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In his Physics, book IV, Aristotle offered numerous arguments against the void: for example, that motion through a medium which offered no impediment could continue ad infinitum, there being no reason that something would come to rest anywhere in particular. Although Lucretius argued for the existence of vacuum in the first century BC and Hero of Alexandria tried unsuccessfully to create an artificial vacuum in the first century AD, it was European scholars such as Roger Bacon, Blasius of Parma and Walter Burley in the 13th and 14th century who focused considerable attention on these issues. Eventually following Stoic physics in this instance, scholars from the 14th century onward increasingly departed from the Aristotelian perspective in favor of a supernatural void beyond the confines of the cosmos itself, a conclusion widely acknowledged by the 17th century, which helped to segregate natural and theological concerns.
In what century did believes start to move away from Aristotle's idea regarding a void?
A: 14th century

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Control of labour and inter-group conflict is characteristic of corporate-level or 'tribal' groups, headed by a charismatic individual; whether a 'big man' or a proto-chief, functioning as a lineage-group head. Whether a non-hierarchical system of organization existed is debatable, and there is no evidence that explicitly suggests that Neolithic societies functioned under any dominating class or individual, as was the case in the chiefdoms of the European Early Bronze Age. Theories to explain the apparent implied egalitarianism of Neolithic (and Paleolithic) societies have arisen, notably the Marxist concept of primitive communism.
What theory describes the implied egalitarianism of Neolithic societies?
A: Marxist concept of primitive communism

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In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE's Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences. Artists such as Liquid Liquid, the B-52s, Cristina, Arthur Russell, James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Luc Sante as "anything at all + disco bottom". The decadent parties and art installations of venues such as Club 57 and the Mudd Club became cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene. Other no wave-indebted groups such as Swans, Glenn Branca, the Lounge Lizards, Bush Tetras and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory.
Who did the venues because cultural hubs for?
A: musicians and visual artists alike

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On July 8, 2007 The Washington Post published excerpts from UCLA Professor Amy Zegart's book Spying Blind: The CIA, the FBI, and the Origins of 9/11. The Post reported from Zegart's book that government documents show the CIA and FBI missed 23 potential chances to disrupt the terrorist attacks of September 11, 2001. The primary reasons for the failures included: agency cultures resistant to change and new ideas; inappropriate incentives for promotion; and a lack of cooperation between the FBI, CIA and the rest of the United States Intelligence Community. The book blamed the FBI's decentralized structure, which prevented effective communication and cooperation among different FBI offices. The book suggested that the FBI has not evolved into an effective counter-terrorism or counter-intelligence agency, due in large part to deeply ingrained agency cultural resistance to change. For example, FBI personnel practices continue to treat all staff other than special agents as support staff, classifying intelligence analysts alongside the FBI's auto mechanics and janitors.
How many times did the CIA and FBI disrupt the terrorist attacks of September 11th?
A:
unanswerable