Luftwaffe policy at this point was primarily to continue progressive attacks on London, chiefly by night attack; second, to interfere with production in the vast industrial arms factories of the West Midlands, again chiefly by night attack; and third to disrupt plants and factories during the day by means of fighter-bombers. Kesselring, commanding Luftflotte 2, was ordered to send 50 sorties per night against London and attack eastern harbours in daylight. Sperrle, commanding Luftflotte 3, was ordered to dispatch 250 sorties per night including 100 against the West Midlands. Seeschlange would be carried out by Fliegerkorps X (10th Air Corps) which concentrated on mining operations against shipping. It also took part in the bombing over Britain. By 19/20 April 1941, it had dropped 3,984 mines, ⅓ of the total dropped. The mines' ability to destroy entire streets earned them respect in Britain, but several fell unexploded into British hands allowing counter-measures to be developed which damaged the German anti-shipping campaign.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): What was the Luftwaffe's second primary policy?
Ah, so.. to interfere with production in the vast industrial arms factories of the West Midlands

The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): In what year did Rosenberg exhibit Cubist works at  Galerie de l’Effort Moderne?
Ah, so.. 1918

The cloth or fiber material used, resin material, and the cloth to resin ratio determine the laminate's type designation (FR-4, CEM-1, G-10, etc.) and therefore the characteristics of the laminate produced. Important characteristics are the level to which the laminate is fire retardant, the dielectric constant (er), the loss factor (tδ), the tensile strength, the shear strength, the glass transition temperature (Tg), and the Z-axis expansion coefficient (how much the thickness changes with temperature).
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): The shear sector is one of the important what?
Ah, so..
unanswerable