Question:
Povenmire was born in San Diego, California on September 18, 1963, and grew up in the city of Mobile, Alabama. A child prodigy, he began drawing at age two; by the time he was ten, his work was displayed in local art shows. His first efforts in animation included a series of flip books that he produced in his school text books. As a child, Povenmire considered animator Chuck Jones his hero; in a 2009 interview, he stated that "every drawing he [Jones] did was beautiful to look at and had so much energy in it".
In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show.
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How did this become phineas?

Answer:
He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show.


Question:
Sir Arthur John Evans  (8 July 1851 - 11 July 1941) was an English archaeologist and pioneer in the study of Aegean civilization in the Bronze Age. He is most famous for unearthing the palace of Knossos on the Greek island of Crete. Evans continued Heinrich Schliemann's concept of a Mycenaean civilization, but found that he needed to distinguish another civilization, the Minoan, from the structures and artifacts found there and throughout the eastern Mediterranean. Evans was also the first to define Cretan scripts Linear A and Linear B, as well as an earlier pictographic writing.
Evans and Margaret moved back to Oxford, renting a house there in January 1883. This period of unemployment was the only one of his life; he employed himself finishing up his Balkan studies. He completed his articles on Roman roads and cities there. It was suggested that he apply to a new Professorship of Classical Archaeology at Oxford. When he found out that Jowett and Newton were among the electors, he decided not to apply. He wrote to Freeman that to confine archaeology to classics was an absurdity. Instead he and Margaret travelled to Greece, seeking out Heinrich Schliemann at Athens. Margaret and Sophia had a long visit for several hours, during which Evans examined the Mycenaean antiquities at hand with Heinrich.  Meanwhile, Ashmolean Museum, an adjunct of Oxford University, was in a chaotic state of transition. It had been a natural history museum, but the collections had been transferred to other museums. The lower floor housed some art and archaeology, but the upper floor was being used for university functions. John Henry Parker, appointed the first keeper in 1870, had the task of trying to manage it. His efforts to negotiate with the art collector C. Drury E. Fortnum, over housing his extensive collection, were being undercut university administrators. In January 1874, Parker died. The museum was in the hands of its assistant keepers, one of whom, Edward Evans (no relation), was to be Evans's executive during Evans's extended absences.  The strategy for the museum now was to convert it to an art and archaeology museum, expanding the remaining collections . In November 1883, Fortnum wrote to Evans asking for his assistance in locating some letters in the Bodleian Library that would help to validate a noted ring in his collection; he did so on the advice of John Evans of the Society of Antiquaries. Unable to find the letters, Arthur Evans suggested Fortnum visit Oxford. Fortnum in fact was becoming dissatisfied with rivals for his collection, the South Kensington Museum, because of their "lack of a properly informed and competent person as keeper." Evans had the right qualifications and took the position of keeper at the Ashmolean when it was offered.  In 1884, therefore, Evans, at the age of 34, was appointed Keeper of the Ashmolean Museum. He held a grand inauguration at which he outlined his planned changes, publishing it as The Ashmolean as a Home of Archaeology in Oxford. Already the great frontage building had been erected. Evans took it firmly in the direction of being an archaeology museum. He insisted the artifacts be transferred back to the museum, negotiated for and succeeded in acquiring Fortnum's collections, later gave his father's collections to the museum, and finally, bequeathed his own Minoan collections, not without the intended effect. Today it has the finest Minoan assemblages outside Crete. He also persuaded Fortnum to donate PS10,000 to build the extensive rooms behind the impressive facade, buildings which have only recently been demolished to make way for the new Ashmolean Museum.  Evans gave the Ilchester Lectures for 1884 on the Slavonic conquest of Illyricum, which remained unpublished.
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What are some of the artifacts that he is in charge of?

Answer:
bequeathed his own Minoan collections, not without the intended effect.