Problem: Richard Feynman:

Feynman alludes to his thoughts on the justification for getting involved in the Manhattan project in The Pleasure of Finding Things Out. He felt the possibility of Nazi Germany developing the bomb before the Allies was a compelling reason to help with its development for the U.S. He goes on to say that it was an error on his part not to reconsider the situation once Germany was defeated. In the same publication, Feynman also talks about his worries in the atomic bomb age, feeling for some considerable time that there was a high risk that the bomb would be used again soon, so that it was pointless to build for the future. Later he describes this period as a "depression".

What was his reasoning in helping destroy the atomic bomb?
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A: unanswerable

Problem: Following his victory in the Battle of Hastings, William, Duke of Normandy, was crowned King of England in the newly finished Westminster Abbey on Christmas Day 1066. William constructed the Tower of London, the first of the many Norman castles in England to be rebuilt in stone, in the southeastern corner of the city, to intimidate the native inhabitants. In 1097, William II began the building of Westminster Hall, close by the abbey of the same name. The hall became the basis of a new Palace of Westminster.
Who built Westminster Hall?
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Answer: William II

Q: What is a question about this article? If the question is unanswerable, say "unanswerable".
Paris today has more than 421 municipal parks and gardens, covering more than 3,000 hectares and containing more than 250,000 trees. Two of Paris' oldest and most famous gardens are the Tuileries Garden, created in 1564 for the Tuileries Palace, and redone by Andre Le Notre between 1664 and 1672, and the Luxembourg Garden, for the Luxembourg Palace, built for Marie de' Medici in 1612, which today houses the French Senate. The Jardin des Plantes was the first botanical garden in Paris, created in 1626 by Louis XIII's doctor Guy de La Brosse for the cultivation of medicinal plants.
Who was the Luxembourg palace built for?
A: Marie de' Medici

Context and question: Yale's English and Comparative Literature departments were part of the New Criticism movement. Of the New Critics, Robert Penn Warren, W.K. Wimsatt, and Cleanth Brooks were all Yale faculty. Later, the Yale Comparative literature department became a center of American deconstruction. Jacques Derrida, the father of deconstruction, taught at the Department of Comparative Literature from the late seventies to mid-1980s. Several other Yale faculty members were also associated with deconstruction, forming the so-called "Yale School". These included Paul de Man who taught in the Departments of Comparative Literature and French, J. Hillis Miller, Geoffrey Hartman (both taught in the Departments of English and Comparative Literature), and Harold Bloom (English), whose theoretical position was always somewhat specific, and who ultimately took a very different path from the rest of this group. Yale's history department has also originated important intellectual trends. Historians C. Vann Woodward and David Brion Davis are credited with beginning in the 1960s and 1970s an important stream of southern historians; likewise, David Montgomery, a labor historian, advised many of the current generation of labor historians in the country. Yale's Music School and Department fostered the growth of Music Theory in the latter half of the 20th century. The Journal of Music Theory was founded there in 1957; Allen Forte and David Lewin were influential teachers and scholars.
Which Yale staffed labor historian advised other younger labor historians?
Answer: David Montgomery

Question: The US and USSR began discussions on the peaceful uses of space as early as 1958, presenting issues for debate to the United Nations, which created a Committee on the Peaceful Uses of Outer Space in 1959.
Is there an answer to this question: The Committee on the Peaceful Uses of Outer Space was established in what year?

Answer: 1959

QUES: The key characteristic of classical music that distinguishes it from popular music and folk music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score typically determines details of rhythm, pitch, and, where two or more musicians (whether singers or instrumentalists) are involved, how the various parts are coordinated. The written quality of the music has enabled a high level of complexity within them: J.S. Bach's fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be impossible in the heat of live improvisation. The use of written notation also preserves a record of the works and enables Classical musicians to perform music from many centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music (the melodies, lyrics, forms, and rhythms) being reproduced.

What has allowed Classical musicians to perform music from many centuries ago?
What is the answer?
ANS:
written notation