input with options: Not really that huge a deal, but we laughed about it for a while. My friends and I went to see the Gin Blossoms in 1993 at a small venue in Chicago. We were having some beers and enjoying the opening band (they were okay, but not memorable) when this guy came and stood right in front of my roommate. I mean, the floor was filling up, sure, but we'd landed a decent spot right in the middle and he came and stood right in front of her when there was plenty of room off to the side a bit. My roommate and our friend and I looked at each other and were like, "How rude!" Frankly, I was surprised my roommate didn't do or say anything - holding her tongue wasn't her forte. I half expected her to spank his bottom - I'd seen her do it before to get some guy's attention, and this guy was pretty cute. But when that same song came to an end, the guy turned around and actually apologized to all of us. He held up his camera and said he wanted a really good shot of the band as they were friends of his. He actually went and bought each of us a beer, so it totally worked out well. We thanked him and he took off. The only excuse I have for us is that we were in college and not glued to MTV or entertainment magazines, and really, only Hey Jealousy had hit the airwaves when we went to the concert. But sure enough, when the Gin Blossoms took the stage, Robin Wilson gave a shout out to those three girls he'd blocked the stage for earlier and hoped we'd enjoyed our beers. Like I said, it's pretty tame, but I thought he handled it with class, so it's always made me remember their music fondly. According to the above context, answer the following question. Why did the guy hold his camera up
OPTIONS:
- wanted to hold it
- wanted a shot of his friends
- not enough information
- wanted work out
output: wanted a shot of his friends

input with options: A confession: I quietly love flying. This year, I've done 163,581 miles of it. I love that when you fly a lot, the airport social media staff say 'hello' on Twitter when you arrive and the cabin crew on your home route (or even on the Brisbane-Dubai non-stop route) recognise you from last time. I like getting great service, and see so many things about systems-thinking that work well in airlines, that I'm happy to forgive small indiscrepancies when they occur. All that said, flying strangles our planet as much as eating too much red meat, and for many, many reasons, I've wanted to stop flying quite so much, while not restricting the spread and growth of the ideas from our firm, NoTosh. I'm quite sure that nobody reading this blog really cares about how much I travel, but keeping an annual count on it has become a new year habit. When I started working at Channel 4, and then continuing when I created NoTosh, I wanted to keep track of what seemed like an interminable number of miles on the road and in the air. By 2012, 2013 and last year, I was beginning to wonder if I'd ever be able to get the number of miles down when they seemed to represent even more trips to the moon and back each and every year. When you run a company based in Edinburgh with a great team living in Melbourne, you could easily spend your life on a plane - one flying to Melbourne feels better than two or more flying to Edinburgh. Indeed, in 2012, 2013 and 2014 it felt like I really did spend my life on a plane, as I went to the moon and back in my annual travel, with anything up to seven trips a year to Australia. According to the above context, answer the following question. Where is the company NoTosh based out of?
OPTIONS:
- not enough information
- Australia
- Edinburgh
- Melbourne
output: Edinburgh

input with options: There was a boy named Chan who loved his parents, though they did not love him back; he was not even given a first name. He had been born in the wrong month, during the wrong phase of the moon, his parents told him, and had brought them nothing but bad luck. The promotion at the factory promised to his father was taken away at the last moment. The garden his mother worked in nearly every day never produced anything more than the most meager of weeds since Chan's birth. It was often sunny in the little Chinese village, but there was an almost constant gloom over their house, as if a rogue cloud were blocking the sun only over their property. And his parents, of course, blamed Chan for everything. He was small for his age, and usually quiet. He liked to listen to people instead of talking, filling himself with stories. He was a good boy and always did as he was told, and could see the good in his parents, even if others couldn't. Every so often, his mother would allow him a sweet, or his father would bring home an origami folding kit. They didn't like to show it to others, but his parents could be kind. Chan was patient and knew they would love him eventually. He was digging one day between the fence and the west side of the house for grubs to feed to his pet chameleon, Rainbow. It was a warm July day not long after his tenth birthday. He often went there because it was cool and damp from the shade of the trees, and the worms seemed to like it there. He never took more than he needed, then he thanked the grubs for sacrificing their lives so that Rainbow could remain living and being his pet. Chan was very kind-hearted when it came to grubs. According to the above context, answer the following question. When did Chan go to dig up worms?
OPTIONS:
- not enough information
- After his birthday
- Before his birthday
- on his birthday
output: After his birthday

input with options: Bryan C. Keene and Alexandra Kaczenski of the Getty Museum's Manuscripts Department have spent the last few years preparing for an exhibition and publication titled Sacred Landscapes: Nature in Renaissance Manuscripts that aims to examine representations of "green spaces" such as gardens, vistas, and their relation to the divine. In particular, Bryan and Alexandra focus on the ways in which artists during the European Middle Ages and Renaissance embedded the pages of illuminated manuscripts with depictions of the natural world so that nature could guide prayer, chant, and meditation. For Bryan, this project represents a continuation of his interest in sacred gardens that began with his graduate work on the garden imagery that influenced Botticelli's Agony in the Garden painting. In 2013 he curated the exhibition and authored the accompanying book Gardens of the Renaissance. For Alexandra, interest in this subject stems from her scholarly focus on Flemish manuscripts and their relation to Flemish landscape paintings. She brought to the project a complementary interest in issues of environmental and landscape destruction, which also were themes of the exhibition and publication. Though floral and nature studies of the Renaissance and Early Modern periods have been extensively investigatedthe scientific notebooks of Leonardo da Vinci, for example, are well documentedthis exhibition turns its focus on landscape and the divine. Curatorial research has shed new light on subjects such as the seemingly "scattered" floral arrangements represented within the pages of these books and their relationship to humoral theory and religion. Bryan adds, "The tension that we find in these borders is, on the one hand, intricately rendered leaf and petal structures of plants or flowers, and on the other, hidden whimsical elements, all of which combine to create a rich tapestry of meaning, both symbolic and scientific. Alex and I will continue to explore the potential meaning within this botanical and arboreal chaos." Sacred... According to the above context, answer the following question. Who authored Gardens of the Resaissance?
OPTIONS:
- not enough information
- Giovanni Bellini
- Bryan C. Keene
- Alexandra Kaczenski
output:
Bryan C. Keene