Input: If you build a campfire, you start with a large stack of sticks and logs. As the fire burns, the stack slowly shrinks. By the end of the evening, all that is left is a small pile of ashes. What happened to the matter that you started with? Was it destroyed by the flames? It may seem that way. What do you think happened? The truth is that the same amount of matter still exists. The wood changed not only to ashes, but also to carbon dioxide, water vapor, and other gases. The gases floated off into the air, leaving behind just the ashes. Although matter was changed, it was not created or destroyed. Because the same amount of matter still exists, we can say that matter is conserved. You may wonder how it can be conserved if something is now missing? Assume you had measured the mass of the wood before you burned it. Assume you had also trapped the gases released by the burning wood and measured their mass and the mass of the ashes. What would you find? The ashes and gases combined have the same mass as the wood you started with. This example illustrates the law of conservation of mass.

Does the response "They are converted to ashes and gases" correctly answer the question "What happens to sticks and logs in a campfire?"?
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Output: yes

Input: On his return to Nuremberg in 1495, Durer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Durer's father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca. 1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that Durer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Durer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.

Does the response "His mother" correctly answer the question "This Person's workshop in which opened in the year 1495 integrated Italian influences into Northern Forms."?
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Output: no

Input: Literary career During the war Camus joined the French Resistance cell Combat, which published an underground newspaper of the same name. This group worked against the Nazis, and in it Camus assumed the nom de guerre Beauchard. Camus became the paper's editor in 1943. He first met Sartre at the dress rehearsal of Sartre's play, The Flies, in June 1943. When the Ailies liberated Paris in August 1944, Camus witnessed and reported the last of the fighting. Soon after the event on 6 August 1945, he was one of the few French editors to publicly express opposition and disgust to the United States' dropping the atomic bomb in Hiroshima. He resigned from Combat in 1947 when it became a commercial paper. After the war, Camus began frequenting the Cafe de Flore on the Boulevard Saint-Germain in Paris with Sartre and others. He also toured the United States to lecture about French thought. Although he leaned left, politically, his strong criticisms of Communist doctrine did not win him any friends in the Communist parties and eventually alienated Sartre. In 1949, his tuberculosis returned, whereupon he lived in seclusion for two years. In 1951, he published The Rebel, a philosophical analysis of rebellion and revolution which expressed his rejection of communism. Upsetting many of his colleagues and contemporaries in France, the book brought about the final split with Sartre. The dour reception depressed Camus; he began to translate plays. Camus's first significant contribution to philosophy was his idea of the absurd. He saw it as the result of our desire for clarity and meaning within a world and condition that offers neither, which he expressed in The Myth of Sisyphus and incorporated into many of his other works, such as The Stranger and The Plague. Despite his split from his "study partner", Sartre, Camus was still categorized as an Existentialist. He specifically rejected that label in his essay "Enigma" and elsewhere.

Does the response "6 years" correctly answer the question "How long did Camus edit the paper Combat before it became a commercial paper?"?
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Output: no

Input: 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.

Does the response "Canada" correctly answer the question "Which four continents from the paragraph look like they are connected like a jig saw puzzle?"?
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Output:
no