input: The Israel Police opened a criminal investigation into Zada's lynching.  The High Follow-Up Committee for Arab Citizens of Israel called on the government to refrain from investigating the death of Eden Natan-Zada. Arab Knesset member Mohammad Barakeh, a Shefa-'Amr resident himself, warned that protests could erupt if police probe Zada's lynching: "Normally when someone stops a terrorist from continuing to kill he is considered a hero, but in this case it is the heroes who are sitting on the defense stand". However, Shefa-'Amr's security officer, Jamal Aliam, told Army Radio that Zada had been attacked by dozens of people after he had been handcuffed and subdued by police.  Eventually, on 13 June 2006, five suspects in the lynching were arrested, one who was already serving a prison sentence was brought in for questioning, and a seventh suspect turned himself in after learning he was wanted by police. The police said: "We're responsible for maintaining the law, and you can't take the law into your own hands even when it concerns a terrorist who murdered innocent people, even though he made a heinous terrorist act". Two suspects were subsequently released. There was general support for their arrest and even left-wing activist Yossi Beilin said: "Israel can't put up with a lynch made on a handcuffed person even if his actions are heinous and unforgivable. It's a combined interest of both Jews and Arabs that Israel won't close its eyes to such behaviour". The Arab Knesset members however demanded their release and called their arrest a crime.  On 7 June 2009, twelve Arab citizens were indicted over the lynching in the Haifa District Court. Seven were charged with attempted murder. In March 2010, Maher Talhami, their defense lawyer, stated that recently discovered aerial footage of the bus, recorded by an Israeli drone before, during and after the attack took place indicates that Israeli defense officials were aware of Natan-Zada's intentions.  In July 2013, the seven defendants charged with attempted murder were acquitted of that charge, but four were convicted of attempted manslaughter and two were convicted of aggravated battery, while one was exonerated entirely. The sentencing took place on 28 November 2013. Three were sentenced to two years in prison, while one was sentenced to 20 months, one to 18 months, and one to 11 months.

Answer this question "What happened after their release?"
output: On 7 June 2009, twelve Arab citizens were indicted over the lynching in the Haifa District Court.

input: Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiritual pursuits, and in 1913 he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. While Mondrian was visiting the Netherlands in 1914, World War I began, forcing him to remain in there for the duration of the conflict. During this period, he stayed at the Laren artists' colony, where he met Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward abstraction. Van der Leck's use of only primary colors in his art greatly influenced Mondrian. After a meeting with Van der Leck in 1916, Mondrian wrote, "My technique which was more or less Cubist, and therefore more or less pictorial, came under the influence of his precise method." With Van Doesburg, Mondrian founded De Stijl (The Style), a journal of the De Stijl Group, in which he first published essays defining his theory, which he called neoplasticism.  Mondrian published "De Nieuwe Beelding in de schilderkunst" ("The New Plastic in Painting") in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian's best and most-often quoted expression of this theory, however, comes from a letter he wrote to H. P. Bremmer in 1914:  I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things...  I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.

Answer this question "How was theory defined?"
output: I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness.

input: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown.

Answer this question "What was the project on the city?"
output:
a product of his position as professor at Harvard University,