Problem: She led the way into the cheerful schoolroom, where big girls and little girls were sitting about, amusing themselves in the quiet of a long Sunday afternoon. Several of the younger children ran to her as she came in, and stood holding fast to the folds of her black habit, staring up at the strangers, while she explained the kind of instruction given, the system, and the order reigning in each department. Finally, she persuaded a little girl, only six years old, to take her dusky face out of the long flowing veil of the nun, and show how quickly she could read a sentence that Sister Winifred wrote on the blackboard. Then others were called on, and gave examples of their accomplishments in easy arithmetic and spelling. The children must have been very much bored with themselves that stormy Sunday, for they entered into the examination with a quite unnatural zest. Two of the elder girls recited, and some specimens of penmanship and composition were shown. The delicate complexion of the little nun flushed to a pretty wild-rose pink as these pupils of hers won the Colonel's old fashioned compliments.

Question: "How is the weather of that Sunday afternoon?"

Answer: "Pleasant"
Answer: no

Problem: I had drunk too much, I confess, though we all had. Somehow, Tasha and I began to argue the worth of Solevgrad jazz, as inconsequential a topic as I can imagine. She had studied it in school, so she thought herself as an expert. I once had a neighbor who played it constantly, loudly, and badly, so I thought I knew it better. Malaquez tried to mediate, but I saw him as siding with Tasha. So, I think, did she. The subject shifted from music to Tasha's obsession with fame, undoubtedly by a leap that I made. She had no choice but to follow. (I do not remember any of this well, just now, nor do I care to. Those who are truly curious may look at the last act of "Captured Moments.") I remember suggesting, with characteristic tact, that she add Emil to her small list of major accomplishments. Malaquez glanced away, embarrassed. Tasha looked at me as if to say, "I will." She said, "I feel sorry for you, Nardo. I'll see Emil home." "Yes," I said, "Do that," and did not care what she did, or why. Emil asked, "You're all right?" I muttered something he must have interpreted as assent. They both walked up to Emil's home while I watched the scarlet moonlight ripple on distant waves. Disgusted with Tasha but more disgusted with myself, I finally realized she would not return that night and went into The Sleeping Flamingo to drink myself to sleep. She had not come home when I woke in mid-morning.

Question: "What did Tasha study in school?"

Answer: "Solevgrad jazz"
Answer: yes

Problem: Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."

Question: "What was Durer's concept of 'selective inward synthesis?'"

Answer: "Durer's belief in the abilities of a single artist over inspiration"
Answer:
no