilizations of the Aztec, Maya, Inca, Mohican, Delaware, Huron and especially the Iroquois. The Iroquois philosophy in particular gave much to Christian thought of the time and in many cases actually inspired some of the institutions adopted in the United States: for example, Benjamin Franklin was a great admirer of some of the methods of the Iroquois Confederacy, and much of early American literature emphasized the political philosophy of the natives.\n\nJohn Locke in particular exemplified this new age of political theory with his work Two Treatises of Government. In it Locke proposes a state of nature theory that directly complements his conception of how political development occurs and how it can be founded through contractual obligation. Locke stood to refute Sir Robert Filmer's paternally founded political theory in favor of a natural system based on nature in a particular given system. The theory of the divine right of kings became a passing fancy, exposed to the type of ridicule with which John Locke treated it. Unlike Machiavelli and Hobbes but like Aquinas, Locke would accept Aristotle's dictum that man seeks to be happy in a state of social harmony as a social animal. Unlike Aquinas's preponderant view on the salvation of the soul from original sin, Locke believes man's mind comes into this world as tabula rasa. For Locke, knowledge is neither innate, revealed nor based on authority but subject to uncertainty tempered by reason, tolerance and moderation. According to Locke, an absolute ruler as proposed by Hobbes is unnecessary, for natural law is based on reason and seeking peace and survival for man.\n\nThe Marxist critique of capitalism \u2014 developed with Friedrich Engels \u2014 was, alongside liberalism and fascism, one of the defining ideological movements of the Twentieth Century. The industrial revolution produced a parallel revolution in political thought. Urbanization and capitalism greatly reshaped society. During this same period, the socialist movement began to form. In the mid-19th century, Marxism was developed, and socialism in general gained increasing popular support, mostly from the urban working class. Without breaking entirely from the past, Marx established principles that would be used by future revolutionaries of the 20th century namely Vladimir Lenin, Mao Zedong, Ho Chi Minh, and Fidel Castro. Though Hegel's philosophy of history is similar to Immanuel Kant's, and Karl Marx's theory of revolution towards the common good is partly based on Kant's view of history\u2014Marx declared that he was turning Hegel's dialectic, which was \"standing on its head\", \"the right side up again\". Unlike Marx who believed in historical materialism, Hegel believed in the Phenomenology of Spirit. By the late 19th century, socialism and trade unions were established members of the political landscape. In addition, the various branches of anarchism, with thinkers such as Mikhail Bakunin, Pierre-Joseph Proudhon or Peter Kropotkin, and syndicalism also gained some prominence. In the Anglo-American world, anti-imperialism and pluralism began gaining currency at the turn of the 20th century.\n<Assistant>Got it. I will remember them.", "[Dialogue between User and Assistant on 2024-01-10 00:00]\n<User>Let me tell you about some new developments:\nWorld War I was a watershed event in human history, changing views of governments and politics. The Russian Revolution of 1917 (and similar, albeit less successful, revolutions in many other European countries) brought communism - and in particular the political theory of Leninism, but also on a smaller level Luxemburgism (gradually) - on the world stage. At the same time, social democratic parties won elections and formed governments for the first time, often as a result of the introduction of universal suffrage. However, a group of central European economists led by Austrian School economists Ludwig von Mises and Friedrich Hayek identified the collectivist underpinnings to the various new socialist and fascist doctrines of government power as being different brands of political totalitarianism.\n\nFrom the end of World War II until 1971, when John Rawls published A Theory of Justice, political philosophy declined in the Anglo-American academic world, as analytic philosophers expressed skepticism about the possibility that normative judgments had cognitive content, and political science turned toward statistical methods and behavioralism. In continental Europe, on the other hand, the postwar decades saw a huge blossoming of political philosophy, with Marxism dominating the field. This was the time of Jean-Paul Sartre and Louis Althusser, and the victories of Mao Zedong in China and Fidel Castro in Cuba, as well as the events of May 1968 led to increased interest in revolutionary ideology, especially by the New Left. A number of continental European \u00e9migr\u00e9s to Britain and the United States\u2014including Karl Popper, Friedrich Hayek, Leo Strauss, Isaiah Berlin, Eric Voegelin and Judith Shklar\u2014encouraged continued study in political philosophy in the Anglo-American world, but in the 1950s and 1960s they and their students remained at odds with the analytic establishment.\n\nCommunism remained an important focus especially during the 1950s and 1960s. Colonialism and racism were important issues that arose. In general, there was a marked trend towards a pragmatic approach to political issues, rather than a philosophical one. Much academic debate regarded one or both of two pragmatic topics: how (or whether) to apply utilitarianism to problems of political policy, or how (or whether) to apply economic models (such as rational choice theory) to political issues. The rise of feminism, LGBT social movements and the end of colonial rule and of the political exclusion of such minorities as African Americans and sexual minorities in the developed world has led to feminist, postcolonial, and multicultural thought becoming significant. This led to a challenge to the social contract by philosophers Charles W. Mills in his book The Racial Contract and Carole Patemen in her book The Sexual Contract that the social contract excluded persons of colour and women respectively.\n\nIn Anglo-American academic political philosophy, the publication of John Rawls's A Theory of Justice in 1971 is considered a milestone. Rawls used a thought experiment, the original position, in which representative parties choose principles of justice for the basic structure of society from behind a veil of ignorance. Rawls also offered a criticism of utilitarian approaches to questions of political justice. Robert Nozick's 1974 book Anarchy, State, and Utopia, which won a National Book Award, responded to Rawls from a libertarian perspective and gained academic respectability for libertarian viewpoints.\n\nContemporaneously with the rise of analytic ethics in Anglo-American thought, in Europe several new lines of philosophy directed at critique of existing societies arose between the 1950s and 1980s. Most of these took elements of Marxist economic analysis, but combined them with a more cultural or ideological emphasis. Out of the Frankfurt School, thinkers like Herbert Marcuse, Theodor W. Adorno, Max Horkheimer, and J\u00fcrgen Habermas combined Marxian and Freudian perspectives. Along somewhat different lines, a number of other continental thinkers\u2014still largely influenced by Marxism\u2014put new emphases on structuralism and on a \"return to Hegel\". Within the (post-) structuralist line (though mostly not taking that label) are thinkers such as Gilles Deleuze, Michel Foucault, Claude Lefort, and Jean Baudrillard. The Situationists were more influenced by Hegel; Guy Debord, in particular, moved a Marxist analysis of commodity fetishism to the realm of consumption, and looked at the relation between consumerism and dominant ideology formation.\n\nAnother debate developed around the (distinct) criticisms of liberal political theory made by Michael Walzer, Michael Sandel and Charles Taylor. The liberal-communitarian debate is often considered valuable for generating a new set of philosophical problems, rather than a profound and illuminating clash of perspective.These and other communitarians (such as Alasdair MacIntyre and Daniel A. Bell) argue that, contra liberalism, communities are prior to individuals and therefore should be the center of political focus. Communitarians tend to support greater local control as well as economic and social policies which encourage the growth of social capital.\n\nA pair of overlapping political perspectives arising toward the end of the 20th century are republicanism (or neo- or civic-republicanism) and the capability approach. The resurgent republican movement aims to provide an alternate definition of liberty from Isaiah Berlin's positive and negative forms of liberty, namely \"liberty as non-domination.\" Unlike liberals who understand liberty as \"non-interference,\" \"non-domination\" entails individuals not being subject to the arbitrary will of anyother person. To a liberal, a slave who is not interfered with may be free, yet to a republican the mere status as a slave, regardless of how that slave is treated, is objectionable. Prominent republicans include historian Quentin Skinner, jurist Cass Sunstein, and political philosopher Philip Pettit. The capability approach, pioneered by economists Mahbub ul Haq and Amartya Sen and further developed by legal scholar Martha Nussbaum, understands freedom under allied lines: the real-world ability to act. Both the capability approach and republicanism treat choice as something which must be resourced. In other words, it is not enough to be legally able to do something, but to have the real option of doing it.\n\nAn alloy is a mixture of metals or a mixture of a metal and another element. Alloys are defined by metallic bonding character. An alloy may be a solid solution of metal elements (a single phase) or a mixture of metallic phases (two or more solutions). Intermetallic compounds are alloys with a defined stoichiometry and crystal structure. Zintl phases are also sometimes considered alloys depending on bond types (see also: Van Arkel-Ketelaar triangle for information on classifying bonding in binary compounds).\n<Assistant>Great! I've added this to my knowledge base."]
[{"question": "Besides ecclesiastical and civic architecture, what other style of architecture did influential figures of the 19th century prefer to use Victorian Gothic for?", "answer": "institutional architecture"}, {"question": "Who was the exterior architect of the Houses of Parliament?", "answer": "Sir Charles Barry"}, {"question": "What style of architecture does the Houses of Parliament exemplify?", "answer": "the Gothic revival style"}, {"question": "What modern building material did Viollet-le-Duc teach reform Gothic designers to work with?", "answer": "cast iron"}, {"question": "What other famous French cathedral did Viollet-le-Duc work on?", "answer": "Notre Dame de Paris"}, {"question": "Which person  was the most influential in beginning the movement with is three dimensional forms?", "answer": "Paul C\u00e9zanne"}, {"question": "Which offshoot had little in common with Cubism?", "answer": "Futurist"}, {"question": "Which offshoot of cubism was influenced by Picasso?", "answer": "Constructivism"}, {"question": "In the spring of what year did the first organized exhibition by cubist appear?", "answer": "1911"}, {"question": "What was the name of the room that the first exhibition of Cubists took place?", "answer": "Salle 41"}, {"question": "Who mentioned the landscapes made by Picasso in the first Cubist paintings?", "answer": "Gertrude Stein"}, {"question": "Who coined the phrase Analytic Cubsim?", "answer": "Juan Gris"}, {"question": "What were Picasso's 1907 paintings usually characterized by?", "answer": "Protocubism"}, {"question": "What does Cooper say is the first  Cubist picture?", "answer": "The Demoiselles"}, {"question": "Which technique did the Impressionists use to make their subjects simple forms?", "answer": "double point of view"}, {"question": "Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further explored by whom?", "answer": "C\u00e9zanne"}, {"question": "Understanding who's work was the tradition meaning of Cubism formed on?", "answer": "Braque and Picasso"}, {"question": "Who suggested that the artists other than Braque and Picasso's relgation to a distant role in Cubism was a mistake?", "answer": "Daniel Robbins"}, {"question": "What year did the term Cubism become used more?", "answer": "1911"}, {"question": "Where did Braque and Gris stay until the end of the World War I?", "answer": "Montmartre"}, {"question": "Where was Leger based around 1912?", "answer": "Montparnasse"}, {"question": "Was Duchamp's work considered controversial when displayed in 1912?", "answer": "caused a scandal"}, {"question": "What against did Metzinger and Gleizes write Du \"Cubsime\"?", "answer": "public anger"}, {"question": "During what years did  Leger produce Contrasts of Forms?", "answer": "1913\u201314"}, {"question": "How many works displayed at The Salon de la Section d'Or at the Galerie La Bo\u00e9tie in Paris, October 1912?", "answer": "Over 200"}, {"question": "Whom did Braque and Picasso aim their works at?", "answer": "large public"}, {"question": "In Du Cubisme who so Metzinger and Gleizes  relate the sense of time to?", "answer": "Henri Bergson"}, {"question": "The Cubist used what kind of treatment of space and time?", "answer": "The Salon Cubists"}, {"question": "What did the technique in Gliezes' piece Le Depiquage represent?", "answer": "relative motion)"}, {"question": "Who painted the Wedding, show at Salon des Independants in 1912?", "answer": "L\u00e9ger"}, {"question": "Which 1907 piece did Picasso present in the show that introduced Cubism to the USA?", "answer": "Les Arbres"}, {"question": "Which  Alexander Archipenko piece was similar to other Cubist scupltures of that time?", "answer": "Woman Walking"}, {"question": "In what year did Rosenberg exhibit Cubist works at  Galerie de l\u2019Effort Moderne?", "answer": "1918"}, {"question": "What two things did Cubism in the early 20th century form an important link between?", "answer": "art and architecture."}, {"question": "Increased use of what material marked Cubism influence in architecture?", "answer": "glass"}, {"question": "The De Stijl movement took part in the aesthetic principles of what?", "answer": "Neo-plasticism"}, {"question": "Who linked De Stijl to Cubist theory?", "answer": "Gino Severini"}, {"question": "What was La Maison Cubiste ?", "answer": "a fully furnished house"}, {"question": "What was the essential piece Cubist architects explained in their theoretical rules?", "answer": "dynamism"}, {"question": "What's  window shapes di Czech Cubist architects use?", "answer": "hexagonal"}, {"question": "Where did the leading Cubist architects work?", "answer": "Prague"}, {"question": "Where is the House of the Black Madonna located?", "answer": "Old Town of Prague"}, {"question": "What was the title of Gertrude Stein's 1906-1908 book?", "answer": "The Making of Americans"}, {"question": "What specifically dates back with Confucius in the 6th century BC?", "answer": "Chinese political philosophy"}, {"question": "What advocated a communal, decentralized government centered on frugality and ascetism?", "answer": "Mohism"}, {"question": "Western political philosophy originates in what philosophy?", "answer": "ancient Greece"}, {"question": "What demarcates a clear distinction between nation and state, as well as religion and state?", "answer": "Indian political philosophy"}, {"question": "What was divided into governance, administration, defense, law and  order?", "answer": "The institutions of state"}, {"question": "What was the governing body of the Hindu states?", "answer": "Mantranga"}, {"question": "What provides an account of the science of politics for a wise ruler?", "answer": "The Arthashastra"}, {"question": "Who heavily influenced the early Christian philosophy of Augustine of Hippo?", "answer": "Plato"}, {"question": "Who also preached that one was not a member of his or her city?", "answer": "Augustine"}, {"question": "What does Civitas terrena mean?", "answer": "City of Man"}, {"question": "What strongly altered the power balances and perceptions of origin of power in the Mediterranean region?", "answer": "The rise of Islam"}, {"question": "What emphasized an inexorable link between science and religion?", "answer": "Early Islamic philosophy"}, {"question": "What type of views did the \"rationalist\" Mutaziite philosophers hold?", "answer": "Hellenic view"}, {"question": "What would refer to a set of enduring institutions through which power would be distributed and its use justified?", "answer": "state"}, {"question": "What refers to a specific group of people who occupied the institutions of the state?", "answer": "government"}, {"question": "Society has been considered subject to natural laws akin to what?", "answer": "the physical world"}, {"question": "The concept of the guild was subordinated to the theory of what?", "answer": "free trade"}, {"question": "The enlightenment was an outright attack on what?", "answer": "religion"}, {"question": "What increasingly challenged the Roman Catholic dominance of theology?", "answer": "Protestant churches"}, {"question": "In what area did these ideological reforms not take place until much later?", "answer": "Ottoman Empire"}, {"question": "Locke refuted whose political theory?", "answer": "Sir Robert Filmer"}, {"question": "According to Locke, an absolute ruler is proposed by Hobbes is what?", "answer": "unnecessary"}, {"question": "Who developed the Marxist critique of capitalism?", "answer": "Friedrich Engels"}, {"question": "What produced a parallel revolution in political thought?", "answer": "The industrial revolution"}, {"question": "What was a watershed event in human history?", "answer": "World War I"}, {"question": "The events of May 1968 led to an increased interest in what?", "answer": "revolutionary ideology"}, {"question": "What remained an important focus during the 1950s and 1960s?", "answer": "Communism"}, {"question": "There was a marked trend towards what type of approach to political issues?", "answer": "pragmatic approach"}, {"question": "Who wrote The Sexual Contract?", "answer": "Carole Patemen"}, {"question": "Herbert Marcuse was from what school?", "answer": "Frankfurt School,"}, {"question": "Thinkers out of the Frankfurt School combined Marxian and what other perspective?", "answer": "Freudian"}, {"question": "Who in particular moved a Marxist analysis of commodity fetishism to the realm of consumption?", "answer": "Guy Debord"}, {"question": "What type of control do communitarians tend to support?", "answer": "greater local control"}, {"question": "Mahbub ul Haq and Amartya Sen pioneered what approach?", "answer": "The capability approach"}, {"question": "What are alloys defined by?", "answer": "metallic bonding character"}, {"question": "When are Zintl considered alloys?", "answer": "depending on bond types"}, {"question": "What is solid solution metal elements classified as?", "answer": "a single phase"}]