input: Please answer the following: Given the below context:  Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine.  Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana.  Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs. After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end...  Guess a valid title for it!
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output: Buildings of Nuffield College, Oxford


input: Please answer the following: Given the below context:  In comparison to other rooms within the castle, Lord Bute's Bedroom, sited above the Winch Room, is relatively small and simple. The original plan had Bute's personal accommodation in the Keep but the expansion of the Drawing Room to a double-height room in 1879 required a late change of plan. The bedroom contains an ornately carved fireplace. Doors lead off the room to an internal balcony overlooking the courtyard and to the bretache over the gate arch. The furniture is mainly by Chapple and post-dates Burges, although the washstand and dressing table are pared-down versions of two pieces – the Narcissus Washstand and the Crocker Dressing Table – that Burges made for his own home in London, The Tower House.This bedroom is also less richly ornamented than many in the castle, making extensive use of plain, stencilled geometrical patterns on the walls. Crook suggested this provided some "spartan" relief before the culmination of the castle in Lady Bute's Bedroom but Floud considered the result "thin" and drab in comparison with the more richly decorated chambers. The bedroom would have been impractical for regular use, lacking wardrobes and other storage.  Guess a valid title for it!
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output: Castell Coch 6


input: Please answer the following: Given the below context:  The new album was publicised during Jay-Z's performance at the Coachella Valley Music and Arts Festival in April, when a blimp flew across the venue announcing that M.I.A.'s new album would be released on 29 June 2010. M.I.A. promoted the album with a series of appearances at music festivals, including the Hard festival in New York and The Big Chill in Herefordshire. Her performance at the latter was cut short due to a stage invasion by fans. She also performed at the Flow Festival in Finland, where she was joined onstage by Derek E. Miller playing guitar during her performance of "Meds and Feds", and the LokerseFeesten in Lokeren, Flanders, Belgium, where her performance drew a crowd of 13,500, the biggest of the 10-day music festival. In September she announced a tour that would last until the end of the year.M.I.A. also promoted the album with an appearance on the "Late Show with David Letterman", during which she performed "Born Free" with Martin Rev of Suicide playing keyboards, backed by a group of dancers styled to look like M.I.A. In November 2010 she appeared on the British television show Later... with Jools Holland, performing "Born Free" and "It Takes a Muscle", the latter with members of The Specials. While promoting the album, M.I.A. became involved in a dispute with Lynn Hirschberg of The New York Times, who interviewed her in March 2010 and whose resulting article portrayed the singer as pretentious and attention seeking. In response, M.I.A. posted Hirschberg's telephone number on her Twitter page and later uploaded her own audio recording of the interview, highlighting the discrepancies between what she said and what was reported. The piece was criticised for its yellow journalism by some, however M.I.A. received varying degrees of support and criticism for the ensuing fallout from the media. Benjamin Boles wrote in Now that, while Hirschberg's piece came across as a "vicious ... character assassination", M.I.A's subsequent actions were "childish" and made her "the laughing stock of the...  Guess a valid title for it!
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output: Maya (M.I.A. album)


input: Please answer the following: Given the below context:  After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing...  Guess a valid title for it!
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output:
Henry Moore