Input: Tim had always a red bike. His birthday party was coming up and he hoped that his parents would finally get him the bike. When his friends came over for the party, Tim was very worried that he wouldn't get the bike. He looked at all the presents and none of them seemed big enough to have a bike in them. Tim was sad. When it was time to open the presents he opened them one at a time. The first present was not a bike. The second present was not a bike. The third present was the biggest one. Tim knew if the bike was going to be in any of the presents it was going to be in this box. Tim opened it and there was no bike inside. Just as Tim tried not to look too upset, his Dad brought in the biggest present of them all. His Dad had been hiding the present all along. Tim opened it and his new bike was inside the box. Tim put the bike together with his Dad's help.
"Why was Tim excited for his birthday?" is "Party"?

OPTIONS:
- no
- yes
Output: no

Input: Grim disappeared upstairs himself, and returned about ten minutes later in the uniform of a Shereefian officer--that is to say, of Emir Feisul's Syrian army. Nothing could be smarter, not anything better calculated to disguise a man. Disguise, as any actor or detective can tell you, is not so much a matter of make- up as suggestion. It is little mannerisms--unstudied habits that identify. The suggestion that you are some one else is the thing to strive for, not the concealment of who you really are. Grim's skin had been sun-tanned in the Arab campaign under Lawrence against the Turks. The Shereefian helmet is a compromise between the East and West, having a strip of cloth hanging down behind it as far as the shoulders and covering the ears on either side, to take the place of the Arab head-dress. The khaki uniform had just enough of Oriental touch about it to distinguish it from that of a British officer. No man inexperienced in disguise would dream of choosing it; for the simple reason that it would not seem to him disguise enough. Yet Grim now looked so exactly like somebody else that it was hard to believe he was the same man who had been in the room ten minutes before. His mimicry of the Syrian military walk--blended of pride and desire not to seem proud--was perfect.

Does the response "Yes, His clothing resembled a Shereefian officer perfectly" correctly answer the question "What his clothing authentic?"?

OPTIONS:
- no
- yes
***
Output: no

Have you ever looked closely at a globe? That continents look like a giant jig-saw puzzle. North America looks like it could fit next to Europe. The edge of South America matches Africa. Scientists noticed these same features. It caused them to start asking questions. They wanted to know if these continents were was connected? If so, how can something so large move so far? What could possibly have enough force to move such a giant slab of rock? Is there other evidence that can provide clues to the past positions of continents? How can answering these questions help us? A scientist named Alfred Wegener had these same questions. Wegener look at rocks on both sides of the Atlantic Ocean. He noticed they were the same type and age. He thought that the rocks must have formed side by side. He proposed that the rocks then drifted apart. One part went with North America. The other part stayed with Europe.

Question: "What features did the scientists notice"

OPTIONS:
- no
- yes

Answer: "Fitting of rocks"

Response: no

In architecture Durer cites Vitruvius but elaborates his own classical designs and columns. In typography, Durer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra. Here Durer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention. In all these, Durer shows the objects as nets. Finally, Durer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. It was in Bologna that Durer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Durer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles. In addition to these geometrical constructions, Durer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective.

Question: "In which book does Durer show the understanding of Euclidean principles?"

Response: "Piero della Francesca"
OPTIONS:
- no
- yes

A: no

Problem: Allan crouched over his desk once more, pen in hand and mind blank. He contemplated a story, an outline he had laboriously constructed some time ago. He had filled his pen and raised it, the nib descending towards the paper, before the sound came: the gentle, persistent tapping of the gnarled, primeval willow touching the window with long, insistent fingers. His eyes awoke with a passionate, determined flame, though the only light came from the glutted moon. Allan filled page after page, the words escaping from his mind onto the paper. Where before they had marched in regiments, practiced in ranks and followed their leaders' commands, the words now escaped in their true forms, unhindered by any stricture. He continued long into the night, until the eldritch orb had sunk into the waiting hands of the willow, raised perpetually skyward. Arthur looked up from the results of a night's frenzied labors and looked Allan in the eye. "What is this?" he queried, indicating the pages he held in his left hand. "I decided that since I wasn't having much success with more traditional stories, I might see what sort of work I produced if I let my imagination go freely," Allan replied, somewhat less self-assured than he had been the previous night. "What in G-d's name could have possessed you to do such a thing," cried Arthur, nearly raising his voice. "After all I said the day before, why have you abandoned centuries of literary progress for some self-indulgent fantasy?" He shook the papers at Allan, raising them like a belt above the head of a disobedient son. "This is nothing but a glorified Grimm's tale, a miscarried child of Stoker, a creation less fit to be published than to be told around an open fire at the hovel of some peasant!" He spoke the last word with such heavy intonation that Allan shrank back before the physical wave of sound emanating from Arthur's throat. "Do you hate the modern system of literature? Do you personally despise the works the Enlightenment or the progress made since Shakespeare?" For a moment, Allan could hardly do more than shake his head. "No, of course not I " "Then why," Arthur barreled on, "do you disregard them all and return to this superstitious babble, this morbid, paganistic drivel?

Question: "What was Allan writing on at his desk?"

Answer: "Paper"

OPTIONS:
- no
- yes
Answer:
yes