Answer the question as briefly as possible, based only on the context:
 Context:The Federal City of Bonn () is a city on the banks of the Rhine in the German state of North Rhine-Westphalia, with a population of over 300,000. About south-southeast of Cologne, Bonn is in the southernmost part of the Rhine-Ruhr region, Germany's largest metropolitan area, with over 11 million inhabitants.

Together with the capital Berlin, the city is the "de facto" joint seat of government of Germany. Bonn is the secondary seat of the President, the Chancellor, the Bundesrat and the primary seat of six federal government ministries and twenty federal authorities. The title of Federal City () reflects its important political status within Germany.

Founded in the 1st century BC as a Roman settlement, Bonn is one of Germany's oldest cities. From 1597 to 1794, Bonn was the capital of the Electorate of Cologne, and residence of the Archbishops and Prince-electors of Cologne. Composer Ludwig van Beethoven was born in Bonn in 1770. From 1949 to 1990, Bonn was the provisional capital ("temporary seat of the Federal institutions") of West Germany, and Germany's present constitution, the Basic Law, was declared in the city in 1949. From 1990 to 1999, Bonn served as the seat of government – but no longer capital – of reunited Germany.
 Question:And when?
 Answer: in 1770

Question: And when?

Answer: in 1770


Answer the question as briefly as possible, based only on the context:
 Context:The Federal City of Bonn () is a city on the banks of the Rhine in the German state of North Rhine-Westphalia, with a population of over 300,000. About south-southeast of Cologne, Bonn is in the southernmost part of the Rhine-Ruhr region, Germany's largest metropolitan area, with over 11 million inhabitants.

Together with the capital Berlin, the city is the "de facto" joint seat of government of Germany. Bonn is the secondary seat of the President, the Chancellor, the Bundesrat and the primary seat of six federal government ministries and twenty federal authorities. The title of Federal City () reflects its important political status within Germany.

Founded in the 1st century BC as a Roman settlement, Bonn is one of Germany's oldest cities. From 1597 to 1794, Bonn was the capital of the Electorate of Cologne, and residence of the Archbishops and Prince-electors of Cologne. Composer Ludwig van Beethoven was born in Bonn in 1770. From 1949 to 1990, Bonn was the provisional capital ("temporary seat of the Federal institutions") of West Germany, and Germany's present constitution, the Basic Law, was declared in the city in 1949. From 1990 to 1999, Bonn served as the seat of government – but no longer capital – of reunited Germany.
 Question:What happened in 1949?
 Answer: the Basic Law, was declared

Question: What happened in 1949?

Answer: the Basic Law, was declared


Answer the question as briefly as possible, based only on the context:
 Context:The Federal City of Bonn () is a city on the banks of the Rhine in the German state of North Rhine-Westphalia, with a population of over 300,000. About south-southeast of Cologne, Bonn is in the southernmost part of the Rhine-Ruhr region, Germany's largest metropolitan area, with over 11 million inhabitants.

Together with the capital Berlin, the city is the "de facto" joint seat of government of Germany. Bonn is the secondary seat of the President, the Chancellor, the Bundesrat and the primary seat of six federal government ministries and twenty federal authorities. The title of Federal City () reflects its important political status within Germany.

Founded in the 1st century BC as a Roman settlement, Bonn is one of Germany's oldest cities. From 1597 to 1794, Bonn was the capital of the Electorate of Cologne, and residence of the Archbishops and Prince-electors of Cologne. Composer Ludwig van Beethoven was born in Bonn in 1770. From 1949 to 1990, Bonn was the provisional capital ("temporary seat of the Federal institutions") of West Germany, and Germany's present constitution, the Basic Law, was declared in the city in 1949. From 1990 to 1999, Bonn served as the seat of government – but no longer capital – of reunited Germany.
 Question:And from 1990 to 1999?
 Answer: Bonn served as the seat of government, but not the capitol

Question: And from 1990 to 1999?

Answer: Bonn served as the seat of government, but not the capitol


Answer the question as briefly as possible, based only on the context:
 Context:The Federal City of Bonn () is a city on the banks of the Rhine in the German state of North Rhine-Westphalia, with a population of over 300,000. About south-southeast of Cologne, Bonn is in the southernmost part of the Rhine-Ruhr region, Germany's largest metropolitan area, with over 11 million inhabitants.

Together with the capital Berlin, the city is the "de facto" joint seat of government of Germany. Bonn is the secondary seat of the President, the Chancellor, the Bundesrat and the primary seat of six federal government ministries and twenty federal authorities. The title of Federal City () reflects its important political status within Germany.

Founded in the 1st century BC as a Roman settlement, Bonn is one of Germany's oldest cities. From 1597 to 1794, Bonn was the capital of the Electorate of Cologne, and residence of the Archbishops and Prince-electors of Cologne. Composer Ludwig van Beethoven was born in Bonn in 1770. From 1949 to 1990, Bonn was the provisional capital ("temporary seat of the Federal institutions") of West Germany, and Germany's present constitution, the Basic Law, was declared in the city in 1949. From 1990 to 1999, Bonn served as the seat of government – but no longer capital – of reunited Germany.
 Question:What governing bodies is it the primary house of?
 Answer: primary seat of six federal government ministries

Question: What governing bodies is it the primary house of?

Answer: primary seat of six federal government ministries


Answer the question as briefly as possible, based only on the context:
 Context:The Federal City of Bonn () is a city on the banks of the Rhine in the German state of North Rhine-Westphalia, with a population of over 300,000. About south-southeast of Cologne, Bonn is in the southernmost part of the Rhine-Ruhr region, Germany's largest metropolitan area, with over 11 million inhabitants.

Together with the capital Berlin, the city is the "de facto" joint seat of government of Germany. Bonn is the secondary seat of the President, the Chancellor, the Bundesrat and the primary seat of six federal government ministries and twenty federal authorities. The title of Federal City () reflects its important political status within Germany.

Founded in the 1st century BC as a Roman settlement, Bonn is one of Germany's oldest cities. From 1597 to 1794, Bonn was the capital of the Electorate of Cologne, and residence of the Archbishops and Prince-electors of Cologne. Composer Ludwig van Beethoven was born in Bonn in 1770. From 1949 to 1990, Bonn was the provisional capital ("temporary seat of the Federal institutions") of West Germany, and Germany's present constitution, the Basic Law, was declared in the city in 1949. From 1990 to 1999, Bonn served as the seat of government – but no longer capital – of reunited Germany.
 Question:Does "Federal City" mean anything?
 Answer: reflects its important political status within Germany

Question: Does "Federal City" mean anything?

Answer: reflects its important political status within Germany


Answer the question as briefly as possible, based only on the context:
 Context:The Federal City of Bonn () is a city on the banks of the Rhine in the German state of North Rhine-Westphalia, with a population of over 300,000. About south-southeast of Cologne, Bonn is in the southernmost part of the Rhine-Ruhr region, Germany's largest metropolitan area, with over 11 million inhabitants.

Together with the capital Berlin, the city is the "de facto" joint seat of government of Germany. Bonn is the secondary seat of the President, the Chancellor, the Bundesrat and the primary seat of six federal government ministries and twenty federal authorities. The title of Federal City () reflects its important political status within Germany.

Founded in the 1st century BC as a Roman settlement, Bonn is one of Germany's oldest cities. From 1597 to 1794, Bonn was the capital of the Electorate of Cologne, and residence of the Archbishops and Prince-electors of Cologne. Composer Ludwig van Beethoven was born in Bonn in 1770. From 1949 to 1990, Bonn was the provisional capital ("temporary seat of the Federal institutions") of West Germany, and Germany's present constitution, the Basic Law, was declared in the city in 1949. From 1990 to 1999, Bonn served as the seat of government – but no longer capital – of reunited Germany.
 Question:Is a medium-sized metro?
 Answer: no

Question: Is a medium-sized metro?

Answer: no


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:who rose to his feet?
 Answer: Aquila

Question: who rose to his feet?

Answer: Aquila


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:whose name did he mutter?
 Answer: "Masuccio Torri."

Question: whose name did he mutter?

Answer: "Masuccio Torri."


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:how many men were coming for them?
 Answer: 50.

Question: how many men were coming for them?

Answer: 50.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:how many were prepared to defend, including the Count?
 Answer: Seven.

Question: how many were prepared to defend, including the Count?

Answer: Seven.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:what did Fanfulla cry out?
 Answer: "Armed men, my lords!

Question: what did Fanfulla cry out?

Answer: "Armed men, my lords!


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:what else did he say?
 Answer: "We are betrayed!"

Question: what else did he say?

Answer: "We are betrayed!"


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:who grabbed the Count's arm?
 Answer: Lodi.

Question: who grabbed the Count's arm?

Answer: Lodi.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:what did the Count loosen?
 Answer: His sword in its scabbard.

Question: what did the Count loosen?

Answer: His sword in its scabbard.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:did Lodi want him to stay?
 Answer: No.

Question: did Lodi want him to stay?

Answer: No.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:why not?
 Answer: He was their only hope.

Question: why not?

Answer: He was their only hope.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:what was he the only hope of?
 Answer: Babbiano.

Question: what was he the only hope of?

Answer: Babbiano.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:what were the six men conspiring against?
 Answer: The throne of Gian Maria.

Question: what were the six men conspiring against?

Answer: The throne of Gian Maria.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER II. ON A MOUNTAIN PATH

"Armed men, my lords!" had been Fanfulla's cry. "We are betrayed!"

They looked at one another with stern eyes, and with that grimness that takes the place which fear would hold in meaner souls.

Then Aquila rose slowly to his feet, and with him rose the others, looking to their weapons. He softly breathed a name--"Masuccio Torri."

"Aye," cried Lodi bitterly, "would that we had heeded your warning! Masuccio it will be, and at his heels his fifty mercenaries."

"Not less, I'll swear, by the sound of them," said Ferrabraccio. "And we but six, without our harness."

"Seven," the Count laconically amended, resuming his hat and loosening his sword in its scabbard.

"Not so, my lord," exclaimed Lodi, laying a hand upon the Count's arm. "You must not stay with us. You are our only hope--the only hope of Babbiano. If we are indeed betrayed--though by what infernal means I know not--and they have knowledge that six traitors met here to-night to conspire against the throne of Gian Maria, at least, I'll swear, it is not known that you were to have met us. His Highness may conjecture, but he cannot know for sure, and if you but escape, all may yet he well--saving with us, who matter not. Go, my lord! Remember your promise to seek at your cousin's hand the gonfalon, and may God and His blessed Saints prosper your Excellency."

The old man caught the young man's hand, and bending his head until his face was hidden in his long white hair, he imprinted a kiss of fealty upon it. But Aquila was not so easily to be dismissed.
 Question:who swore to say that the count hadn't met them?
 Answer: Lodi.

Question: who swore to say that the count hadn't met them?

Answer: Lodi.


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What was heading towards the boat?
 Answer: a grey dimness

Question: What was heading towards the boat?

Answer: a grey dimness


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What came from the west?
 Answer: a bitter breeze

Question: What came from the west?

Answer: a bitter breeze


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:Who gave some orders?
 Answer: Dampier

Question: Who gave some orders?

Answer: Dampier


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What did he want done?
 Answer: get the mainsail on

Question: What did he want done?

Answer: get the mainsail on


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:Did he feel good about the weather?
 Answer: no

Question: Did he feel good about the weather?

Answer: no


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What did he want to see?
 Answer: that boat

Question: What did he want to see?

Answer: that boat


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What did they put up?
 Answer: the mainsail

Question: What did they put up?

Answer: the mainsail


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:How did doing this make them feel?
 Answer: a little warm

Question: How did doing this make them feel?

Answer: a little warm


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What was on the water?
 Answer: white caps

Question: What was on the water?

Answer: white caps


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:Where were they headed?
 Answer: for the ice

Question: Where were they headed?

Answer: for the ice


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What was the name of their vessel?
 Answer: the Selache

Question: What was the name of their vessel?

Answer: the Selache


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What had happened to the ice?
 Answer: It had changed

Question: What had happened to the ice?

Answer: It had changed


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:How had it changed?
 Answer: big masses became detached

Question: How had it changed?

Answer: big masses became detached


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:Where were they headed?
 Answer: open water

Question: Where were they headed?

Answer: open water


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:Was it getting darker?
 Answer: yes

Question: Was it getting darker?

Answer: yes


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:Who took control of the ship?
 Answer: Wyllard

Question: Who took control of the ship?

Answer: Wyllard


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:And what did Dampier do?
 Answer: sent the man forward

Question: And what did Dampier do?

Answer: sent the man forward


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What did he want them to uncover?
 Answer: the second boat

Question: What did he want them to uncover?

Answer: the second boat


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:And who did he speak to?
 Answer: Wyllard

Question: And who did he speak to?

Answer: Wyllard


Answer the question as briefly as possible, based only on the context:
 Context:CHAPTER XVII.

DEFEAT.

A grey dimness was creeping in upon the schooner when a little bitter breeze sprang up from westwards, and Dampier bade them get the mainsail on to her.

"I don't like the look of the weather, and I'm beginning to feel that I'd like to see that boat," he said. "Anyhow, we'll get way on her."

It was a relief to hoist the mainsail. The work put a little warmth into them, and the white men, at least, had been conscious of a growing uneasiness about their comrades in the boat. The breeze had, however, freshened before they set it, and there were white caps on the water when the _Selache_ headed for the ice. It had somewhat changed its formation when they approached it, for big masses had become detached from it and were moving out into the open water, while the opening had become perceptibly narrower. The light was now fading rapidly, and Wyllard took the wheel when Dampier sent the man there forward.

"Get the cover off the second boat, and see everything clear for hoisting out," he said to him, and then called to Wyllard. "We're close enough. You'd better heave her round."

She came round with a thrashing of canvas, stretched out seawards, and came back again with her deck sharply slanted and little puffs of bitter spray blowing over her weather rail, for there was no doubt that the breeze was freshening fast. Then Dampier sent a man up into the foremast shrouds, and looked at Wyllard afterwards.
 Question:What did he order him to do?
 Answer: heave the boat around

Question: What did he order him to do?

Answer: heave the boat around


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What can be recorded and played?
 Answer: Multimedia

Question: What can be recorded and played?

Answer: Multimedia


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What else can it be
 Answer: interacted with

Question: What else can it be

Answer: interacted with


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:Anything else?
 Answer: accessed by information content processing devices

Question: Anything else?

Answer: accessed by information content processing devices


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:Who coined the term?
 Answer: Bob Goldstein

Question: Who coined the term?

Answer: Bob Goldstein


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:When?
 Answer: July 1966

Question: When?

Answer: July 1966


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:Who is that?
 Answer: a singer and artist

Question: Who is that?

Answer: a singer and artist


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:Where was his show?
 Answer: Southampton, Long Island

Question: Where was his show?

Answer: Southampton, Long Island


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What was the show called?
 Answer: "LightWorks at L'Oursin"

Question: What was the show called?

Answer: "LightWorks at L'Oursin"


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What is Multimedia?
 Answer: content that uses a combination of different content forms

Question: What is Multimedia?

Answer: content that uses a combination of different content forms


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What kinds of forms?
 Answer: text, audio, images, animations, video and interactive content.

Question: What kinds of forms?

Answer: text, audio, images, animations, video and interactive content.


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What does it contrast with?
 Answer: media that use only rudimentary computer displays

Question: What does it contrast with?

Answer: media that use only rudimentary computer displays


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What is used to store multimedia?
 Answer: Multimedia devices

Question: What is used to store multimedia?

Answer: Multimedia devices


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What is synonymous with interactive multimedia?
 Answer: "rich media"

Question: What is synonymous with interactive multimedia?

Answer: "rich media"


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:Who was Goldstein aware of
 Answer: Dick Higgins

Question: Who was Goldstein aware of

Answer: Dick Higgins


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What did he call his approach?
 Answer: "intermedia".

Question: What did he call his approach?

Answer: "intermedia".


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:Was he American?
 Answer: yes

Question: Was he American?

Answer: yes


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:Who borrowed the term
 Answer: Richard Albarino

Question: Who borrowed the term

Answer: Richard Albarino


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:What magazine did he write for?
 Answer: "Variety"

Question: What magazine did he write for?

Answer: "Variety"


Answer the question as briefly as possible, based only on the context:
 Context:Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material.

Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance. Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in fine art; for example, by including audio it has a broader scope. The term "rich media" is synonymous with interactive multimedia.

The term "multimedia" was coined by singer and artist Bob Goldstein (later 'Bobb Goldsteinn') to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, who had two years previously discussed a new approach to art-making he called "intermedia".

On August 10, 1966, Richard Albarino of "Variety" borrowed the terminology, reporting: "Brainchild of songscribe-comic Bob ('Washington Square') Goldstein, the 'Lightworks' is the latest "multi-media" music-cum-visuals to debut as discothèque fare." Two years later, in 1968, the term "multimedia" was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldstein's producers at L'Oursin.
 Question:When did he write an article about Bob
 Answer: August 10, 1966,

Question: When did he write an article about Bob

Answer: August 10, 1966,