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.

Ex Input:
Passage: The Quran describes itself as "the discernment" (al-furqān), "the mother book" (umm al-kitāb), "the guide" (huda), "the wisdom" (hikmah), "the remembrance" (dhikr) and "the revelation" (tanzīl; something sent down, signifying the descent of an object from a higher place to lower place). Another term is al-kitāb (The Book), though it is also used in the Arabic language for other scriptures, such as the Torah and the Gospels. The adjective of "Quran" has multiple transliterations including "quranic", "koranic", and "qur'anic", or capitalised as "Qur'anic", "Koranic", and "Quranic". The term mus'haf ('written work') is often used to refer to particular Quranic manuscripts but is also used in the Quran to identify earlier revealed books. Other transliterations of "Quran" include "al-Coran", "Coran", "Kuran", and "al-Qurʼan".

Ex Output:
Which term meaning "the mother book" doesn't the Quran apply to itself?


Ex Input:
Passage: At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).

Ex Output:
What type of boat was La Maison Cubist?


Ex Input:
Passage: Multi-layer printed circuit boards have trace layers inside the board. This is achieved by laminating a stack of materials in a press by applying pressure and heat for a period of time. This results in an inseparable one piece product. For example, a four-layer PCB can be fabricated by starting from a two-sided copper-clad laminate, etch the circuitry on both sides, then laminate to the top and bottom pre-preg and copper foil. It is then drilled, plated, and etched again to get traces on top and bottom layers.

Ex Output:

Single-layer printed circuit boards have trace layers where?