Question: There are generally four recognized levels of tests: unit testing, integration testing, component interface testing, and system testing. Tests are frequently grouped by where they are added in the software development process, or by the level of specificity of the test. The main levels during the development process as defined by the SWEBOK guide are unit-, integration-, and system testing that are distinguished by the test target without implying a specific process model. Other test levels are classified by the testing objective.
Try to answer this question if possible: What is classified by the pretesting objective?
Answer: unanswerable
Question: Firstly conceived and still used today for optical storage devices (CD-RW drives, DVD drives, etc.), several manufacturers offer external portable USB hard disk drives, or empty enclosures for disk drives. These offer performance comparable to internal drives, limited by the current number and types of attached USB devices, and by the upper limit of the USB interface (in practice about 30 MB/s for USB 2.0 and potentially 400 MB/s or more for USB 3.0). These external drives typically include a "translating device" that bridges between a drive's interface to a USB interface port. Functionally, the drive appears to the user much like an internal drive. Other competing standards for external drive connectivity include eSATA, ExpressCard, FireWire (IEEE 1394), and most recently Thunderbolt.
Try to answer this question if possible: Several manufacturers offer what?
Answer: external portable USB hard disk drives
Question: In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE's Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences. Artists such as Liquid Liquid, the B-52s, Cristina, Arthur Russell, James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Luc Sante as "anything at all + disco bottom". The decadent parties and art installations of venues such as Club 57 and the Mudd Club became cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene. Other no wave-indebted groups such as Swans, Glenn Branca, the Lounge Lizards, Bush Tetras and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory.
Try to answer this question if possible: Who did the venues because cultural hubs for?
Answer: musicians and visual artists alike
Question: However, most intellectuals and writers from Dalmatia who used the Stokavian dialect and practiced the Catholic faith saw themselves as part of a Croatian nation as far back as the mid-16th to 17th centuries, some 300 years before Serbo-Croatian ideology appeared. Their loyalty was first and foremost to Catholic Christendom, but when they professed an ethnic identity, they referred to themselves as "Slovin" and "Illyrian" (a sort of forerunner of Catholic baroque pan-Slavism) and Croat these 30-odd writers over the span of c. 350 years always saw themselves as Croats first and never as part of a Serbian nation. It should also be noted that, in the pre-national era, Catholic religious orientation did not necessarily equate with Croat ethnic identity in Dalmatia. A Croatian follower of Vuk Karadzic, Ivan Broz, noted that for a Dalmatian to identify oneself as a Serb was seen as foreign as identifying oneself as Macedonian or Greek. Vatroslav Jagic pointed out in 1864:
Try to answer this question if possible: To which group did the people of the Catholic faith refer to themselves primarily?
Answer:
Catholic Christendom