In this task, you are given a question and a context passage. You have to answer the question based on the given passage.

Q: Why did universities begin participating less in scientific research?, Context: Scientific academies and societies grew out of the Scientific Revolution as the creators of scientific knowledge in contrast to the scholasticism of the university. During the Enlightenment, some societies created or retained links to universities. However, contemporary sources distinguished universities from scientific societies by claiming that the university's utility was in the transmission of knowledge, while societies functioned to create knowledge. As the role of universities in institutionalized science began to diminish, learned societies became the cornerstone of organized science. Official scientific societies were chartered by the state in order to provide technical expertise. Most societies were granted permission to oversee their own publications, control the election of new members, and the administration of the society. After 1700, a tremendous number of official academies and societies were founded in Europe, and by 1789 there were over seventy official scientific societies. In reference to this growth, Bernard de Fontenelle coined the term "the Age of Academies" to describe the 18th century.

A: sources distinguished universities from scientific societies by claiming that the university's utility was in the transmission of knowledge
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Q: Which was painted later, Amorpha-Fugue a deux couleurs or Contrasts of Forms?, Context: The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

A: Contrasts of Forms
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Q: Who was head of the European Monetary Institute later, Lamfalussy or Duisenberg?, Context: The first President of the Bank was Wim Duisenberg, the former president of the Dutch central bank and the European Monetary Institute. While Duisenberg had been the head of the EMI (taking over from Alexandre Lamfalussy of Belgium) just before the ECB came into existence, the French government wanted Jean-Claude Trichet, former head of the French central bank, to be the ECB's first president. The French argued that since the ECB was to be located in Germany, its president should be French. This was opposed by the German, Dutch and Belgian governments who saw Duisenberg as a guarantor of a strong euro. Tensions were abated by a gentleman's agreement in which Duisenberg would stand down before the end of his mandate, to be replaced by Trichet.

A:
Duisenberg
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