In this task, you're given a question, along with a context passage which has extra information available on certain terms mentioned in it. Your job is to determine which sentence(s) from the passage can be used to search for further information needed to answer the question.

Q: Question: How does liberal theology deal with the problem of a guilty conscience? Passage:An early interest in critical theology made him suspect to some more 'orthodox' Christians. However, he increasingly came to the conclusion that liberal theology failed to account adequately for the moral problem of the guilty conscience. This led him to a moral crisis which he found resolved in the atoning work of Christ. The experience helped to shape and inform a vigorous interest in the issues of holiness and atonement. Although Forsyth rejected many of his earlier liberal leanings he retained many of Adolf von Harnack's criticisms of Chalcedonian Christology. This led him to expound a kenotic doctrine of the incarnation (clearly influenced by Bishop Charles Gore and Thomasius). Where he differed from other kenotic theologies of the atonement was the claim that Christ did not give up his divine attributes but condensed them; i.e., the incarnation was the expression of God's omnipotence rather than its negation. His theology and attack on liberal Christianity can be found in his most famous work, The Person and Place of Christ (1909), which anticipated much of the neo-orthodox theology of the next generation. He has sometimes been coined the 'Barthian before Barth', but this fails to account for many areas of divergence with the Swiss theologian's thought.


A: However, he increasingly came to the conclusion that liberal theology failed to account adequately for the moral problem of the guilty conscience
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Q: Question: What was the former name of the Blohmn & Voss aircraft division? Passage:Soon after the start of World War II, it was proposed to convert the four prototypes to long-range maritime patrol aircraft. V2 underwent a trial modification. It was fitted with an extended nose section with extensive glazing (like the Heinkel He 111 H-6), defensive armament (a 7.92 mm/.312 in MG 15 machine gun in the nose, twin-beam positions, a ventral cupola, and a powered dorsal turret), a compartment for ordnance in the fuselage, and navigation and military radio equipment. The company had by now been renamed as the Blohm & Voss aircraft division so the converted aircraft was redesignated the BV 142 V2/U1 while the V1 was similarly converted. Both were used operationally from late 1940 and were posted to the Luftwaffes second surveillance Group. This unit was assigned to the operations staff of Luftflotte III in France. However, their performance was disappointing, and after only a few missions they were withdrawn from service in 1942. Aircraft V3 and V4 were used as transport aircraft for the occupation of Denmark and in the Norway campaign with the KGr.z.b.V. 105 (Special combat team) and could transport 30 fully equipped soldiers over 4,000 km (2,490 mi). The ultimate fate of V3 and V4 is unknown. It was later planned to use the V1 and V2 to carry the Henschel GT 1200C guided torpedo, but the plan was cancelled.


A: The company had by now been renamed as the Blohm & Voss aircraft division so the converted aircraft was redesignated the BV 142 V2/U1 while the V1 was similarly converted
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Q: Question: How many other albums did Phil Ramone work with Joel on? Passage:By 1976, Joel had formed a reliable touring band consisting of Doug Stegmeyer on bass, Liberty DeVitto on drums and Richie Cannata on saxophone, flute, clarinet and organ. Joel grew to heavily appreciate this group of musicians, finding that they had a high-energy, rough-around-the-edges feel that Joel hoped to capture in his studio albums. During the production of Turnstiles, Joel had tried working with veteran producer Jim Guercio, who tried to have him work with members of Elton John's band, but was dissatisfied with the results, instead opting to self-produce the album using the same band that he had formed while touring. With a handful of new written material, Joel wanted to use his touring band in the studio for his next album as he had done on Turnstiles, so he sought out a new producer who would be able to cultivate the style that he was looking for. Joel initially looked to famed Beatles producer George Martin; as a long-time fan of The Beatles, he wanted him to produce his new record. Martin showed interest after the two had met, but did not want to use Joel's band, wishing instead to bring in session players. Joel, who had mostly worked with session players for his first three albums with only scattered contributions from his own backup musicians and strongly disliked the polished sound that they gave off as a result, was adamant in making use of his newly-formed band, and ultimately declined. Ultimately, Joel turned to Phil Ramone, a veteran New York City sound engineer and record producer who had recently worked with Paul Simon, another singer-songwriter, on the album Still Crazy After All These Years. According to Joel, he and Ramone met with each other at Fontana di Trevi, an Italian restaurant located near Carnegie Hall where Joel had been playing at the time. The restaurant would eventually go on to inspire the setting of "Scenes from an Italian Restaurant", a song on The Stranger. According to Joel, Ramone expressed an appreciation for Joel's band and their energy, and understood the reasoning behind Joel's attitude towards recording, which ultimately led him to choose Ramone as the producer for his next album.


A:
Ultimately, Joel turned to Phil Ramone, a veteran New York City sound engineer and record producer who had recently worked with Paul Simon, another singer-songwriter, on the album Still Crazy After All These Years
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