conversations.from: human
conversations.value: a title for a book about Matthews, Boldt, Aurora with the genre: Mystery, Thriller & Suspense, Thrillers & Suspense
conversations.from: assistant
conversations.value: A title for this book could be 'The Art of Deception'
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conversations.value: Give me a description for a book titled The Art of Deception about Ochterlonie, Reed, U.K with the genre: Literature & Fiction, Genre Fiction.
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conversations.value: First published in the U.K. in 1998, the author's solid thriller provides an intriguing look at the contemporary art world. London art historian Nicholas Ochterlonie, while returning one evening to his late mother's flat, where he's lived since his divorce, rescues a woman from an apparent street mugging. The victim turns out to be his next-door neighbor, Julian Bennet, and the two soon become lovers. Ochterlonie is sure that the assault wasn't random and that a threat still looms. Meanwhile, he creates controversy with his growing and increasingly vocal suspicions that a famous Vermeer portrait has been misattributed to the painter. The plot thickens when a police officer from the fraud squad stops by to ask about the real owner of Bennet's apartment, a shady Russian businessman. the author (<I>A Very Private Enterprise</I>) does a good job of making her not-entirely-sympathetic lead accessible. <I>(Dec.)</I> <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
  						  	
  						    	--This text refers to the <a href='/dp/1934609404/ref=dp_bookdescription?_encoding=UTF8&amp;n=283155'>Paperback</a> edition.
conversations.from: human
conversations.value: Give me a plot for a book titled The Art of Deception about Matthews, Boldt, Aurora with the genre: Mystery, Thriller & Suspense, Thrillers & Suspense.
conversations.from: assistant
conversations.value: The Art of Deception (Heroes): Peter Petrelli continues having dreams of Emma Coolidge at the carnival, and subsequently being saved by Sylar.\nPeter meets with Angela Petrelli to help her come to terms with Nathan Petrelli's passing, then asks Angela where Sylar is.\nAlthough Angela doesn't want Peter to go anywhere near Sylar, Peter manages to acquire his location.\nMeanwhile, Matt Parkman is stunned to see Sylar at his home, who has created the ruse that he and Matt used to work together as cops to fool Janice.\nMatt is able to privately talk with Sylar in the basement, who reveals he wants Matt to use his ability to mentally suppress his powers and be normal again.\nMatt is unsure he can do it, but Sylar threatens Janice and Matt's son.\nMatt's initial attempt fails, causing Sylar to lash out and hold Janice with his telekinesis.\nSylar explains these powers are what are making him insane, and Matt must get rid of his powers.\nSylar lets Janice go, and Matt talks with her to make sure she's alright.\nJanice realizes the man is Sylar and tells Matt he must bury him for good so that he can't hurt anyone.\nMatt agrees, and then tricks Sylar into thinking he is ridding him of his powers.\nHowever, Matt explains he has trapped Sylar in his own nightmare: a world where no one exists but himself so that he will be alone forever.\nMatt takes the knocked out Sylar and begins building a brick wall around him in the basement to trap him for good, but he is then interrupted by the arrival of Peter.\nBorrowing Matt's ability, Peter learns where Sylar is and explains he needs Sylar so he can save everyone.\nMatt warns Peter of Sylar's state and that if Peter tries waking him, he may become trapped too.\nPeter touches Sylar's head, and finds himself in a world devoid of anybody.\nPeter is shown wandering a desolate city, calling out for anyone.\nAfter her encounter with Sylar, Claire Bennet visits Noah Bennet's apartment to speak to him about it, but instead finds Lauren.\nAfter entering, Claire notices the maps and realizes that Noah is planning to attack the carnival.\nLauren tries to convince Claire to wait for Noah, but Claire decides to leave for the carnival.\nMeanwhile, Samuel Sullivan discovers his family's trust in him has shaken due to his demolishing of the town.\nClaire visits Lydia, revealing Noah's plan to take out Samuel, and that Samuel must turn himself in.\nThey explain the situation to Samuel, who finally agrees after Claire urges him to take responsibility and protect his family.\nClaire calls Noah, who is watching Samuel through a sniper scope, and explains that Samuel will go with him peacefully.\nNoah agrees, and has Lauren head down to take Samuel in while he provides cover.\nSamuel addresses the carnival, telling them his decision to leave with Claire, but is interrupted by sniper fire to his shoulder.\nShots continue to be fired, with many people injured, including Lydia, Claire, although she quickly heals, and even Lauren on her way down the surrounding hillside.\nIt is then shown it isn't Noah who is firing, who looks around and spots Eli firing with his own sniper rifle.\nNoah takes him out with his sniper, but realizes it was just a copy as the real Eli appears behind him and knocks him out.\nSamuel finds Lydia, who is mortally wounded, and kisses her.\nIn her dying breaths, Lydia uses her powers on Samuel, and is horrified to see Samuel had planned this, who explains he needed to create a villain in the form of Noah and have Lydia sacrificed.\nEli brings Noah down for everyone to see, and the carnival quickly puts the blame on him and Claire.\nIn his half-conscious state, Noah manages to tell Claire it wasn't him who had fired, but Samuel has Noah locked up in the house of mirrors and Claire in his trailer.\nEmma Coolidge later arrives, who Samuel is pleased to see, telling her she can help them make a new world and show everyone how great they can be.\nLauren, having managed to spot Eli carrying Noah down to the carnival, places a call to Tracy Strauss, telling her she was told to call if Noah was in trouble.\nEdgar arrives to see Lydia's body, shocked to see her dead.\nSamuel then addresses the whole carnival, telling them it's time to show the world who they really are.
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conversations.value: Delete the first sentence.
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conversations.value: \nPeter meets with Angela Petrelli to help her come to terms with Nathan Petrelli's passing, then asks Angela where Sylar is.\nAlthough Angela doesn't want Peter to go anywhere near Sylar, Peter manages to acquire his location.\nMeanwhile, Matt Parkman is stunned to see Sylar at his home, who has created the ruse that he and Matt used to work together as cops to fool Janice.\nMatt is able to privately talk with Sylar in the basement, who reveals he wants Matt to use his ability to mentally suppress his powers and be normal again.\nMatt is unsure he can do it, but Sylar threatens Janice and Matt's son.\nMatt's initial attempt fails, causing Sylar to lash out and hold Janice with his telekinesis.\nSylar explains these powers are what are making him insane, and Matt must get rid of his powers.\nSylar lets Janice go, and Matt talks with her to make sure she's alright.\nJanice realizes the man is Sylar and tells Matt he must bury him for good so that he can't hurt anyone.\nMatt agrees, and then tricks Sylar into thinking he is ridding him of his powers.\nHowever, Matt explains he has trapped Sylar in his own nightmare: a world where no one exists but himself so that he will be alone forever.\nMatt takes the knocked out Sylar and begins building a brick wall around him in the basement to trap him for good, but he is then interrupted by the arrival of Peter.\nBorrowing Matt's ability, Peter learns where Sylar is and explains he needs Sylar so he can save everyone.\nMatt warns Peter of Sylar's state and that if Peter tries waking him, he may become trapped too.\nPeter touches Sylar's head, and finds himself in a world devoid of anybody.\nPeter is shown wandering a desolate city, calling out for anyone.\nAfter her encounter with Sylar, Claire Bennet visits Noah Bennet's apartment to speak to him about it, but instead finds Lauren.\nAfter entering, Claire notices the maps and realizes that Noah is planning to attack the carnival.\nLauren tries to convince Claire to wait for Noah, but Claire decides to leave for the carnival.\nMeanwhile, Samuel Sullivan discovers his family's trust in him has shaken due to his demolishing of the town.\nClaire visits Lydia, revealing Noah's plan to take out Samuel, and that Samuel must turn himself in.\nThey explain the situation to Samuel, who finally agrees after Claire urges him to take responsibility and protect his family.\nClaire calls Noah, who is watching Samuel through a sniper scope, and explains that Samuel will go with him peacefully.\nNoah agrees, and has Lauren head down to take Samuel in while he provides cover.\nSamuel addresses the carnival, telling them his decision to leave with Claire, but is interrupted by sniper fire to his shoulder.\nShots continue to be fired, with many people injured, including Lydia, Claire, although she quickly heals, and even Lauren on her way down the surrounding hillside.\nIt is then shown it isn't Noah who is firing, who looks around and spots Eli firing with his own sniper rifle.\nNoah takes him out with his sniper, but realizes it was just a copy as the real Eli appears behind him and knocks him out.\nSamuel finds Lydia, who is mortally wounded, and kisses her.\nIn her dying breaths, Lydia uses her powers on Samuel, and is horrified to see Samuel had planned this, who explains he needed to create a villain in the form of Noah and have Lydia sacrificed.\nEli brings Noah down for everyone to see, and the carnival quickly puts the blame on him and Claire.\nIn his half-conscious state, Noah manages to tell Claire it wasn't him who had fired, but Samuel has Noah locked up in the house of mirrors and Claire in his trailer.\nEmma Coolidge later arrives, who Samuel is pleased to see, telling her she can help them make a new world and show everyone how great they can be.\nLauren, having managed to spot Eli carrying Noah down to the carnival, places a call to Tracy Strauss, telling her she was told to call if Noah was in trouble.\nEdgar arrives to see Lydia's body, shocked to see her dead.\nSamuel then addresses the whole carnival, telling them it's time to show the world who they really are.
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conversations.value: Give me the first five paragraphs for this book.. Start with the sentence 'The Art of Deception
  Depending upon the situation and the audience, there may be times when inconsistency is not a bad thing'.
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conversations.value: The Art of Deception
  Depending upon the situation and the audience, there may be times when inconsistency is not a bad thing. After all, is not a foolish consistency the hobgoblin of little minds? All right, then, we are inconsistent. So what of it?
  This technique is especially useful when you invoke a higher truth than the limited ones to which the laws of inconsistency apply. In a more serious vein, we note that there is a difference between incompatibility and contradiction. In the case of a contradiction, both statements cannot be true at the same time. In the case of incompatibility, or the charge by your opponent that you are making incompatible statements, the incompatibility exists only relevant to some particular framework, which one need not accept. For example, the United States is a democracy in which the majority rules. Yet in order to amend the Constitution, we need the approval of two-thirds of the states, which is more than a majority and not linked to actual population. A minority of slightly more than one-third of the states can block a change. Is this not a contradiction? Is it an incompatibility? The rebuttal to these charges is that normally the majority rules, but in case of major changes, we need a very large majority in order to ensure stability and be consistent with the original agreement. After all, two-thirds of the states could vote to repeal the two-thirds rule!
  So far we have been discussing refutations of specific charges made against your presentation. If you have successfully refuted these charges, all well and good. But what happens if you feel that your defense has not been strong enough or that there are lingering doubts in the minds of the audience? At this point, you should avoid sticking to the point. Remember that the only thing that always sticks to the point is a dead insect on display. What you must do is draw attention to a side issue where you feel particularly strong. This will give the impression that you are still in charge of the course of the discussion.
  There are several things to keep in mind when casting out a red herring. First, although it is a side issue, it must be related at least indirectly to the issue you are discussing, otherwise the audience will not accept it. When discussing astronomy, one cannot introduce as a red herring the question about the price of eggs.
  Second, the issue you introduce must have sufficient emotional appeal to catch attention immediately. It should be so strong that you can work it as long as you want. Third, you must make sure that you present this issue in such a way that you and the audience inevitably end up on the same side, while your opponent ends up on the other side.
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conversations.value: Give me two more paragraphs.
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conversations.value: The basic premise of Aristotelian physics has been that the state of rest is the natural state of an object. In Newtonian physics, on the other hand, motion is the natural state of an object. Just that one change leads, in Newton's physics, to the elimination of formal and final causes. In Newton's physics, there are only efficient causes; thus, there cannot be any identity of formal, efficient, and final causes. Without that identity, there cannot be any backward inference from effect to cause without prior experience. David Hume was the first philosopher to comprehend the philosophical implications of the shift from Aristotelian physics to Newtonian physics, and he was able to show with great acuity the illegitimate use of all causal arguments based upon Aristotle's analysis of causation.
  One reason that Aristotle's analysis sounds so odd to the modern reader is that we are accustomed to using the concept of "causation" in the single sense of efficient cause. This merely reflects the triumph of Newton's physics over the physics of Aristotle.
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conversations.value: Give me the last paragraph.
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conversations.value: Identify the fallacy, rhetorical technique, and potential difficulties in play with each of the following statements. We provide at least one answer for each after the exercises. Keep in mind that more than one answer may sometimes be possible.