Question:
Francisco Pizarro was born in Trujillo, Caceres, Spain (then in the Crown of Castile) in modern-day Extremadura, Spain. He was the illegitimate son of infantry colonel Gonzalo Pizarro (1446-1522) and Francisca Gonzalez, a woman of poor means. His date of birth is uncertain, but it is believed to be sometime in the 1470s, probably 1474. Little attention was paid to his education and he grew up illiterate.
Two years later Pizarro, Almagro and Luque started the arrangements for a second expedition with permission from Pedrarias Davila. The governor, who himself was preparing an expedition north to Nicaragua, was reluctant to permit another expedition, having lost confidence in Pizarro. The three associates eventually won his trust and he acquiesced. By this time, a new governor was to arrive and succeed Davila. Pedro de los Rios took charge in July 1526 and initially approved Pizarro's expeditions (he would join him several years later in Peru).  On 10 March 1526 Pizarro left Panama with two ships with 160 men and several horses, reaching as far as the Colombian San Juan River. Soon after arriving the party separated, with Pizarro staying to explore the new and often perilous territory off the swampy Colombian coasts, while the expedition's co-commander, Almagro, returned to Panama for reinforcements. Pizarro's Piloto Mayor (main pilot), Bartolome Ruiz, continued sailing south and, after crossing the equator, found and captured a balsa (raft) under sail, with natives from Tumbes. To everyone's surprise, these carried textiles, ceramic objects and some pieces of gold, silver and emeralds, making Ruiz's findings the central focus of this second expedition. Some natives were taken aboard Ruiz's ship to serve as interpreters.  He then set sail north for the San Juan River, arriving to find Pizarro and his men exhausted from the difficulties they had faced exploring the new territory. Soon Almagro sailed into the port laden with supplies and a reinforcement of at least eighty recruits who had arrived at Panama from Spain with an expeditionary spirit. The findings and excellent news from Ruiz along with Almagro's new reinforcements cheered Pizarro and his tired followers. They decided to sail back to the territory already explored by Ruiz and, after a difficult voyage due to strong winds and currents, reached Atacames on the Ecuadorian coast. Here, they found a large native population recently brought under Inca rule. Unfortunately for the conquistadores, the warlike spirit of the people they encountered seemed so defiant and dangerous in numbers that the Spanish decided not to enter the land.
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What did he find in panama?

Answer:



Question:
Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.
In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence."  In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.  In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.
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what was Jikken Kobo?

Answer:
an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition.