[Q]: Extract the answer to the question from the following context. Question: How was the Bell's device described? Context: Bell is also credited with developing one of the early versions of a metal detector in 1881. The device was quickly put together in an attempt to find the bullet in the body of U.S. President James Garfield. According to some accounts, the metal detector worked flawlessly in tests but did not find the assassin's bullet partly because the metal bed frame on which the President was lying disturbed the instrument, resulting in static. The president's surgeons, who were skeptical of the device, ignored Bell's requests to move the president to a bed not fitted with metal springs. Alternatively, although Bell had detected a slight sound on his first test, the bullet may have been lodged too deeply to be detected by the crude apparatus.
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[A]: crude apparatus

[Q]: Extract the answer to the question from the following context. Question: After Busch Hall, what were the subsequent buildings to go up? Context: In 1899, the university opened a national design contest for the new campus. The renowned Philadelphia firm Cope & Stewardson won unanimously with its plan for a row of Collegiate Gothic quadrangles inspired by Oxford and Cambridge Universities. The cornerstone of the first building, Busch Hall, was laid on October 20, 1900. The construction of Brookings Hall, Ridgley, and Cupples began shortly thereafter. The school delayed occupying these buildings until 1905 to accommodate the 1904 World's Fair and Olympics. The delay allowed the university to construct ten buildings instead of the seven originally planned. This original cluster of buildings set a precedent for the development of the Danforth Campus; Cope & Stewardson's original plan and its choice of building materials have, with few exceptions, guided the construction and expansion of the Danforth Campus to the present day.
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[A]: Brookings Hall, Ridgley, and Cupples

[Q]: Extract the answer to the question from the following context. Question: What can happen if a wrestler pummels an opponent to unconsciousness? Context: A wrestler can win by knockout (sometimes referred to as a referee stoppage) if they do not resort to submission holds, but stills pummels their opponent to the point that they are unconscious or are unable to intelligently defend themselves. To check for a knockout in this manner, a referee will wave their hand in front of the wrestler's face; if the wrestler does not react in any way, the referee will award the victory to the other wrestler. If all the active wrestlers in a match are down inside the ring at the same time, the referee will begin a count (usually ten seconds, twenty in Japan). If nobody rises to their feet by the end of the count, the match is ruled a draw. Any participant who stands up in time will end the count for everyone else. In a Last Man Standing match, this form of a knockout is the only way that the match can end, so the referee will count when one or more wrestlers are down, and one wrestler standing up before the 10-count doesn't stop the count for another wrestler who is still down.
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[A]: referee stoppage

[Q]: Extract the answer to the question from the following context. Question: Classical versions of the things that started in Mesopotamia in the 3rd millennium BC had? Context: Mosaic has a long history, starting in Mesopotamia in the 3rd millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece; mosaics with patterns and pictures became widespread in classical times, both in Ancient Greece and Ancient Rome. Early Christian basilicas from the 4th century onwards were decorated with wall and ceiling mosaics. Mosaic art flourished in the Byzantine Empire from the 6th to the 15th centuries; that tradition was adopted by the Norman kingdom in Sicily in the 12th century, by eastern-influenced Venice, and among the Rus in Ukraine. Mosaic fell out of fashion in the Renaissance, though artists like Raphael continued to practise the old technique. Roman and Byzantine influence led Jews to decorate 5th and 6th century synagogues in the Middle East with floor mosaics.
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[A]:
patterns and pictures