Q: Read the following paragraph and extract the answer for the question: Along with the person who says, "Time for go to bed!" who helps Conway conduct his experiments?  At his psychiatric institute, Dr. Charles Conway is surreptitiously experimenting with artificial glands to try to create longevity; he works with his minion Lobo and his assistant Dr. Sharon Gilchrist. Conway receives his test subjects through an associate, Dr. Loren Wright, who delivers patients seeking treatment for lesser conditions. After this, they are then taken into the operating room for Conway's illicit surgery. Wright delivers his newest find, Grace Thomas, who is seeking treatment for depression. When Conway balks at Wright for bringing him a patient with living relatives, he confides in Conway that he plans to throw Grace's purse and bags into the bay, to fool family and the authorities into believing she had committed suicide. He then asks Conway for a demonstration of his experimental progress; Conway takes him down into the basement, where he introduces him to Harry Jedrow, his latest victim. Jedrow is clearly alive, but severely disfigured and in a vegetative state; this concerns Wright, who reveals that Jedrow's sister is currently seeking him out. Conway is furious, since none of his patients were supposed to have ties of any kind. That night, Lobo (who famously delivers the line "Time for go to bed!") discovers Frank Scott roaming around the grounds. Scott attempts to conceal his identity, but Conway quickly deduces that he is an escaped convict from his description in the newspapers, as well as a telltale tattoo on his wrist. Rather than turn Scott into the police, he offers him the chance to take part in his experiments. Knowing the odds are stacked against him, Scott accepts his offer.
A: Dr. Sharon Gilchrist

Q: Read the following paragraph and extract the answer for the question: What is the first name of the person Chandler appointed, breaching Solti's contract?  In 1960 Solti signed a three-year contract to be music director of the Los Angeles Philharmonic from 1962. Even before he took the post the Philharmonic's autocratic president, Dorothy Chandler, breached his contract by appointing a deputy music director without Solti's approval. Although he admired the chosen deputy, Zubin Mehta, Solti felt he could not have his authority undermined from the outset, and he withdrew from his appointment. He accepted an offer to become musical director of Covent Garden Opera Company, London. When first sounded out about the post he had declined it. After 14 years of experience at Munich and Frankfurt he was uncertain that he wanted a third successive operatic post. Moreover, founded only 15 years earlier, the Covent Garden company was not yet the equal of the best opera houses in Europe. Bruno Walter convinced Solti that it was his duty to take Covent Garden on.The biographer Montague Haltrecht suggests that Solti seized the breach of his Los Angeles contract as a convenient pretext to abandon the Philharmonic in favour of Covent Garden. However, in his memoirs Solti wrote that he wanted the Los Angeles position very much indeed. He originally considered holding both posts in tandem, but later acknowledged that he had had a lucky escape, as he could have done justice to neither post had he attempted to hold both simultaneously.Solti took up the musical directorship of Covent Garden in August 1961. The press gave him a cautious welcome, but there was some concern that under him there might be a drift away from the company's original policy of opera in English. Solti, however, was an advocate of opera in the vernacular, and he promoted the development of British and Commonwealth singers in the company, frequently casting them in his recordings and important productions in preference to overseas artists. He demonstrated his belief in vernacular opera with a triple bill in English of L'heure espagnole, Erwartung and Gianni Schicchi. As the decade went on, however, more and more...
A: Zubin

Q: Read the following paragraph and extract the answer for the question: What is the full name of the test whose measurements can be used in hard snow and firn to depths of 5–10 m?  Penetration testing involves inserting a probe into snow to determine the snow's mechanical properties.  Experienced snow surveyors can use an ordinary ski pole to test snow hardness by pushing it into the snow; the results are recorded based on the change in resistance felt as the pole is inserted.  A more scientific tool, invented in the 1930s but still in widespread use, is a ram penetrometer.  This takes the form of a rod with a cone at the lower end.  The upper end of the rod passes through a weight that is used as a hammer; the weight is lifted and released, and hits an anvil—a ledge around the rod which it cannot pass—which drives the rod into the snow.  To take a measurement, the rod is placed on the snow and the hammer is dropped one or more times; the resulting depth of penetration is recorded.  In soft snow a lighter hammer can be used to obtain more precise results; hammer weights range from 2 kg down to 0.1 kg.  Even with lighter hammers, ram penetrometers have difficulty distinguishing thin layers of snow, which limits their usefulness with regard to avalanche studies, since thin and soft layers are often involved in avalanche formation.Two lightweight tools are in wide use that are more sensitive than ram penetrometers.  A snow micro-penetrometer uses a motor to drive a rod into snow, measuring the force required; it is sensitive to 0.01–0.05 newtons, depending on the snow strength.  A SABRE probe consists of a rod that is inserted manually into snow; accelerometer readings are then used to determine the penetrative force needed at each depth, and stored electronically.For testing dense polar snow, a cone penetrometer test (CPT) is use, based on the equivalent devices used for soil testing.  CPT measurements can be used in hard snow and firn to depths of 5–10 m.
A: a cone penetrometer test

Q: Read the following paragraph and extract the answer for the question: What locations did Moore visit in 1934?  In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.Moore and Nash were on the organising committee of the International Surrealist Exhibition, which took place in London in 1936. In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings. In 1938, Moore met Kenneth Clark for the first time. From this time, Clark became an unlikely but influential champion of Moore's work, and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist.
A:
cave of Altamira