Question: Pāśupatas divided the created world into the insentient and the sentient. The insentient was the unconscious and thus dependent on the sentient or conscious. The insentient was further divided into effects and causes. The effects were of ten kinds, the earth, four elements and their qualities, colour etc. The causes were of thirteen kinds, the five organs of cognition, the five organs of action, the three internal organs, intellect, the ego principle and the cognising principle. These insentient causes were held responsible for the illusive identification of Self with non-Self. Salvation in Pāśupata involved the union of the soul with God through the intellect.
Is there an answer to this question: In what staet was the insentient considered to be?

Answer: unconscious


Question: The committee debated the possibility of a shift function (like in ITA2), which would allow more than 64 codes to be represented by a six-bit code. In a shifted code, some character codes determine choices between options for the following character codes. It allows compact encoding, but is less reliable for data transmission as an error in transmitting the shift code typically makes a long part of the transmission unreadable. The standards committee decided against shifting, and so ASCII required at least a seven-bit code.:215, 236 § 4
Is there an answer to this question: What allows seven-bit code?

Answer: unanswerable


Question: The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.
Is there an answer to this question: What did the 1912 exhiibtion of Cubism show?

Answer: indicates the artists' intention of making their work comprehensible to a wide audience


Question: The Late Middle Ages in Europe as a whole correspond to the Trecento and Early Renaissance cultural periods in Italy. Northern Europe and Spain continued to use Gothic styles, which became increasingly elaborate in the 15th century, until almost the end of the period. International Gothic was a courtly style that reached much of Europe in the decades around 1400, producing masterpieces such as the Très Riches Heures du Duc de Berry. All over Europe secular art continued to increase in quantity and quality, and in the 15th century the mercantile classes of Italy and Flanders became important patrons, commissioning small portraits of themselves in oils as well as a growing range of luxury items such as jewellery, ivory caskets, cassone chests, and maiolica pottery. These objects also included the Hispano-Moresque ware produced by mostly Mudéjar potters in Spain. Although royalty owned huge collections of plate, little survives except for the Royal Gold Cup. Italian silk manufacture developed, so that western churches and elites no longer needed to rely on imports from Byzantium or the Islamic world. In France and Flanders tapestry weaving of sets like The Lady and the Unicorn became a major luxury industry.
Is there an answer to this question: What is a notable masterpiece of the International Gothic style?

Answer:
the Très Riches Heures du Duc de Berry