This task is about creating an unanswerable question based on a given passage. Construct a question that looks relevant to the given context but is unanswerable. Following are a few suggestions about how to create unanswerable questions:
(i) create questions which require satisfying a constraint that is not mentioned in the passage
(ii) create questions which require information beyond what is provided in the passage in order to answer
(iii) replace an existing entity, number, date mentioned in the passage with other entity, number, date and use it in the question
(iv) create a question which is answerable from the passage and then replace one or two words by their antonyms or insert/remove negation words to make it unanswerable.

Passage: This was also a period of alternatives to nightclubs, the warehouse party, acid house, rave and outdoor festival scenes of the late 1980s and early 1990s were havens for the latest trends in electronic dance music, especially house and its ever-more hypnotic, synthetic offspring techno and trance, in clubs like the infamous Warsaw Ballroom better known as Warsaw and The Mix where DJs like david padilla (who was the resident DJ for both) and radio. The new sound fed back into mainstream clubs across the country. The scene in SoBe, along with a bustling secondhand market for electronic instruments and turntables, had a strong democratizing effect, offering amateur, "bedroom" DJs the opportunity to become proficient and popular as both music players and producers, regardless of the whims of the professional music and club industries. Some of these notable DJs are John Benetiz (better known as JellyBean Benetiz), Danny Tenaglia, and David Padilla.
Who was the Warsaw Ballroom's house JD?

Passage: Infrared reflectography (fr; it; es), as called by art conservators, can be applied to paintings to reveal underlying layers in a completely non-destructive manner, in particular the underdrawing or outline drawn by the artist as a guide. This often reveals the artist's use of carbon black, which shows up well in reflectograms, as long as it has not also been used in the ground underlying the whole painting. Art conservators are looking to see whether the visible layers of paint differ from the underdrawing or layers in between – such alterations are called pentimenti when made by the original artist. This is very useful information in deciding whether a painting is the prime version by the original artist or a copy, and whether it has been altered by over-enthusiastic restoration work. In general, the more pentimenti the more likely a painting is to be the prime version. It also gives useful insights into working practices.
What painting technique is used to reveal working practices?

Passage: The positions on the persistence of objects are somewhat similar. An endurantist holds that for an object to persist through time is for it to exist completely at different times (each instance of existence we can regard as somehow separate from previous and future instances, though still numerically identical with them). A perdurantist on the other hand holds that for a thing to exist through time is for it to exist as a continuous reality, and that when we consider the thing as a whole we must consider an aggregate of all its "temporal parts" or instances of existing. Endurantism is seen as the conventional view and flows out of our pre-philosophical ideas (when I talk to somebody I think I am talking to that person as a complete object, and not just a part of a cross-temporal being), but perdurantists have attacked this position. (An example of a perdurantist is David Lewis.) One argument perdurantists use to state the superiority of their view is that perdurantism is able to take account of change in objects.

Who says that objects existin incompletely in the past present and future?