Problem: Background: John Milton Cage Jr. (September 5, 1912 - August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.
Context: Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.  Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording--a rare occurrence, since Cage disliked making recordings of his music--made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975).  Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press.
Question: Did he work with any other composers in this period of his life?
Answer: Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others.

Problem: Background: James Watt  (30 January 1736 (19 January 1736 OS) - 25 August 1819) was a Scottish inventor, mechanical engineer, and chemist who improved on Thomas Newcomen's 1712 Newcomen steam engine with his Watt steam engine in 1781, which was fundamental to the changes brought by the Industrial Revolution in both his native Great Britain and the rest of the world. While working as an instrument maker at the University of Glasgow, Watt became interested in the technology of steam engines. He realised that contemporary engine designs wasted a great deal of energy by repeatedly cooling and reheating the cylinder. Watt introduced a design enhancement, the separate condenser, which avoided this waste of energy and radically improved the power, efficiency, and cost-effectiveness of steam engines.
Context: In 1776, the first engines were installed and working in commercial enterprises. These first engines were used to power pumps and produced only reciprocating motion to move the pump rods at the bottom of the shaft. The design was commercially successful, and for the next five years Watt was very busy installing more engines, mostly in Cornwall for pumping water out of mines.  These early engines were not manufactured by Boulton and Watt, but were made by others according to drawings made by Watt, who served in the role of consulting engineer. The erection of the engine and its shakedown was supervised by Watt, at first, and then by men in the firm's employ. These were large machines. The first, for example, had a cylinder with a diameter of some 50 inches and an overall height of about 24 feet, and required the construction of a dedicated building to house it. Boulton and Watt charged an annual payment, equal to one third of the value of the coal saved in comparison to a Newcomen engine performing the same work.  The field of application for the invention was greatly widened when Boulton urged Watt to convert the reciprocating motion of the piston to produce rotational power for grinding, weaving and milling. Although a crank seemed the obvious solution to the conversion Watt and Boulton were stymied by a patent for this, whose holder, James Pickard, and associates proposed to cross-license the external condenser. Watt adamantly opposed this and they circumvented the patent by their sun and planet gear in 1781.  Over the next six years, he made a number of other improvements and modifications to the steam engine. A double acting engine, in which the steam acted alternately on the two sides of the piston was one. He described methods for working the steam "expansively" (i.e., using steam at pressures well above atmospheric). A compound engine, which connected two or more engines was described. Two more patents were granted for these in 1781 and 1782. Numerous other improvements that made for easier manufacture and installation were continually implemented. One of these included the use of the steam indicator which produced an informative plot of the pressure in the cylinder against its volume, which he kept as a trade secret. Another important invention, one which Watt was most proud of, was the parallel motion which was essential in double-acting engines as it produced the straight line motion required for the cylinder rod and pump, from the connected rocking beam, whose end moves in a circular arc. This was patented in 1784. A throttle valve to control the power of the engine, and a centrifugal governor, patented in 1788, to keep it from "running away" were very important. These improvements taken together produced an engine which was up to five times as efficient in its use of fuel as the Newcomen engine.  Because of the danger of exploding boilers, which were in a very primitive stage of development, and the ongoing issues with leaks, Watt restricted his use of high pressure steam - all of his engines used steam at near atmospheric pressure.
Question: What modifications were made?
Answer:
A double acting engine, in which the steam acted alternately on the two sides of the piston was one.