Q: Read the following context and answer the question. Context: One of the more surprising objects in the Getty Villa's newly reinstalled gallery of later Roman sculpture is a marble bust of a youth leaning out of a circular frame, mounted high on the gallery wall. J. Paul Getty originally acquired this particular sculpture in 1973, but it has been off view for many years. The recent reinstallation of the Getty Museum's antiquities collection at the Villa provided the opportunity to resurrect many such objects from storage and put them on display. Bringing this strange object back to the public eye enabled us to askand answerseveral questions about it. Whoif anyonedoes it represent? When was it carved? Where was it made, and how did it end up in Los Angeles? In preparation for its display, we researched and reinterpreted the object, exploring both its ancient function and modern history. In its new display, this object is fittingly surrounded by other examples of late Roman sculpture from the third and fourth centuries. Its inclusion in this gallery was not always a given, however, as the figure was long misidentified as a portrait of young Caracalla, who at ten years old became joint emperor with his father in A.D. 198.(1) But recent scholarship questioned the Caracalla identification and the object's date, suggesting it was carved at least a hundred years later.(2) In light of this research, curator Jens Daehner pushed to reexamine the sculpture and consider including it in the reinstallation. In early 2015, the Antiquities Department brought this tondo and many other potential objects for the new galleries out of storage for viewing, providing curators, conservators, mount makers, preps, and registrars a chance to approve and prepare artworks for possible display. After the storage viewing and subsequent research, we updated the object record to conform with what scholars had suggested: this is not a second-century portrait of Caracalla but a fourth-century bust of a youth or divinity. To answer our next question of who the tondo represents, we then had to take a... Question: What is the likely reason Getty kept the sculpture hidden? Answer:

OPTIONS:
- to research the artist
- to make it more profitable
- to view in private
- not enough information

A: to view in private

input: OPTIONS:
- not enough information
- disappointed
- published
- creative Now, answer this question: Read the following context and answer the question. Context: David Gauntlett makes a good point in his newest book (Making Media Studies: The Creativity Turn in Media and Communications Studies) and that is that traditional forms of media studies are no longer applicable. Gone are the days of massive institutions and production companies, gone are the traditional audiences and simplistic texts. In, is the new age media companies, the everyday media makers, the consistent consumers and the fantastical mess of The WWW. While universities are pumping out the same content areas since the 1980's (e.g. institutions, production, audiences and texts) that are only relevant to a handful of media forms (cinema, television, online broadcasting and publications), the rest of the world is moving on. David Gauntlett so rightly says that creativity in media, should also refer to thinking creatively about the subject. What are the new ways of running media and communication studies? How has the subject itself changed? What approaches and methods can help media and communications studies to become innovative and useful in spheres beyond itself? David Gauntlett encourages a kind of call to arms, an acquiescence of the incapacities of the old system and a redirected gaze to the future needs of media students and media studies programs. Inspired by Tim Ingold's book Making, David believes media studies should have making at it's front and centre. He also believes the ability to do things with media should be embraced over and above the ability to talk about what others do with media, or what media does to us. The notion is that media studies should be hands on, that it should be all about ideas and critical engagement and this should be expressed through actual making. To borrow three key distinctions from the anthropologist Tim Ingold: 1. It's about learning WITH media rather than ABOUT media. 2. There is an intent to move FORWARD rather than looking BACKWARDS at how things are. 3. It's aims are TRANSFORMATIONAL rather than DOCUMENTARY. Question: After the story, David Gauntlett is probably: Answer:
A:
output: published

Problem:OPTIONS:
- some groups require additional vetting due to high rates of harassment on social media
- some groups require additional vetting due to the prevalence of terrorism in their regions
- not enough information
- some groups require additional vetting due to the threat of economic insecurity

Read the following context and answer the question. Context: The U.S. State Department has asked American embassies and consulates around the world to identify certain groups that should get extra scrutiny when they apply for visas. A series of directives also instructs U.S. diplomatic posts overseas to review the social media accounts of visa applicants who are suspected of terrorist ties or of having been in Islamic State group-controlled areas. The diplomatic cables sent by Secretary of State Rex Tillerson directed embassies to convene security and intelligence working groups to determine criteria for "population sets" that would warrant increased scrutiny before traveling to the U.S. Even if the applicant otherwise qualifies for a visa, those identified as meeting the criteria would require additional scrutiny, leading to a possible visa denial. It is the first evidence of a plan for the "extreme vetting" of foreigners entering the United States that President Donald Trump promised during his campaign. The four cables sent between March 10 and March 17 do not define which groups would be considered among the "population sets" requiring more scrutiny. But in the first glimpse into what "extreme vetting" may look like under the Trump administration, one of Tillerson's memos would have added to the interview process questions about an applicant's workplaces, employers, addresses and travel history going back 15 years, as well as all email addresses and social media handles used in the last five years. The questions were withdrawn in a following memo, pending approval of the list by another federal agency. The directives, first reported by Reuters, quickly drew criticism from rights groups and others who've accused Trump of discriminating against Muslims through his now-suspended ban on travelers from six predominantly Muslim countries Iran, Libya, Somalia, Sudan, Syria and Yemen. "These measures could provide license for discrimination based on national origin and religion,'' human rights group Amnesty International wrote in a letter to Tillerson on Thursday. "They... Question: President Donald Trump probably believes that: Answer:
****
A:
some groups require additional vetting due to the prevalence of terrorism in their regions