Question: Andy Warhol (; born Andrew Warhola; August 6, 1928 - February 22, 1987) was an American artist, director and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture, and advertising that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental film Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966-67). Born and raised in Pittsburgh, Warhol initially pursued a successful career as a commercial illustrator.

In the mid-1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended. In 1989, after Warhol's death, Reed and John Cale re-united for the first time since 1972 to write, perform, record and release the concept album Songs for Drella, a tribute to Warhol.  Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for The Rolling Stones' albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy in Peril (1972) and Honi Soit in 1981. One of Warhol's last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.  Warhol strongly influenced the new wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, and this version was released on the VU album in 1985. Bowie would later play Warhol in the 1996 movie, Basquiat. Bowie recalled how meeting Warhol in real life helped him in the role, and recounted his early meetings with him:  I met him a couple of times, but we seldom shared more than platitudes. The first time we saw each other an awkward silence fell till he remarked my bright yellow shoes and started talking enthusiastically. He wanted to be very superficial. And seemingly emotionless, indifferent, just like a dead fish. Lou Reed described him most profoundly when he once told me they should bring a doll of Andy on the market: a doll that you wind up and doesn't do anything. But I managed to observe him well, and that was a helping hand for the film [Basquiat]. ... We borrowed his clothes from the museum in Pittsburgh, and they were intact, unwashed. Even the pockets weren't emptied: they contained pancake, white, deadly pale fond de teint which Andy always smeared on his face, a check torn in pieces, someone's address, lots of homeopathic pills and a wig. Andy always wore those silver wigs, but he never admitted it were wigs. One of his hairdressers has told me lately that he had his wigs regularly cut, like it were real hair. When the wig was trimmed, he put on another next month as if his hair had grown.

Using a quote from the above article, answer the following question: Did Andy Warhol create any music?
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Answer: Warhol strongly influenced the new wave/punk rock band Devo,

Problem: Maurice Merleau-Ponty (French: [moRis meRlo poti]; 14 March 1908 - 3 May 1961) was a French phenomenological philosopher, strongly influenced by Edmund Husserl and Martin Heidegger. The constitution of meaning in human experience was his main interest and he wrote on perception, art, and politics. He was on the editorial board of Les Temps modernes, the leftist magazine established by Jean-Paul Sartre in 1945. At the core of Merleau-Ponty's philosophy is a sustained argument for the foundational role perception plays in understanding the world as well as engaging with the world.

In his Phenomenology of Perception (first published in French in 1945), Merleau-Ponty developed the concept of the body-subject (le corps propre) as an alternative to the Cartesian "ego cogito." This distinction is especially important in that Merleau-Ponty perceives the essences of the world existentially. Consciousness, the world, and the human body as a perceiving thing are intricately intertwined and mutually "engaged." The phenomenal thing is not the unchanging object of the natural sciences, but a correlate of our body and its sensory-motor functions. Taking up and "communing with" (Merleau-Ponty's phrase) the sensible qualities it encounters, the body as incarnated subjectivity intentionally elaborates things within an ever-present world frame, through use of its pre-conscious, pre-predicative understanding of the world's makeup. The elaboration, however, is "inexhaustible" (the hallmark of any perception according to Merleau-Ponty). Things are that upon which our body has a "grip" (prise), while the grip itself is a function of our connaturality with the world's things. The world and the sense of self are emergent phenomena in an ongoing "becoming."  The essential partiality of our view of things, their being given only in a certain perspective and at a certain moment in time does not diminish their reality, but on the contrary establishes it, as there is no other way for things to be copresent with us and with other things than through such "Abschattungen" (sketches, faint outlines, adumbrations). The thing transcends our view, but is manifest precisely by presenting itself to a range of possible views. The object of perception is immanently tied to its background--to the nexus of meaningful relations among objects within the world. Because the object is inextricably within the world of meaningful relations, each object reflects the other (much in the style of Leibniz's monads). Through involvement in the world - being-in-the-world - the perceiver tacitly experiences all the perspectives upon that object coming from all the surrounding things of its environment, as well as the potential perspectives that that object has upon the beings around it.  Each object is a "mirror of all others." Our perception of the object through all perspectives is not that of a propositional, or clearly delineated, perception; rather, it is an ambiguous perception founded upon the body's primordial involvement and understanding of the world and of the meanings that constitute the landscape's perceptual gestalt. Only after we have been integrated within the environment so as to perceive objects as such can we turn our attention toward particular objects within the landscape so as to define them more clearly. This attention, however, does not operate by clarifying what is already seen, but by constructing a new Gestalt oriented toward a particular object. Because our bodily involvement with things is always provisional and indeterminate, we encounter meaningful things in a unified though ever open-ended world.

According to Maurice Merleu - Ponty was does consciousness prove about human memories.?

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