instruction:
In this task, you will be presented with a context passage, a question about that paragraph, and a possible answer to that question. The task is to check the validity of the answer. Answer with "Yes" or "No".
question:
Earthquakes seemed to outline a special feature of earth's crust. Earthquakes let scientists know where the crust was moving. This led to the discovery that the Earths crust was broken up into regions, or plates. Earthquakes happen most often along these plate boundaries. This was evidence that continents can move. The movements of the plates are called plate tectonics. The Earths crust is divided into plates. There are about a dozen large plates and several small ones. Each plate is named for the continent or ocean basin it contains. Scientists know he plates are in motion. They now know the direction and speed of this motion . Plates dont move very fast. They move only a few centimeters a year. This is about the same rate fingernails grow. So you might wonder, what could cause this motion? What supplies the energy to cause this change? <sep>How fast do plates move?<sep>A few centimeters a year
answer:
Yes


question:
Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year." <sep>Which artist, in addition to Alberti, did Durer disagree with?<sep>Leonardo
answer:
Yes


question:
Allan crouched over his desk once more, pen in hand and mind blank. He contemplated a story, an outline he had laboriously constructed some time ago. He had filled his pen and raised it, the nib descending towards the paper, before the sound came: the gentle, persistent tapping of the gnarled, primeval willow touching the window with long, insistent fingers. His eyes awoke with a passionate, determined flame, though the only light came from the glutted moon. Allan filled page after page, the words escaping from his mind onto the paper. Where before they had marched in regiments, practiced in ranks and followed their leaders' commands, the words now escaped in their true forms, unhindered by any stricture. He continued long into the night, until the eldritch orb had sunk into the waiting hands of the willow, raised perpetually skyward. Arthur looked up from the results of a night's frenzied labors and looked Allan in the eye. "What is this?" he queried, indicating the pages he held in his left hand. "I decided that… since I wasn't having much success with more – traditional – stories, I might see what sort of work I produced if I let my imagination go freely," Allan replied, somewhat less self-assured than he had been the previous night. "What in G-d's name could have possessed you to do such a thing," cried Arthur, nearly raising his voice. "After all I said the day before, why have you abandoned centuries of literary progress for some self-indulgent fantasy?" He shook the papers at Allan, raising them like a belt above the head of a disobedient son. "This is nothing but a glorified Grimm's tale, a miscarried child of Stoker, a creation less fit to be published than to be told around an open fire at the hovel of some peasant!" He spoke the last word with such heavy intonation that Allan shrank back before the physical wave of sound emanating from Arthur's throat. "Do you hate the modern system of literature? Do you personally despise the works the Enlightenment or the progress made since Shakespeare?" For a moment, Allan could hardly do more than shake his head. "No, of course not… I– " "Then why," Arthur barreled on, "do you disregard them all and return to this superstitious babble, this morbid, paganistic drivel? <sep>What awoke the passion in Allan to begin writing that night?<sep>Outside nature sounds
answer:

Yes


