In this task, you are given a question and a context passage. You have to answer the question based on the given passage.

Q: Which language does not contain a second to third evolution, only a beginning to and end evolution?, Context: The other directly attested Old Iranian dialects are the two forms of Avestan, which take their name from their use in the Avesta, the liturgical texts of indigenous Iranian religion that now goes by the name of Zoroastrianism but in the Avesta itself is simply known as vohu daena (later: behdin). The language of the Avesta is subdivided into two dialects, conventionally known as "Old (or 'Gathic') Avestan", and "Younger Avestan". These terms, which date to the 19th century, are slightly misleading since 'Younger Avestan' is not only much younger than 'Old Avestan', but also from a different geographic region. The Old Avestan dialect is very archaic, and at roughly the same stage of development as Rigvedic Sanskrit. On the other hand, Younger Avestan is at about the same linguistic stage as Old Persian, but by virtue of its use as a sacred language retained its "old" characteristics long after the Old Iranian languages had yielded to their Middle Iranian stage. Unlike Old Persian, which has Middle Persian as its known successor, Avestan has no clearly identifiable Middle Iranian stage (the effect of Middle Iranian is indistinguishable from effects due to other causes).

A: Avestan
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Q: Which was painted later, Amorpha-Fugue a deux couleurs or Contrasts of Forms?, Context: The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

A: Contrasts of Forms
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Q: Which M did not send Bond to Mexico City?, Context: Following Garreth Mallory's promotion to M, on a mission in Mexico City unofficially ordered by a posthumous message from the previous M, 007 James Bond kills three men plotting a terrorist bombing during the Day of the Dead and gives chase to Marco Sciarra, an assassin who survived the attack. In the ensuing struggle, Bond steals his ring, which is emblazoned with a stylised octopus, and then kills Sciarra by kicking him out of a helicopter. Upon returning to London, Bond is indefinitely suspended from field duty by M, who is in the midst of a power struggle with C, the head of the privately-backed Joint Intelligence Service, consisting of the recently merged MI5 and MI6. C campaigns for Britain to form alongside 8 other countries "Nine Eyes ", a global surveillance and intelligence co-operation initiative between nine member states, and uses his influence to close down the '00' section, believing it to be outdated.

A:
Garreth Mallory
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