question:Generate response to the question/instruction based on a piece of given material Question/Instruction: How do visitors reach Naoshima, and what is the range of room prices at the Benesse House? Given material: A remote island with stunning underground architecture. A massive crypt lined with copper bars, a colossal sphere at its center. Mazes made of stone that lead from one underground chamber to another, each differing in shape and size. I didn't expect my visit to the Japanese "art island" of Naoshima to remind me of the world of Myst, the computer game I played as a child. It's been more than a decade since I played the game, but that strange, beautifully desolate island and the eerie feeling of wandering around it alone have stayed with me. Exploring Naoshima's underground galleries, I was reminded again and again of Myst's mysterious mechanical structures, right down to the discovery of "puzzles" that visitors are meant to figure out on their own. Some 3,000 islands dot the Seto Inland Sea of Japan, which separates Honshu, Shikoku and Kyushu, three of the four main islands of Japan. While many of those islands remain quiet and uninhabited, Naoshima has been turned into one of the most remarkable art and architecture destinations in the world. Visitors often refer to it as "Ando Island," since most of the structures on the island were designed by Pritzker Prize-winning architect Tadao Ando. A museum designed by and dedicated to the renowned architect is also located on the island. Naoshima's transformation into a unique art project began in 1987, when Soichiro Fukutake, the chairman of Fukutake Publishing, now known as the Benesse Holdings, Inc., purchased the south side of the island. Enlisted by Fukutake to supervise development on the southern portion of the island, Ando went to work over the next two decades designing a hotel complex and museums. Adhering to his guiding principle of designing buildings that follow the natural forms of landscapes, Ando's buildings on the island blend into or are built into the earth, some of them opening up to the sky. Teshima island is a continuation of Benesse Art Site Naoshima. Some of Ando's buildings became part of the Benesse Art Site Naoshima (BASN), which showcases major artworks acquired by the company over the past decades. Since 1995, many of those pieces have been created specifically for the island. That same year, the company established the Benesse Prize at the Venice Biennale, commissioning winners to create works specifically for BASN, which includes Naoshima and the nearby islands of Teshima and Inujima. Just as the art has been designed for the island, the buildings that house the works have been designed to maximize the impact of the art. Opened in 2004, the island's Chichu Art Museum showcases its collection in spectacular and unexpected ways. In the museum's Claude Monet Space, a vast, pure white underground chamber is made up of hundreds of thousands of tiny stone tiles. The dazzling while tiles perfectly show off the enormous blue and violet paintings on each wall. Visitors remove their shoes at the entrance and are given soft slippers. When I visited, I was the only person in the room (not counting an attendant who stood in a corner as still as a sculpture). The space gleams white from the natural light peering through a white stone ceiling. It was the same everywhere I went on the island -- quiet, stupefying displays of beauty and art with breathtaking sea or landscapes in the background. Visitor numbers are restricted throughout the exhibitions. "They've managed to create a perfect balance of light, sound, space, color and proportion, which makes the experience transcendent and unforgettable," says Rhea Karam, a New York-based fine arts photographer at work on a project inspired by Naoshima. The same as I did, Karam found the Claude Monet Space a shock. "Growing up in Paris, I was very familiar with Monet's work and accustomed to seeing it everywhere to the point that I wasn't particularly interested when I heard he was displayed in the Chichu Art Museum," says Karam. "The unbelievable, almost holistic presentation of Monet's Water Lily paintings made me see them in a light I had never before experienced." Benesse House Museum is a combination museum and hotel. Limited accommodation on the island mean the number of visitors is limited. While small inns have been cropping up on the island, a stay at the hotel Benesse House remains by far the best way to get the full Naoshima experience. Comprised of four different lodgings (Museum, Oval, Park, Beach), the hotel's rooms all provide incredible views of the Seto Inland Sea and have beautiful art of their own. It's a bit like staying at a modern art gallery. The standout is the breathtaking Oval (see gallery above), with its six rooms built around an oval pond. Oval is connected to the Benesse House Museum by a monorail accessible only to Oval guests. Benesse operates a free shuttle bus from Benesse House Museum to nearby Lee Ufan Museum and Chichu Art Museum. The shuttle also runs to the more removed Honmura District, once a castle town, on the island's east side, where the Ando Museum and the Art House Project are located. The former is a small museum designed by Tadao Ando featuring his architecture; the latter is a project that turns empty houses into works of art. Visitors to the Honmura side can pick up a map from the Honmura Lounge, a visitor's center and gift shop, and take part in a treasure hunt around the old castle town to find the art projects hidden in century-old houses. The nearby islands of Inujima and Teshima house continuations of the remarkable Benesse Art Site Naoshima project. Naoshima is reached by ferry from the ports of Uno (near Okayama) and Takamatsu. Benesse House, Gotanji, Naoshima, Kagawa; +81 87 892 3223; rooms range from ¥31,000/300 (single room at Park) to ¥87,000/854 (four-person suite at Museum or Park during high season). Only guests staying at Oval have access to Oval.

question:Could you also tell me more about the Chichu Art Museum and the artworks showcased there?

question:That sounds amazing! Can you recommend some specific artworks or artists that I should look out for while I'm visiting Naoshima?

question:Could you generate a paraphrased version of the poem the poet is discussing, highlighting the key themes and techniques they were drawn to in Lawrence Ferlinghetti's work? Answer according to: I apologize that this post is a little longer than usual. I wanted to give you a look into how I write a poem. Note: This poem was relatively easy to write. There are plenty of poems I spend more time on and work harder on. But you do get a little glimpse into my process and internal dialogue when writing a poem. When I first began my MFA program, my professor told me: “Find a couple poets you like, and emulate them.” It is advice that many writing students have been given: Copy, copy, copy, and eventually, your own voice will emerge. Give me a God that I can touch. I had a few more lines, including ones similar to this one that started with the imperative form Give me. But every time I would get the poem out to work on it, my mind was blank. To really discover America . . . Read the entire poem here. I enjoyed the lyrical quality of Ferlinghetti’s poem, in which “I am waiting” felt like a familiar song chorus. On the other hand, the constant repetition of the phrase felt a little like . . . Well, waiting. By the end of the poem, I was ready to be done with the phrase, but I also felt like I wanted for all those things the speaker listed to come true. I was waiting for them to happen, too! Suddenly my quiet musing about God turned into a call to the universe to readjust itself, to speak, to move, to show that it is stronger than us. But there were a few problems. I really liked the last sentence. The consonance and assonance of “every tethered” appealed to me, as if I could hear the fluttering wings of the tethered creatures. I liked the rhyme of “winged thing,” and I liked the hard /g/ sounds that produced a contrast to the soft sounds of “every tethered.” I also really liked the imagery of being freed. The problem is that I felt like those last few lines would be a great ending to the poem. I also felt that I’d made a leap between the first line about God and the rest of the lines, and I needed to close that gap somehow. How were my troubles with God connected to calling the earth to break open? I didn’t want to discard my first line, so I decided to move the rest of the lines to the end of the poem and keep working. I had tried again to put words to my God-wrestling and come up with more language about the universe. However, these lines questioned whether or not anyone was out there. Was there really someone who could hear my voice? I really liked the way these lines juxtaposed the enormity of the universe with my small voice. Yet that yearning to be seen, to be heard, to mean something, was there. These lines hold hope that there is a being out there who can find me, even when the world is spinning and mine is one out of a million voices. And the addition of that one word, birth, satisfied me. I think that word is ripe with so many images – some painful, some joyous. I thought that just taking away one syllable of “bushes” really made that line stand out. The last three lines of that verse might be the weakest in the poem. A naked winter tree branch is probably an overused image in poetry already. But I think that putting some boring, everyday miraculous minutiae in between two verses that are more grandiose is appropriate. And I do believe that small miracles happen all around us, but we tend to be blind to them. Lastly, I had to come up with a name. I typically like the name of my poems to come from a word or phrase within the poem, but not always. That same poetry professor once describe a poem title as a hat you put on a poem to help the reader recognize it. I kept going back to that final image of the earth literally splitting open and releasing a barrage of beautiful flying things. I decided on Chrysalis as the title because it symbolized both transformation and freedom. My final change to the poem was to change God to god in the first line. I did that partly to appeal to a wider audience, and partly because this entire poem was, in a way, a challenge to the details of Christian faith. Maybe changing that one letter was my little act of rebellion and wrestling. As a poet, I love to hear how other poets go about crafting their work. Congratulations on the publication!