Input: Read this: On the uneven bars, the gymnast performs a routine on two horizontal bars set at different heights. These bars are made of fiberglass covered in wood laminate, to prevent them from breaking. In the past, bars were made of wood, but the bars were prone to breaking, providing an incentive to switch to newer technologies. The width and height of the bars may be adjusted. In the past, the uneven parallel bars were closer together. They've been moved increasingly further apart, allowing gymnasts to perform swinging, circling, transitional, and release moves, that may pass over, under, and between the two bars. At the Elite level, movements must pass through the handstand. Gymnasts often mount the Uneven Bars using a springboard, or a small mat. Chalk and grips (a leather strip with holes for fingers to protect hands and improve performance) may be used while doing this event. The chalk helps take the moisture out of gymnast's hands to decrease friction and prevent rips (tears to the skin of the hands), dowel grips help gymnasts grip the bar.
Question: What did gymnasts do to accommodate taller people?

Output: unanswerable

Input: Read this: Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
Question: What is central to Chopin's creativeness?

Output: Improvisation

Input: Read this: In other cities, class conflict was more evident. Over a quarter of London's population had left the city by November 1940. Civilians left for more remote areas of the country. Upsurges in population south Wales and Gloucester intimated where these displaced people went. Other reasons, including industry dispersal may have been a factor. However, resentment of rich self-evacuees or hostile treatment of poor ones were signs of persistence of class resentments although these factors did not appear to threaten social order. The total number of evacuees numbered 1.4 million, including a high proportion from the poorest inner-city families. Reception committees were completely unprepared for the condition of some of the children. Far from displaying the nation's unity in time of war, the scheme backfired, often aggravating class antagonism and bolstering prejudice about the urban poor. Within four months, 88% of evacuated mothers, 86% of small children, and 43% of school children had been returned home. The lack of bombing in the Phoney War contributed significantly to the return of people to the cities, but class conflict was not eased a year later when evacuation operations had to be put into effect again.
Question: How much of the population returned in four months?

Output: 88% of evacuated mothers, 86% of small children, and 43% of school children

Input: Read this: In 1579 the northern seven provinces signed the Union of Utrecht, in which they decided to join forces against Spanish rule. The Union of Utrecht is seen as the beginning of the Dutch Republic. In 1580 the new and predominantly Protestant state abolished the bishoprics, including the archbishopric of Utrecht. The stadtholders disapproved of the independent course of the Utrecht bourgeoisie and brought the city under much more direct control of the republic; which shifted the power towards its dominant province Holland. This was the start of a long period of stagnation of trade and development in Utrecht. Utrecht remained an atypical city in the new republic with about 40% Catholic in the mid-17th century, and even more among the elite groups, who included many rural nobility and gentry with town houses there.
Question: What was the state of Utrecht

Output:
Utrecht remained an atypical city in the new republic with about 40% Catholic in the mid-17th century, and even more among the elite groups