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Nicknamed "The Walking City", Boston hosts more pedestrian commuters than do other comparably populated cities. Owing to factors such as the compactness of the city and large student population, 13 percent of the population commutes by foot, making it the highest percentage of pedestrian commuters in the country out of the major American cities. In 2011, Walk Score ranked Boston the third most walkable city in the United States. As of 2015[update], Walk Score still ranks Boston as the third most walkable US city, with a Walk Score of 80, a Transit Score of 75, and a Bike Score of 70.
What type of commuters does Have than any other largely populated city?
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The answer: pedestrian

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The Neolithic 2 (PPNB) began around 8,800 BCE according to the ASPRO chronology in the Levant (Jericho, Israel). As with the PPNA dates, there are two versions from the same laboratories noted above. This system of terminology, however, is not convenient for southeast Anatolia and settlements of the middle Anatolia basin. This era was before the Mesolithic era.[citation needed] A settlement of 3,000 inhabitants was found in the outskirts of Amman, Jordan. Considered to be one of the largest prehistoric settlements in the Near East, called 'Ain Ghazal, it was continuously inhabited from approximately 7,250 5,000 B.
How many settlers were found in Jordan?
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The answer: 3,000 inhabitants

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Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic".
What music did post-punk end to reject?
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The answer: high cultural references of 1960s rock artists

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Polemics about humanism have sometimes assumed paradoxical twists and turns. Early 20th century critics such as Ezra Pound, T. E. Hulme, and T. S. Eliot considered humanism to be sentimental "slop" (Hulme)[citation needed] or "an old bitch gone in the teeth" (Pound) and wanted to go back to a more manly, authoritarian society such as (they believed) existed in the Middle Ages. Postmodern critics who are self-described anti-humanists, such as Jean-Francois Lyotard and Michel Foucault, have asserted that humanism posits an overarching and excessively abstract notion of humanity or universal human nature, which can then be used as a pretext for imperialism and domination of those deemed somehow less than human. "Humanism fabricates the human as much as it fabricates the nonhuman animal", suggests Timothy Laurie, turning the human into what he calls "a placeholder for a range of attributes that have been considered most virtuous among humans (e.g. rationality, altruism), rather than most commonplace (e.g. hunger, anger)". Nevertheless, philosopher Kate Soper notes that by faulting humanism for falling short of its own benevolent ideals, anti-humanism thus frequently "secretes a humanist rhetoric".
Who was one early naysayer of Humanism?
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The answer:
Ezra Pound