input: Please answer the following: What object's weight has to be taken into account?  Answer the above question based on the context below:  The ice must be cut through, broken up, or melted.  Tools can be directly pushed into snow and firn (snow that is compressed, but not yet turned to ice, which typically happens at a depth of 60 metres (200 ft) to 120 metres (390 ft)); this method is not effective in ice, but it is perfectly adequate for obtaining samples from the uppermost layers.  For ice, two options are percussion drilling and rotary drilling.  Percussion drilling uses a sharp tool such as a chisel, which strikes the ice to fracture and fragment it.  More common are rotary cutting tools, which have a rotating blade or set of blades at the bottom of the borehole to cut away the ice.  For small tools the rotation can be provided by hand, using a T-handle or a carpenter's brace.  Some tools can also be set up to make use of ordinary household power drills, or they may include a motor to drive the rotation.  If the torque is supplied from the surface, then the entire drill string must be rigid so that it can be rotated; but it is also possible to place a motor just above the bottom of the drill string, and have it supply power directly to the drill bit.If the ice is to be melted instead of cut, then heat must be generated.  An electrical heater built into the drill string can heat the ice directly, or it can heat the material it is embedded in, which in turn heats the ice.  Heat can also be sent down the drill string; hot water or steam pumped down from the surface can be used to heat a metal drillhead, or the water or steam can be allowed to emerge from the drillhead and melt the ice directly.  In at least one case a drilling project experimented with heating the drillhead on the surface, and then lowering it into the hole.Many ice drilling locations are very difficult to access, and drills must be designed so that they can be transported to the drill site.  The equipment should be as light and portable as possible.  It is helpful if the equipment can be broken down so that the individual components can be carried separately, thus reducing...
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output: Fuel


input: Please answer the following: What is the last name of the person who accepted the chief conductorship of the London Symphony Orchestra until his death?  Answer the above question based on the context below:  Pierre Benjamin Monteux (pronounced [pjɛʁ mɔ̃.tø]; 4 April 1875 – 1 July 1964) was a French (later American) conductor. After violin and viola studies, and a decade as an orchestral player and occasional conductor, he began to receive regular conducting engagements in 1907.  He came to prominence when, for Sergei Diaghilev's Ballets Russes company between 1911 and 1914, he conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloé, and Debussy's Jeux. Thereafter he directed orchestras around the world for more than half a century. From 1917 to 1919 Monteux was the principal conductor of the French repertoire at the Metropolitan Opera in New York. He led the Boston Symphony Orchestra (1919–24), Amsterdam Concertgebouw Orchestra (1924–34), Orchestre Symphonique de Paris (1929–38) and San Francisco Symphony (1936–52).  In 1961, aged eighty-six, he accepted the chief conductorship of the London Symphony Orchestra, a post which he held until his death three years later.  Although known for his performances of the French repertoire, his chief love was the music of German composers, above all Brahms. He disliked recording, finding it incompatible with spontaneity, but he nevertheless made a substantial number of records. Monteux was well known as a teacher. In 1932 he began a conducting class in Paris, which he developed into a summer school that was later moved to his summer home in Les Baux in the south of France. After moving permanently to the US in 1942, and taking American citizenship, he founded a school for conductors and orchestral musicians in Hancock, Maine. Among his students in France and America who went on to international fame were Lorin Maazel, Igor Markevitch, Neville Marriner, Seiji Ozawa, André Previn  and David Zinman. The school in Hancock has continued since Monteux's death.
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output: Monteux


input: Please answer the following: What is the last name of the person who was taught photography?  Answer the above question based on the context below:  Fuller's time at Adyar was eventful. Leadbeater arrived around the same time as Fuller, and soon afterward he "discovered" the person he believed would become a global teacher and orator, Jiddu Krishnamurti (then in his teens). Leadbetter and others tutored Krishnamurti. Fuller may have taught him photography. She also had a small studio built in the grounds, and painted. Her works from the period include a portrait of Leadbeater and Portrait of the Lord Buddha. McFarlane emphasises the significance of the latter work, pointing out that it is "strikingly modern" in comparison to all of Fuller's other work, and more radical than compositions created by Grace Cossington Smith and Roland Wakelin, half a decade later. The painting owes much to theosophy's emphasis on seeing the subject "through a psychic, visionary experience". Sources describing Fuller's movements after her time in India sometimes are ambiguous. She arrived in England in June 1911, where she marched with Besant in the suffragette protests associated with the coronation of George V. She continued to paint portraits, but found it difficult to realise the transformation in her art that she had conceptualised in India:I have painted a great many portraits since I have been in England, and have been, I suppose, fairly successful—though I have done nothing in any way remarkable. The hidden inner life has not yet succeeded in expressing itself on canvas, and I can only write myself as one who aspires to a greater art, but who has not yet achieved.
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output:
Krishnamurti