Input: Chinese Influences: The Japanese were forced out of the Korean peninsula in the sixth century, but not before the Koreans had bequeathed to the Yamato court copies of the sacred images and scriptures of Chinese Buddhism. Just as Christianity introduced Mediterranean culture into northern Europe, so Buddhism brought Chinese culture into Japanese society. Throughout the seventh and eighth centuries numerous Japanese monks, scholars, and artists made the perilous trip west across the Sea of Japan to study Chinese religion, history, music, literature, and paintinglater to be brought back for further development in Japan. An outstanding figure of this time was Prince Shotoku, who in 604 developed the "Seventeen-Article Constitution," outlining a code of human conduct and the ideals of state as a basic law for the nation. He also established relations with the Sui dynasty in China. Through him, the Japanese imperial court developed Chinese patterns of centralized government, with its formal bureaucracy of eight court ranks. The Chinese calendar was used to calculate the year of Japan's foundation by counting back the 1,260 years of the Chinese cosmological cycle. Thus, 660 b.c. is still the official date celebrated nationwide. At this early stage in its history Japan was already (for the most part) only nominally ruled by the emperor. De facto power was exercised by the militarily and economically strongest family. The Sogas had promoted Buddhism as an imperially sanctioned counterweight to the native Shinto religion, along with the new Chinese customs, to weaken the influence of their more conservative rivals. But they in turn were ousted in a.d. 645 by Nakatomi Kamatari, founder of the great Fujiwara clan, which was to rule Japanese affairs for hundreds of years and provide prominent advisers to the emperor even up to the 19th century.

Does the response "Prince Shotoku" correctly answer the question "Who were ousted in 645 AD by Nakatomi Kamatari?"?

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- no
- yes
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Output: no

Alien Planet starts out with an interstellar spacecraft named Von Braun , leaving Earth's orbit . Traveling at 20 % the speed of light , it reaches Darwin IV in 42 years . Upon reaching orbit , it deploys the Darwin Reconnaissance Orbiter , Which looks for potential landing sites for the probes . The first probe , Balboa , explodes along with its lifting body transport during entry , because one of its wings failed to unfold . Two backup probes , Leonardo da Vinci and Isaac Newton , successfully land on the planet , and learn much about its bizarre indigenous lifeforms , including an apparently sapient species . The robotic probes sent out to research on Darwin IV are called Horus Probes . Each Horus probe consists of an { { convert } } long inflatable , hydrogen-filled balloon , Which is covered with solar receptors , a computer ' brain ' , a ' head ' covered with sensors , and several smaller robots that can be sent to places too dangerous for the probes themselves . The probes have a limited degree of artificial intelligence , very similar to the ' processing power ' of a 4-year-old . All the real thinking is done by a supercomputer in the orbiting Von Braun . The probes are programmed with different personalities ; Ike is more cautious , while Leo is the risk-taker . The two probes are also equipped with a holographic message that will be projected to any sentient life found on Darwin . After the two probes inflate their gas-bags , they encounter a voracious Arrowtongue and watch it pursue a Gyrosprinter .

Question: "Balboa, Leonardo da Vinci, and Isaac Newton are all types of what?"

OPTIONS:
- no
- yes

Answer: "Interplanetary spacecraft"

Response: no

Charlie Mershone had no difficulty in securing his release when Parker came on duty at six o'clock. He called up a cab and went at once to his rooms at the Bruxtelle; and Fogerty followed him. While he discarded his dress-coat, took a bath and donned his walking suit Mershone was in a brown study. Hours ago Louise had been safely landed at the East Orange house and placed in the care of old Madame Cerise, who would guard her like an ogre. There was no immediate need of his hastening after her, and his arrest and the discovery of half his plot had seriously disturbed him. This young man was no novice in intrigue, nor even in crime. Arguing from his own stand-point he realized that the friends of Louise were by this time using every endeavor to locate her. They would not succeed in this, he was positive. His plot had been so audacious and all clews so cleverly destroyed or covered up that the most skillful detective, knowing he had abducted the girl; would be completely baffled in an attempt to find her.

Question: "What was Charlie wearing at six o'clock?"

Response: "Walking suit"
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A: no

Albrecht Durer (/'dU@r@r, 'djU@r@r/; German: ['albRect 'dy:Ra]; 21 May 1471 - 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Durer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Durer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

Question: "How did communication with major Italian artists at the time help him later in life?"

Response: "Preferred technique in his later prints"
OPTIONS:
- no
- yes

A:
no