In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Input: Consider Input: Passage: The first human presence in the region dates to 8,000 years ago when family groups camped where they could hunt or collect plants and seeds. About 2,000 years ago, some groups began growing corn and other crops, leading to an increasingly sedentary lifestyle. Later groups in this period built permanent villages called pueblos. Archaeologists call this the Archaic period and it lasted until c.500. Baskets, cordage nets, and yucca fiber sandals have been found and dated to this period. The Archaic toolkits included flaked stone knives, drills, and stemmed dart points. The dart points were attached to wooden shafts and propelled by throwing devices called atlatls.By c.300, some of the archaic groups developed into an early branch of seminomadic Anasazi, the Basketmakers. Basketmaker sites have grass- or stone-lined storage cists and shallow, partially underground dwellings called pithouses. They were hunters and gatherers who supplemented their diet with limited agriculture. Locally collected pine nuts were important for food and trade.

Output: Who coined the term for the period that involved building permanent villages?

Input: Consider Input: Passage: Five men, criminals Ray, Dave, Stevie, Julian ("Julie" as a nickname), and Jason, plan a heist to steal a minimum of 2 million. Using a truck modified as a battering ram, the group break into a security depot in London and steal a large amount of money before the police arrive. However, they discover they barely got the amount of money they wanted, and only 68,000 to each man. Julian demands an extra amount of money as "expenses" for his work, but is beaten and placed in the boot of Ray's car until he just accepts his share. The group, without Julian, later spend time at a bar with fellow criminal Sonny, and Ray's girlfriend Connie, a protester. Ray and Stevie also visit an elderly couple, Linda and Bill, where they leave their stolen money for safekeeping.
The next day, Ray and Stevie, who live together with Connie, are alerted by a bruised Dave that his money was stolen, apparently by Julian. Ray, Dave and Stevie investigate Linda and Bill's home to find them murdered and the money stolen, leaving Ray emotionally distraught. He visits Julian but his money is missing too. They conclude that Sonny stole the money and break into his house, only to find Jason dead with a headwound. The four are alerted to a pair of undercover police officers and flee, Dave and Julian engaging in a shootout with the police. Believing that he may be arrested for murder, Ray decides to flee after the money is found, and goes to his mother and Connie for help. His mother gives him some money and her car to use, disappointed in her son's career but still caring for him. Ray then speaks with Connie and asks her to come with him, and to meet her at a roadside service station on the M1 if she decides to come.

Output: Who is placed in the car of the person that is in a relationship with a protester?

Input: Consider Input: Passage: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism and the deliberateness of classicism", and her "romantically classical" approach. Despite the generally positive views, there were some reservations, particularly that the artist might be at risk of settling upon, and then repeating, a formula in her work. Bellette's treatment of classical subjects extended beyond conventional painting; in 1947 she created a textile design, titled "myths and legends", and in 1948 she created the sets for a production of Shakespeare's Pericles, Prince of Tyre. Her "vigorous imaginativeness" was well reviewed, though the acting was not.
Output: Who became influential members of the Sydney Art Group?