Input: The family across the street has a cat. He is a cute black kitty named Dillon. The cat is about two years old, and the family has had him for about a year. He is an indoor cat who is not allowed to go outside. The children like to play with Dillon because he still acts like a kitten. Dillon jumps around, and chases flies, beetles and spiders. When he plays with the children, he sometimes uses his paws to attack them, but he doesn't try to hurt them with his claws. Dillon is a great cat but he has one problem: he likes to eat bread. The family only feeds him cat food, never human food like steak or potatoes. But the cat likes the smell of bread so much that he tries to find it everywhere he can. Dillon jumps up on the kitchen table when a sandwich is there, and tries to carry it away. He finds loaves of bread from the store on the floor and claws through the wrappers. The cat climbs into the bread cupboard looking for hot dog and hamburger buns. The family tries to make Dillon stop getting into the bread by spraying him with water when he goes after bread. They yell at him when he walks on the table. But Dillon does not listen. The kitty keeps trying to find bread to eat. The family thinks that the man who took care of Dillon when he was a very young kitten must have been a baker or cook, and that's why Dillon likes the smell and taste of bread so much!

Does the response "Yes, Dillon likes to chase insects inside" correctly answer the question "Does Dillon like to chase insects inside?"?
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Output: no

Input: His famous series of sixteen great designs for the Apocalypse is dated 1498, as is his engraving of St. Michael Fighting the Dragon. He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496, was executed by Durer and his assistants c. Around 1503-1505 he produced the first seventeen of a set illustrating the Life of the Virgin, which he did not finish for some years. Neither these, nor the Great Passion, were published as sets until several years later, but prints were sold individually in considerable numbers. During the same period Durer trained himself in the difficult art of using the burin to make engravings. It is possible he had begun learning this skill during his early training with his father, as it was also an essential skill of the goldsmith. In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio Vasari singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably Nemesis (1502), The Sea Monster (1498), and Saint Eustace (c. 1501), with a highly detailed landscape background and animals. His landscapes of this period, such as Pond in the Woods and Willow Mill, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of Madonnas, single religious figures, and small scenes with comic peasant figures. Prints are highly portable and these works made Durer famous throughout the main artistic centres of Europe within a very few years.

Does the response "His Madonnas and religious figures" correctly answer the question "Which of his works place greater emphasis on capturing atmosphere rather than depicting topography?"?
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Output: no

Input: We need natural resources for just about everything we do. We need them for food and clothing, for building materials and energy. We even need them to have fun. Table 2.1 gives examples of how we use natural resources. Can you think of other ways we use natural resources? Use Vehicles Resources Rubber for tires from rubber trees Steel frames and other metal parts from minerals such as iron Example iron ore Electronics Plastic cases from petroleum prod- ucts Glass screens from minerals such as lead lead ore Use Homes Resources Nails from minerals such as iron Timber from trees Example spruce timber Jewelry Gemstones such as diamonds Minerals such as silver silver ore Food Sunlight, water, and soil Minerals such as phosphorus corn seeds in soil Clothing Wool from sheep Cotton from cotton plants cotton plants Recreation Water for boating and swimming Forests for hiking and camping pine forest Some natural resources are renewable. Others are not. It depends, in part, on how we use them.

Does the response "Boating" correctly answer the question "How can natural resources help us have fun?"?
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Output: yes

Input: You write: "Having created the desired impression, Moore follows with his Heston interview." No, he doesn't. You accuse Moore so often of changing the chronology, yet you have no problems changing it yourself. The Heston interview is at the very end of the movie. After the Flint rally comes a brief TV interview with Heston, where he is asked about Kayla Rolland (again, clear evidence that the local media in Flint raised questions about the NRA's presence), then an inteview with country prosecutor Arthur Busch, entirely ignored by critics of the film, who also mentions Heston's presence as notable, and refers to the immediate reactions of "people from all over America", gun owners/groups who, according to him, reacted aggressively to warnings of having guns accessible to children, much like spanking advocates react aggressively when anti-spankers point to a case of a child being killed or severely injured by a beating. These people do not feel the need to express sympathy, or to think about ways to avoid such incidents, but they feel the need to assert their "rights" and to look for quick, simple answers -- as Busch states, gun owners wanted to "hang [the child] from the highest tree". This is all not mentioned by critics of Moore's movie, who claim to be objective. Perhaps the best example of the paranoia surrounding Moore's film is your sub-essay "Is the end of the Heston interview itself faked?" Moore answers a simple question -- how could the scene have been filmed -- with a simple answer: two cameras. From this, you construct an obscure conspiracy of "re-enactment": "For all we can tell, Moore could have shouted 'Hey!' to make Heston turn around and then remained silent as Heston left." Even if your "re-enactment" theory is true (and I see no evidence that you have actually tried to ask the people involved in the filmmaking for their opinion), this itself is not unethical, and you have no evidence whatsoever that Moore has done anything unethical here, just like you have no evidence that Moore has unethically removed parts of the interview. You use standard filmmaking technique as a basis to construct bizarre conspiracies which sound plausible to the gullible reader, without ever providing any evidence for the implicit or explicit claims of fraud and distortion.

Does the response "Filming with two cameras" correctly answer the question "Which standard filmmaking technique is used as a basis to construct conspiracies?"?
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Output:
yes