input with options: The air exploded in a flash of bone and steel and blood. The clash of metal rang through the forest. An arrow pierced through the darkness, its barbed head tearing through flesh and muscle. A roar echoed off of the mountains far to the west. A cry broke through soon after. Then silence. Char stood over a pile of black fur and red blood. He held a curved sword, jagged half way down the wide blade and hilted in bone. He held a large thick bow in the other. Lorfel and Ranur stood behind him, panting. Lorfel, a short man of twenty six held a large axe in both hands and still prepared to swing it hard. Ranur, the largest of the three held a pike in one hand, its tip hanging low towards the ground. He buried his other hand in his gray tunic. "Did it get either of you?" Char's voice rasped low in the silence of the night. "No" Lorfel said. He planted his axe head on the ground with a thud and leaned on the tall handle. There was a pause. Char turned towards Ranur. "Are you hurt?" "Mm...My hand." Ranur took his hand out of his tunic. Moonlight gleamed red off of the ragged wound. Char thought he saw a glimmer of bone. "Did he claw you or bite you?" Char's voice held an urgency that set both Lorfel and Ranur on edge. Ranur paused and then spoke low. "He bit me." Char picked Lorfel and Ranur as his hunting partners for their speed and sharpness in battle. They had hunted beasts of the deep woods all of their lives. They hunted the beasts that hunted men. They all knew the risks of battling such creatures. The old man dropped his curved sword, drew his bow, and fired. The arrow hammered into Ranur's chest, burying itself in his heart. Lorfel saw the gleaming arrow head sticking almost a foot out of his companion's back. Ranur fell face first to the ground. Question: What was the color of the beast's fur? === The answer to the above question is
OPTIONS:
- white
- black
- not enough information
- brown
output: brown

input with options: I frankly haven't the slightest idea what the difference is between a moka pot and a cafetiere, but I'm going to pretend I do. "Delicious," I say, setting down my cup. "Way better than that stuff you get at Starbucks." Everyone else nods their heads in agreement, but I can't help but wonder if they're just being polite. Jason is pouring cream into his cup with a practiced hand, letting the white stream fall from the pitcher's lip in a smooth and slender column that blooms across his coffee's surface like a carnivorous plant photographed in stop-motion. "Did you hear about Tibet?" he asks. "Yeah," I say, "Terrible." "What's really shocking," says my boss, "is the complete ignorance of, well, most of America about what's going on right now." "Terrible." chimes in Jason. "and what with the death of newspapers, soon practically no one will be able to easily come by a well-formed opinion." "Did you hear the New York Times might be going bankrupt?" my boss asks. "Now that," Jason says, draining his cup, "would be a tragedy." Our biscotti has arrived and I'm reluctant to take the first piece. Is Dr. Burns paying again? It makes me feel awkward, because and despite the fact that she paid the last time--and this was at her invitation. Jason, for all his savior faire, did not appear to know how a Turkish coffee tasting was really supposed to go last time, and did not question when Dr. Burns ordered for all of us. Tracy, similarly, followed the doctor's lead and silently acquiesced when she took the check from the waiter dressed in a vest and what I took be MC Hammer pants. At any rate, it's not too weird for the boss to pay, right? After last time, I had gone home and dug out a 1984 copy of Emily Post, but that wasn't much help. There was no heading for "Research Assistants" nor did I find a chapter on "Student/Professor Luncheons." Question: What did Dr. Burns study to get her doctorate? === The answer to the above question is
OPTIONS:
- not enough information
- coffee making
- Tibet culture
- newspaper business
output: not enough information

input with options: The Getty Villa is a museum unlike any in the world. It offers an experience of ancient Greek and Roman art in a setting that replicates that in which it would originally have been displayed, a Roman villa of the first century AD. On April 18, after three years of work, the galleries of the Villa reopen with an entirely new arrangement of the collection, one that situates art in its cultural and historical context. Since 2006, when the Getty Villa opened as a museum dedicated to the cultures of the ancient Mediterranean, the collection has been presented along thematic lines, with galleries dedicated to subjects such as ancient theater, athletes and competition, and gods and goddesses. This approach was useful in illuminating social life in the ancient classical world, but it prioritized objects' subject matter over their stature as works of art and removed them from their broader artistic and cultural context. Reenvisioning how the antiquities were displayed at the Villa was one of my top priorities when I joined the J. Paul Getty Museum as director in 2012. As a specialist in ancient art, my priority is to help visitors to see these great treasures as beautiful and fascinating works of art, and sparking their curiosity to understand them in the context of their place in human culture. Starting April 18 our Villa galleries offer a new journey through ancient Greek, Roman, and Etruscan art. The visitor's path begins on the first-floor rooms devoted to Neolithic and Bronze Age (Cycladic, Minoan, and Mycenaean) Greek art. The journey continues through the Archaic, Classical, and Hellenistic periods, when the Greeks developed the first fully naturalistic vision of the human figure. And it culminates in the dramatic skylit halls of ancient Roman sculpture. In all there are 33 spaces on two floors, with 3,000 more square feet of gallery space than before. The visitor's path winds through the galleries, gardens, and fountains, offering views onto the spectacular landscape and Pacific Ocean. Question: What was probably true about the artwork? === The answer to the above question is
OPTIONS:
- the pieces were of minor value to humanity
- not enough information
- it was shown in chronological order
- the subject matter was narrow
output:
it was shown in chronological order