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	Harvard Gazette: AI evolution: From tool to partner
		Grosz, Higgins Professor of the Natural Sciences in the Division of Engineering and Applied Sciences and dean of science at the Radcliffe Institute for Advanced Study, is one of the world's foremost experts in getting computers to behave more intelligently.
		Grosz says an everyday example is the usual response to problems in the use of a computer's "insert file" command — perhaps to put a photo into a larger document.
		"Professor Barbara Grosz is one of the most prominent researchers in the field of artificial intelligence, internationally known for her scientific contributions to the fields of natural-language processing and multi-agent collaboration," Shieber said.
	www.news.harvard.edu /gazette/2002/01.31/10-grosz.html (1636 words)

	George Grosz
		Grosz was arrested during the Spartakus uprising[?] in January 1919, but escaped using fake identification documents; He joined the German Communist party[?] (KPD[?]) in the same year.
		In 1921 Grosz he was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us").
		Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
	www.ebroadcast.com.au /lookup/encyclopedia/ge/George_Grosz.html (327 words)

	Hypatia--A Queer Supplement: Reading Spinoza after Grosz
		Grosz suggests that resistant and outlawed sexualities such as gay and lesbian are most often regarded as reactive forces because they struggle against normalization, while heterosexuality is commonly viewed as an active force with the power to command and oppress.
		Grosz's argument is reactive and in a certain sense reactionary because it aims to maintain the separate identities of gay and lesbian, which it regards as providing a cohesive and socially intelligible order unlike queer, whose very plurality determines its failure as a singular object of study.
		Grosz already regards the commercial and criminal series as distant from gay and lesbian, and as appearing to serve not so much as a threat to gay and lesbian but as useful in providing the block of reasoning upon which to lay suspicion against the trans-sex series.
	www.iupress.indiana.edu /journals/hypatia/hyp14-1.html (4958 words)

	George Grosz
		One doesn't make art with conviction alone.' In a somewhat more positive light, Grosz was described as a historical figure in the periodical Eulenspiegel in 1931: 'No other German artist so consciously used art as a weapon in the fight of the German workers during 1919 to 1923 as did George Grosz.
		More in keeping with popular sentiment, Deutsche Kunst und Dekoration (German art and decoration) described Grosz as one-sided and pathological, 'too obstinate, too fanatical, too hostile to be a descendant of Daumier.' Although according to the magazine's art writer he was a master of form, his social point of view was wrongly chosen.
		Grosz was unable to understand the American psyche to the degree that he had the German, and he returned to his homeland in an attempt to regain the momentum he had lost.
	www.artchive.com /artchive/G/grosz.html (797 words)

	Hofstra Museum, Permanent Collection, George Grosz
		Grosz was born in Berlin, Germany in 1893.
		Grosz was taken to court several times but although heavily fined, managed to escape imprisonment.
		In 1932 Grosz was forced to flee Germany, and after settling in the United States became a naturalized citizen in 1938.
	www.hofstra.edu /COM/Museum/museum_collection_93_9.cfm (416 words)

	George Grosz and the Communist Party: Art and Radicalism in Crisis, 1918 to 1936 - Review Art Bulletin, The - Find ...
		In George Grosz and the Communist Party, Barbara McCloskey trains her analytic powers on the 1920s, yet she is less interested in examining Grosz's artistic output than, as her title makes clear, investigating the complex interactions that took place between George Grosz and the Communist Party in Weimar Germany.
		Thus she is not as invested in exploring Grosz's psyche and biography as she is in investigating "the larger political, social, and cultural processes in which he was engaged" (p.
		Grosz himself must have been aware, even before he observed that satire was worthless as a weapon of progressive politics, that the effects of artworks are highly mediated and unpredictable in their results.
	www.findarticles.com /p/articles/mi_m0422/is_2_80/ai_54073975 (558 words)

	George Grosz Biography and Artworks - Leslie Sacks Fine Art (Site not responding. Last check: 2007-10-22)
		George Grosz was a German painter, draughtsman and illustrator.
		As an expressionist artist, Grosz was also a contributor to German Expressionism, an artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse in him.
		Because of this, Grosz was often subject to prosecutions for charges of blasphemy.
	www.lesliesacks.com /gallery/artistPages/grosz/groszbio.htm (357 words)

	Frontline 9 - George Grosz and the German Dadaists
		Grosz, who in 1917 anglicised his name in a protest at the jingoism prevalent in Germany at that time, was one of the founders of Club Dada in Berlin along with John Heartfield, and Roul Hausmann among others.
		Grosz allied himself with the left and joined the German Communist party (KDP) in 1919 visiting the USSR in 1922.
		Grosz himself despite leaving the KDP in 1924, concerned about the changes that were occurring in Russia after the death of Lenin, nevertheless still produced many biting, savage indictments of the state of the poor in Germanys Weimar Republic.
	www.redflag.org.uk /frontline/nine/09grosz.html (1425 words)

	Georg Grosz Comment
		Grosz, as a soldier in WWI, experienced the horrors of a fat bureaucracy using its power to increase its control over the powerless.
		More in keepingwith popular sentiment, Deutsche Kunst und Dekoration (German art and decoration) described Grosz as one-sided and pathological, 'too obstinate, too fanatical, too hostile to be a descendant of Daumier.' Although according to the magazine's art writer he was a master of form, his social point of view was wrongly chosen.
		Grosz was unable to understand the American psyche to the degree that he had the German, and he returned to his homeland in an attempt to regain the momentum he had lost.
	www.siu.edu /~dfll/German/groszcomment.htm (824 words)

	Artist Mark Vallen's essay on George Grosz.
		George Grosz was an amazing painter, illustrator, and caricaturist who combined his artistic talents with an uncompromising radicalism.
		Grosz detested the bourgeoisie of Germany, and continually attacked and mocked them with his caustic pen drawings.
		With exacting skill Grosz documented 1920's Germany and the rise of fascism, until he was forced into exile by the Hitler regime.
	www.art-for-a-change.com /Express/ex10.htm (285 words)

	George Grosz Summary
		Grosz was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents; he joined the Communist Party of Germany (KPD) in the same year.
		Grosz left the KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority.
		Bitterly anti-Nazi, Grosz left Germany in 1932 and was invited to teach at the Art Students' League in New York in 1933.
	www.bookrags.com /George_Grosz (1082 words)

	Engineering News, Date
		Grosz says that people tend to talk about women scientists as women and not give enough attention or importance to their work or research.
		Alum and Harvard Prof Barbara Grosz speaks about her work and women in CS Barbara Grosz is happy to talk about her experiences as a high-ranking woman in academia and engineering, but she insists that her research be discussed first.
		Grosz found such an environment at Harvard, where she became the first tenured women in the history of the Division of Engineering and Applied Sciences.
	www.coe.berkeley.edu /engnews/spring03/9S/grosz.html (525 words)

	ASU Art Museum \| Collections: George Grosz
		Although glad to be done with the Kaiser and the German aristocracy, Grosz, with his growing commitment to the Communist Party, was highly critical of the new regime.
		Grosz uses the linear technique to amplify his distaste and disgust of German society of the time.
		Grosz gradually moved away from communism, in 1933 branded a “petty-bourgeois traitor and renegade”, and his art moved away with him.
	asuartmuseum.asu.edu /collections/paper/groszhero1.htm (760 words)

	George Grosz
		George Grosz was born in Berlin in 1893.
		Charged with blasphemy Grosz was at first found guilty but was then acquitted in 1932 during an appeal.
		Grosz is a skillful political agitator, who uses his pencil, rather than words, for his propaganda.
	www.greatwar.nl /georgegrosz/georgegrosz.html (582 words)

	Magellan's Log: George Grosz: The Faces of Greed: Introduction
		The faces of greed, and the faces of the victims of greed, that Grosz had drawn 80 years ago, I realized, are the faces I see around me in 21st century America.
		George Grosz (1893-1959) was one of the few artists in the 20th century who dared to attempt a lifelong critique.
		Grosz had seen what was coming and had fled to America just before the Nazi takeover.
	www.texaschapbookpress.com /magellanslog32/grosz/groszintro.htm (471 words)

	Beth Irwin Lewis, George Grosz: Art and Politics in the Weimar Republic, reviewed by Maggie Jaffe
		Here she raises an important point, namely whether Grosz's satiric polemics against the ruling class and the military actually reinforced antidemocratic impulses in the German middle class; even as the counterculture [in her view] of the 1960s hastened the counterrevolution in the United States and elsewhere.
		George Grosz raised issues and posed problems, in both his drawings and his writings, which cannot be confined to Germany in the 1920s and which we are confronting now in America....
		Since Grosz, Heartfield, and Herzfelde belonged to the Young Germany Movement, a communist organization formed during the Revolution of 1848, their art was informed by Tendenz, or "tendentious art," "which [deliberately] expresses political opinions and ideological presuppositions...
	iath.virginia.edu /sixties/HTML_docs/Texts/Reviews/Jaffe_Grosz.html (1529 words)

	Elizabeth Grosz
		Grosz considers their work by examining the ways in which the functioning of bodies transforms understandings of space and time, knowledge and desire.
		Grosz then extends this analysis to an investigation of the relationship between space, time, bodies and the spatial "arts" such as architecture, urban planning and geography.
		Caine, E. Grosz and M de Lepervanche (eds), Crossing Boundaries: Feminism and the Critique of Knowledges, Allen and Unwin, Sydney; and Unwin and Hyman, London and New York, 1988.
	www.queertheory.com /histories/g/grosz_elizabeth.htm (1873 words)

	Introduction
		Grosz never fully abandoned the exaggerated proportions and startling perspectives that led to the confiscation of hundreds of scathing satirical pieces and earned him a place in the Nazi party's infamous 1937 "Degenerate Art" exhibit.
		The Fogg Art Museum's sketchbook from 1950–51 reveals the extent to which Grosz was successful in his attempts to diversify his style, but it is consistent with his earlier work in its unwavering observation of environment.
		The Fogg sketchbook, however, composed of urban views assembled while Grosz sat at the apartment window of a patron who had commissioned a painting of the city, is narrowly focused.
	www.artmuseums.harvard.edu /sketchbooks/html/grosz_intro.html (616 words)

	TASCHEN Books: Art - All Titles - Grosz - Facts (Site not responding. Last check: 2007-10-22)
		George Grosz (1893-1959) was one of the most important exponents of Dadaism, and therefore of political painting in general.
		The decisive element in Grosz's paintings is their content: in them he pointed out defects in the political and social conditions, literally arraigning them before the public.
		For Grosz, painting served as a political instrument: "I drew and painted from a sense of contradiction and through my work tried to convince the world that it was ugly, sick, and phoney." Grosz's paintings function as collages: the pictorial space is fragmented and thus takes on a futuristic aspect.
	www.taschen.com /pages/en/catalogue/books/art/all/facts/01753.htm (350 words)

	Charlotte Observer \| 10/08/2006 \| Peter Grosz, expert on German aircraft from World War I (Site not responding. Last check: 2007-10-22)
		In recent years Grosz also drew attention for a lawsuit he filed, as executor for the estate of his father, against art dealer Serge Sabarsky, arguing that Sabarsky had deprived it of appropriate compensation for the sale of hundreds of Grosz works he had acquired.
		Grosz was also immersed in the legacy of his father (1893-1959), who was best known for his harrowing depictions of life in Berlin in the aftermath of World War I and for portraits of grotesquely fat businessmen, soldiers and prostitutes.
		As the executor of his father's estate, Grosz spent years assembling his father's archives, which he sold to the Academy of Art in Berlin in the late 1980s.
	www.charlotte.com /mld/observer/news/local/15707646.htm (759 words)

	[No title]
		An uncompromising opponent of militarism and National Socialism, Grosz was one of the first German artists to attack Adolf Hitler.
		Grosz went to the United States in 1932 and became a citizen in 1938.
		Grosz called himself a profound pessimist with little faith in the future or in most people yet he relentlessly criticized the Weimar Republic for its shortcomings and its lack of sufficient reform.
	www.facinghistorycampus.org /Campus/weimar.nsf/0/959A08B1D073796385256C6F00626D03?Opendocument (477 words)

	John Heartfield: Grosz
		In his youth, Grosz was formally trained in academies in both Berlin and Dresden.
		Grosz joined the dada movement when he moved to Berlin in 1918.
		Much of Groszs work during this time were paintings and sketches that satirically mocked society and industrialism.
	www.towson.edu /heartfield/art/grosz.html (97 words)

	Biographie: George Grosz, 1893-1959
		Grosz wird Mitglied der Kommunistischen Partei Deutschlands (KPD).
		Grosz und weitere sieben Küstler geben die Mappe "Hunger" zugunsten der "Internationalen Hungerhife" heraus.
		Grosz fertigt 300 Zeichnungen für einen Trickfilm an, der während der Aufführung des Stücks "Die Abenteuer des braven Soldaten Schwejk" von Jaroslav Hašek (1883-1923) in Berlin zu sehen ist.
	www.dhm.de /lemo/html/biografien/GroszGeorge (453 words)

	George Grosz: Ecce Homo at SpaightwoodGalleries.com
		Grosz: Ecce Homo /Grosz: Ecce Homo 2 / Grosz: Ecce Homo 3 / Grosz 4: Tartarin
		Grosz was fascinated by amusement parks and the circus, and he particularly loved clowns.
		Grosz used his art of the early Berlin years to attack the self-contentedness of the bourgeois, primarily its plutocrats, during the German Empire.
	spaightwoodgalleries.com /Pages/Grosz.html (884 words)

	John Heartfield: Grosz (Site not responding. Last check: 2007-10-22)
		In his youth, Grosz was formally trained in academies in both Berlin and Dresden.
		Grosz joined the dada movement when he moved to Berlin in 1918.
		Much of Groszs work during this time were paintings and sketches that satirically mocked society and industrialism.
	saber.towson.edu /heartfield/art/grosz.html (97 words)

	Professor Barbara J Grosz
		Professor Grosz's research group is addressing fundamental problems in modeling collaborative activity, developing systems ("agents") able to collaborate with each other and their users, and constructing collaborative, multi-modal systems for human-computer communication.
		Professor Grosz is also attempting to identify the basic structures and processes by which people use natural languages to communicate, focusing in particular on the mechanisms involved in dialogue and spontaneous speech.
		Professor Grosz has developed a theory of discourse structure that specifies how discourse interpretation depends on interactions among speaker intentions, attentional state, and linguistic form.
	www.eecs.harvard.edu /grosz (997 words)

	George Grosz - Wikipedia, the free encyclopedia
		Bitterly anti-Nazi, Grosz left Germany in 1932 and was invited to teach at the Art Students' League in New York in 1933, where he would teach intermittently until 1955.
		Grosz was elected to the American Academy of Arts and Letters in 1954.
		Sabarsky notes that no records can be found to substantiate the version of events described by Grosz in his autobiography, that he was accused of desertion and narrowly avoided execution.
	en.wikipedia.org /wiki/George_Grosz (771 words)

	Grosz (Site not responding. Last check: 2007-10-22)
		George Grosz (1893-1958) was born in Berlin, Germany and studied art in Dresden and Berlin.
		Grosz was drafted as a soldier in WW I but was declared unfit for service.
		Grosz was a part of the Neue Sachlichkeit, or New Objectivity movement.
	www.mtholyoke.edu /~jmisenbe/classweb/grosz.html (340 words)

	George Grosz
		Kept from frontline action, Grosz was used to transport and guard prisoners of war.
		Grosz was now diagnosed as suffering from shell-shock and was discharged from the German Army.
		In 1932 Grosz was forced to flee from Nazi Germany and after settling in the United States became a naturalized citizen in 1938.
	www.spartacus.schoolnet.co.uk /ARTgrosz.htm (1062 words)

	Riverwalk Jazz: Marty Grosz Profile
		According to the critics, Marty Grosz is today's foremost jazz rhythm guitarist and chord soloist.
		They are delivered in styles ranging from barrelhouse abandon to whispered restraint, and are sometimes raucous, often mischievous, but almost always informed with a wry sense of the absurd.
		Grosz was born in Berlin, Germany in 1930.
	www.riverwalkjazz.org /site/PageServer?pagename=profiles_grosz (454 words)

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