Question: If you visited the Getty Center in July or early August, you may have encountered a group of high school students wearing white lab coats with "Teen Lab" splattered across the back. You might have spotted them testing kinetic sculptures made from recycled materials, sketching in front of artworks in the galleries, or taking Polaroid self-portraits inspired by David Hockney's photocollages. Online, you may have seen the playful social media stories they created to share their experiments with artistic and scientific processes. The teens were participants in the Getty Teen Lab, a four-week paid internship for high school students. Supported by a generous grant from the Vera R. Campbell Foundation, Teen Lab was the first of several teen-focused initiatives that the J. Paul Getty Museum is launching in 2017 and 2018. The Getty's Education Department developed Teen Lab in response to several seemingly disconnected questions that many art museums are grappling with today: How can we engage diverse youth in meaningful ways? How can museums help meet the rising demand for K-12 curriculum that integrates Science, Technology, Engineering, Arts, and Math (STEAM)? Can art museums themselves be sites for STEAM learning? To address these questions, we looked at other teen programs and discovered that the most successful models are those that give teens agency and a voice in the museum.(1) For example, many museums have teen councils that program events for their peers or offer opportunities for students to collaborate on projects with artists.(2) The Getty wanted to build on these models by empowering teens to be active creators of educational content. In keeping with this goal, we designed the program using the project-based learning approach, which develops skills and knowledge by inviting students to explore solutions to authentic, real-world problems. Question: How long was the Getty Teen Lab internship over the summer for? === The answer to the above question is
OPTIONS:
- all of 2017
- four weeks
- not enough information
- all of 2018
Answer: four weeks

input with options: What would you do you're driving past hundreds of citrus trees. With a better look, they're mandarins, or, more precisely clementines. On the roadside is a truck selling crates of them for 1 euro a kilo. You stop, right? And buy a crate of 10 kilos. Even though you have to get on a plane the next day. I couldn't help myself. Marco, who I had already made turn 180 degrees to drive back to the truck, gave me that look of disapproval when I want to do something totally unreasonable like impulse buy citrus fruit that we can't keep. "What are we going to do with these?" He questioned. I wasn't sure. I wanted to taste them, I wanted to photograph them. And maybe I could even squeeze some of them into our tiny bag to take home. "It won't be a waste, I'll give the rest away!" I reasoned. He just shook his head, giving in. I bought them, a big grin on my face. We were just outside the port city of Taranto, on the western coast of Puglia in Italy's deep south, where we spent a long weekend recently and where clementines have special IGP (Protected Geographical Indication) status. These clementines a hybrid of oranges and mandarins grow in the fertile soil around the gulf of Taranto, particularly around the town of Palagiano (also known as "the city of clementines" they celebrate the symbol of their city with a sagra, a food festival, every December) and the delicate fruit is harvested by hand. We don't get these in Florence, it was my only chance to taste them they are small with very few, if any, seeds, and they are very sweet. Question: Marco thought that the narrator was === The answer to the above question is
OPTIONS:
- not enough information
- being frivolous by buying the oranges
- trying to get a good deal
- really craving some oranges
output: being frivolous by buying the oranges

Q: While I was in training, my class was 2 months out from graduation. We were in class, reviewing skills such as antenna theory, radios and map reading. Our instructor walks in and pulls a candidate, we'll leave nameless, aside. He walks him out of the classroom. I never really thought anything of it as instructors would often pull guys aside for reviews, specific instructions or taskings. I don't know how much time passed but the candidate walked back in. He gathered his things and left the room. Guys asked if everything was cool but he didn't say a word. The instructor came in and sat on the desk at the front of the room. We asked if everything was alright, and he told us that the day prior, the The candidate's wife had gone into labor however there were complications with the baby but the complications were unknown. He was reporting to the commander to let him know whether he wanted to stay in training or leave because the military does not consider a spouse's pregnancy to be an emergency even though the complication should be. If he were to leave he would have to drop from the TACP pipeline with a possibility of either starting it over from the beginning of quitting all together. The instructor shook his head and I could honestly see it was a difficult task for him to tell the candidate. It's rare to see an instructor be emotional but it was something that brought reality into the room for us. The candidate was given 24 hours to call the hospital, talk to his wife, learn more of the situation and make a decision. He ended up staying in the pipeline and graduated. His child was born with minor complications but is healthy to this day. It may not be an exact teacher to a student scenario, but it hits pretty damn close to those of us who went through military training. Question: Where would he have to drop out from? === The answer to the above question is

OPTIONS:
- Military.
- not enough information
- School.
- The TACP pipeline.

A: The TACP pipeline.

Q: Bryan C. Keene and Alexandra Kaczenski of the Getty Museum's Manuscripts Department have spent the last few years preparing for an exhibition and publication titled Sacred Landscapes: Nature in Renaissance Manuscripts that aims to examine representations of "green spaces" such as gardens, vistas, and their relation to the divine. In particular, Bryan and Alexandra focus on the ways in which artists during the European Middle Ages and Renaissance embedded the pages of illuminated manuscripts with depictions of the natural world so that nature could guide prayer, chant, and meditation. For Bryan, this project represents a continuation of his interest in sacred gardens that began with his graduate work on the garden imagery that influenced Botticelli's Agony in the Garden painting. In 2013 he curated the exhibition and authored the accompanying book Gardens of the Renaissance. For Alexandra, interest in this subject stems from her scholarly focus on Flemish manuscripts and their relation to Flemish landscape paintings. She brought to the project a complementary interest in issues of environmental and landscape destruction, which also were themes of the exhibition and publication. Though floral and nature studies of the Renaissance and Early Modern periods have been extensively investigatedthe scientific notebooks of Leonardo da Vinci, for example, are well documentedthis exhibition turns its focus on landscape and the divine. Curatorial research has shed new light on subjects such as the seemingly "scattered" floral arrangements represented within the pages of these books and their relationship to humoral theory and religion. Bryan adds, "The tension that we find in these borders is, on the one hand, intricately rendered leaf and petal structures of plants or flowers, and on the other, hidden whimsical elements, all of which combine to create a rich tapestry of meaning, both symbolic and scientific. Alex and I will continue to explore the potential meaning within this botanical and arboreal chaos." Sacred... Question: How does Bryan probably feel about working with Alexandra? === The answer to the above question is

OPTIONS:
- He's inspired by her passion and interest in landscape destruction
- not enough information
- He is impressed by her authoring the book Gardens of the Renaissance
- He complements her work with Giovanni Bellini

A:
He's inspired by her passion and interest in landscape destruction