Q: Read the following context and answer the question. Context: Few athletes would disagree that more muscle is an advantage in their sport. And protein is the perfect source of amino acid building blocks needed for new muscle growth and repair. Taken together, strength training and sufficient protein will stimulate new muscle protein synthesis. Note that the keyword here is sufficient, because this is where protein supplement marketers like to extend to "the more the better". So how much protein do sportspeople need? Consensus position statements such as those produced by the American College of Sports Medicine give the range of 1.2 grams to 1.7 grams of protein per kilogram of body weight. But the top end of that range is for elite endurance athletes, power sportspeople and those in the early stages of a strength training phase. The "recreational athlete", which describes the majority of active sportspeople, should aim for the bottom end of the range. So how do those protein requirement numbers stack up against a regular diet? Protein intake and body weights collected in the 2011-2012 Australian Health Survey, as an example, show the average Australian male already eats 1.2 grams and the average female 1.1 grams of protein per kilogram body weight. And this is for mostly sedentary people who are not following any special "high protein" training diet. Sportspeople do have higher energy needs. But by simply eating a greater volume of food with a focus on higher protein content, it's very feasible for an athlete to get their protein requirements from food alone. This has been backed up by research; numerous dietary surveys show the normal diet of strength-based athletes provides around two grams of protein per kilogram body weight per day. And that's before using any protein powders. But protein supplements can't be dismissed altogether. There are circumstances where supplementation is an appropriate and convenient option for athletes, such as when travelling, or during an intense training schedule. Question: How many grams of protein per kilo does the author probably eat? Answer:

OPTIONS:
- The author doesn't consumer much protein because he doesn't see the point of it
- The higher amount recommended
- The lower amount recommended
- not enough information

A: not enough information

input: OPTIONS:
- something fancy
- something with a nice design
- not enough information
- something with a 'three-in-one' implement for eating Now, answer this question: Read the following context and answer the question. Context: I picked up this Sporf in Amsterdam Schipol airport. A spork I'd seen before, but the addition of a simple serration on the side of the fork end makes this a genuine "three-in-one" implement for eating one's full three-course takeaway meal on the plane. The sporf is no innovation; back in 1940 the "sporf" was born. It took me until 2015 to notice this one thanks to its rather pleasant design. The sporf is a little like most strategy documents that I come across. It is one implement designed to serve a multitude of goals, but with one fatal flaw: you can only ever use one part of the sporf / strategy at any one time. With the sporf, things would get messy trying to use the spoon and knife and the same time. The knife and fork work quite well in sequence but physics prevents me using both at the same time as I can with the older technologies of knife and fork. In strategy formation, we can develop a multitude of potential purposes within one document, killer vision statement or mission. But it's important to recognise that the teams around us will only ever be able to do one thing really well at any one time. This is a lesson oft ignored by schools, in particular, as they attempt to ask educators to create an ever-more creative curriculum without having first tackled attitudes towards summative assessments throughout the year. It is also a challenge in some of the world's most successful, but now stagnating, big businesses: they've spent decades or centuries building a reputation across a large array of devices, technologies, components or clothing, but the real strategy is working out which of the current array needs killed off to enable teams in their quest to develop something totally new, properly innovative. Question: What was the author looking for in the sporf design? Answer:
A:
output: something with a 'three-in-one' implement for eating

Problem:OPTIONS:
- filmmaker or journalist
- painter
- not enough information
- writer

Read the following context and answer the question. Context: The collaborative process between me and Claire Bridge has been good so far. Upon finding out her email address we had a brief email exchange culminating in me sending her a list of potential questions for the interview. Claire quite liked a lot of the questions, but overall there were too many, so we proceeded to reduce the number of questions to six main questions. These questions would then form the basis of the artist portrait, with an attempt to limit answers to no more than a minute, so little had to be cut for the final edit. The six questions we arrived at are as follows: How would you define creativity? What does it mean to you to be an artist? Do you feel a painting or piece of art can house an energy/a feeling from the original artist? Do you feel that your own works house this energy? Change and transformation are recurrent themes in your work. What are you exploring and why do these fascinate you? And recently we saw a change in your medium too, incorporating video works and photography. You seem to draw on many influences in your work, from quantum physics, astrophysics, to environmental ecology, psychology, philosophy and metaphysics. With titles like "Dark Matter", "Touching Infinity", "We are made of Stars", "Rising tides" and "A drop in the ocean" or "Alchemy". Can you tell us something more about the convergence of these ideas and influences? What continues to motivate and inspire you as an artist? We both felt these questions addressed the initial topic of exploring creativity, explored why Claire became an artist, gives insight into Claire's work and practise and looks toward the future of Claire's practice. After refining the questions, we proceeded to organise a day to film, which will be on the 16th September. Hopefully if all goes well we will both have an artist portrait that lives up to our expectations. Question: What is most likely true about the how the author's job or profession is categorized generally, based on the text? Answer:
****
A:
filmmaker or journalist