Problem:OPTIONS:
- A knife
- Most strategy documents
- not enough information
- A fork

I picked up this Sporf in Amsterdam Schipol airport. A spork I'd seen before, but the addition of a simple serration on the side of the fork end makes this a genuine "three-in-one" implement for eating one's full three-course takeaway meal on the plane. The sporf is no innovation; back in 1940 the "sporf" was born. It took me until 2015 to notice this one thanks to its rather pleasant design. The sporf is a little like most strategy documents that I come across. It is one implement designed to serve a multitude of goals, but with one fatal flaw: you can only ever use one part of the sporf / strategy at any one time. With the sporf, things would get messy trying to use the spoon and knife and the same time. The knife and fork work quite well in sequence but physics prevents me using both at the same time as I can with the older technologies of knife and fork. In strategy formation, we can develop a multitude of potential purposes within one document, killer vision statement or mission. But it's important to recognise that the teams around us will only ever be able to do one thing really well at any one time. This is a lesson oft ignored by schools, in particular, as they attempt to ask educators to create an ever-more creative curriculum without having first tackled attitudes towards summative assessments throughout the year. It is also a challenge in some of the world's most successful, but now stagnating, big businesses: they've spent decades or centuries building a reputation across a large array of devices, technologies, components or clothing, but the real strategy is working out which of the current array needs killed off to enable teams in their quest to develop something totally new, properly innovative. Question: What did the narrator compare the sporf to? === The answer to the above question is
****
A: Most strategy documents

It was a nice summer evening. A cool breeze blowing. Birds singing. Leaves rustling. The waters of the pool shining, shimmering in the sunlight. I was sitting on the steps of the pool, my legs submerged in water.Those blue depths were irrestisible. I inched a bit further in. Water to my waist a little more. closer to the blue..just a little morewater to my chest yes, keep goinga bit morewater to my neck.almost there.the blue gaze of those depths held me in aweoh my..so beaut- Going up a sort of endless escalator. I can't see very well what's in front of me. It's all very dark. I can sense someone behind me, but I dare not look back. For some reason I cannot see my feet. In fact, I cannot see any of me at all. It feels very strange and well,creepy! I want to whistle, to kinda comfort myself, but it feels like I've lost the ability to speak. My mind just doesn't know how to carry out this desire to speak. It feels unnatural.. That someone behind me pokes me in my(invisible) back. Its'(his/her?) touch is strangely warm, then icy. I still don't look back.yes, that's the key, don't look back. It's a test. Just don't look back and you'll- Snap! Back into the pool, panting. Everything is blurry. There are people gathered around the pool, screaming. A hand extends toward me. I reach for it. Well, I'd love to tell you what happened after that, but the thing is, I don't even know myself. For just at that precise moment, my wretched alarm decided to beep-beep. And I never got to see the ending! Wait, did you mean "went to the other side" in reality? Don't be ridiculous! Question: How long did the dream take to play out? === The answer to the above question is
OPTIONS:
- a few seconds
- a day
- not enough information
- an hour
a few seconds

Problem: OPTIONS:
- the pieces were of minor value to humanity
- not enough information
- it was shown in chronological order
- the subject matter was narrow
Q: 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
Answer:
it was shown in chronological order