QUES: Hunting is the practice of killing or trapping any animal, or pursuing or tracking it with the intent of doing so. Hunting wildlife or feral animals is most commonly done by humans for food, recreation, to remove predators which are dangerous to humans or domestic animals, or for trade. In the 2010s, lawful hunting is distinguished from poaching, which is the illegal killing, trapping or capture of the hunted species. The species that are hunted are referred to as game or prey and are usually mammals and birds.

What species are usually hunted?
What is the answer?
ANS: mammals and birds
QUES: The early currency of the United States did not exhibit faces of presidents, as is the custom now; although today, by law, only the portrait of a deceased individual may appear on United States currency. In fact, the newly formed government was against having portraits of leaders on the currency, a practice compared to the policies of European monarchs. The currency as we know it today did not get the faces they currently have until after the early 20th century; before that "heads" side of coinage used profile faces and striding, seated, and standing figures from Greek and Roman mythology and composite Native Americans. The last coins to be converted to profiles of historic Americans were the dime (1946) and the Dollar (1971).

What was the last coin to be converted to the modern day style of having mythology on the face?
What is the answer?
ANS: unanswerable
QUES: This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Depiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier's Abundance shown at the Independants of 1911, and Delaunay's City of Paris, shown at the Independants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Leger's The Wedding, also shown at the Salon des Independants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carra; themselves made in response to early Cubism.

What did not give form to the notion of simultaneity?
What is the answer?
ANS:
unanswerable