Problem: Background: Robert Dale Owen (November 7, 1801 - June 24, 1877) was a Scottish-born social reformer who immigrated to the United States in 1825, became a U.S. citizen, and was active in Indiana politics as member of the Democratic Party in the Indiana House of Representatives (1835-39 and 1851-53) and represented Indiana in the U.S. House of Representatives (1843-47). As a member of Congress, Owen successfully pushed through the bill that established Smithsonian Institution and served on the Institution's first Board of Regents. Owen also served as a delegate to the Indiana Constitutional Convention in 1850 and was appointed as U.S. charge d'affaires (1853-58) to Naples. Owen was a knowledgeable exponent of the socialist doctrines of his father, Robert Owen, and managed the day-to-day operation of New Harmony, Indiana, the socialistic utopian community he helped establish with his father in 1825.
Context: After his first term in the Indiana legislature and two unsuccessful campaigns for election to the U.S. Congress in 1838 and in 1840, Owen was elected as a Democrat to the U.S. House of Representatives in 1842. He served from 1843 to 1847 in the Twenty-eighth and Twenty-ninth Congresses. Owen was chairman of the Committee on Roads and Canals during the Twenty-eighth Congress. He was also involved in the debates about the annexation of Texas and an Oregon boundary dispute in 1844 that led to the establishment of the U.S-British boundary at the 49th parallel north, the result of the Oregon Treaty (1846).  While serving as a member of Congress, Owen introduced and helped to secure passage of the bill that founded the Smithsonian Institution in 1846. Owen was appointed to the Smithsonian Institution's first Board of Regents and chaired its Building Committee, which oversaw the construction of the Smithsonian Institution Building in Washington, D.C., and recommended James Renwick, Jr. as architect, James Dixson and Gilbert Cameron as the contractors, and the Seneca Quarry for its distinct, dark-red sandstone.  Owen, his brother David Dale Owen, and architect Robert Mills, were involved in developing preliminary plans for the Smithsonian Building. These early plans influenced Renwick's choice of the Romanesque Revival architectural style (sometimes referred to as Norman-style architecture) and his three-story design for the building, which was finally selected, although not without controversy. Owen's book Hints on Public Architecture (1849) argued the case for the suitability of Renwick's Romanesque Revival (Norman) architectural style for public buildings such as the Smithsonian "Castle," which he discussed in detail. Seven full-page illustrations and details of the building's architectural elements were prominently featured in the book, leading some to criticize Owen for his bias toward Renwick and his preference for Norman-style architecture over other popular styles.
Question: Who else was involved?
Answer: 

Background: Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
Context: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire.  In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio.  In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good.  She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
Question: what was the first film that she worked in?
Answer:
Tashman made her film debut playing Pleasure in an allegorical segment of Experience,