Q: One time I was walking my puppy (profile pic) who was then around 5 months, with my mum and grandma. By the time we were about to reach our house, we spot two dogs, a German Shepherd and a Husky, both male, on the other side of the street sniffing around with no owner in sight. I was ready to hightail out of there with my dog, but I knew if I ran they would chase, so we formed a wall in front of her to hide her. Of course she decides to stick out her head and start barking. Those two dogs whipped their heads so fast and came running towards us to see her. Since she is a puppy she has zero impulse control and starts throwing herself at them, at their backs, face, plus the fact that she doesn't like being sniffed at her rear (which they are trying very hard to get to). Here I am nervously sweet talking to them, my voice trembling saying good boys. My grandma is her despair grabs the GS's neck, and his hair bristled and growled for a second before turning back to our pup. At this point my baby girl is sitting down with her tail tucked close, ears flattened, and head down. I thought "Dear Lord someone's losing a limb today." When suddenly this car comes pulling up and this man comes out with a leash, the owner. He practically had to wrestle the GS into the car. A woman in a pickup truck comes next trying to get the husky but he ran away again, but my mom didn't care, she scooped up our pup and ran, the leash trailing behind her, and even my grandma who has troubles in her knees speed walked. My mom would later laugh at me because I became so pale and because I tried to baby talk a dog to leave us alone. What is probably true about the GS? A. He is aggressive. B. He is sweet. C. He is trained very well. D. not enough information
A: A

Q: He picked me up at my house, and after getting back on the main road he turned up the volume on the radio. "Why do you even listen to that stuff?" I asked. It was schlock-rock, simple and unadorned wailing backed by incessantly grating guitars. "I don't really know." "You don't actually like it, do you?" I knew he didn't; I knew what he preferred. His apartment walls were lined with recordings of classical, even archaic music, European folk instrumentals. Maybe rock, once in a while, but he had had something amplified and pitch-altered on every time we'd been together lately. "I think we listen to pop music to punish ourselves," he said. "An aural bed of nails to compensate for our sins." "Those sins being...?" "I don't know... sometimes, don't you ever get so sick of everything you just want to cram your ears full of garbage to spite it all?" This was not normal second-date dialogue, but Phillip and I had known each other for a long time. "It's like you'd rather inflict pain," he said, "like you want to inflict pain on yourself, just for pure spite against... the stuff around us." "You'd choke on garbage to get back at a culture who would do it for you anyway?" "Yeah, kind of. Does that make sense?" "In a very cliched, pop-psychology sort of way, yes." I turned down the volume, then shut the radio off entirely. "Don't you ever want to hurt like that?" he asked. "It's why you read some thriller instead of a classic, it's why you watch TV instead of reading a book, it's why you watch a sitcom instead of PBS, it's why you watch Family Guy instead of the Simpsons." (I might have snorted at this point.) "Because you have to do the bad thing." When did the author turn off the radio? A. Before asking Philip why he listened to it. B. After listening to Philip's reason for listening to it. C. not enough information D. As soon as Philip turned up the radio.
A: B

Q: Think outside the box, whilst inside the box (studio): As this studio is about working with constraints, I thought i'd google 'constraints in filmmaking' and see what comes up. One of the first links was to a journal article by Heidi Philipsen entitled 'Constraints in Film Making Processes Offer an Exercise to the Imagination'. Interestingly enough the first sentence of her article states: "I would like filmmakers interested in thinking "outside the box" to recognize that they can benefit from being placed "inside a box." I wonder if Paul had contemplated this whilst choosing the name for this studio. Throughout her article Philipsen challenges the notion that creativity is an intangible innate quality, existing within the mind of one source, but rather creativity arises from a multitude of sources. Alike all things shared she suggests that creativity is easier to enhance by changing environmental conditions, rather than encouraging people to 'think more creatively'. Perceiving creativity in this way allows you to see it as an organisationally influenced phenomenon, rather than a psychological and individual phenomenon. Which enables you to have more control over creativity and to encourage creativity once being aware of how it can be environmentally enhanced. As Csikzentmihalyi (1996) states "a genuinely creative accomplishment is almost never the result of a sudden insight, a lightbulb flashing on in the dark, but comes after years of hard work". Constraints, as Philipsen suggests is one such way to manipulate the environment to enhance creativity. Students who attended The Film School in Denmark, who were forced into working with constraints for their projects eventually considered constraints to be both useful and inspirational. Such constraints included: making a scene with a specific theme, within a specific deadline and with other specific conditions concerning the use of camera, sound, actors etc. Students stated that these constraints ultimately made them feel secure, inspired and focused and... What is probably true about John? A. John likes sweet foods B. John never eats sweet foods C. John hates sweet foods D. not enough information
A: A