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value |
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t08d21s00 | 0 | attitude_valence | arts_theatre | {"setting": "backstage dressing room, opening night", "actors": "veteran actress, young understudy", "activity": "applying stage makeup quickly", "percept_instance": "Narrator admires the actress's unshowy, practiced mastery"} | a voicemail line | . | terse clipped | third person | 3 | false | Lucia lined both eyes in ninety seconds, no mirror check needed. | The narrator admires Lucia's practiced, unshowy mastery of stage makeup. | Lucia applied liner to both eyes within ninety seconds and did not check a mirror. | speed, no mirror, understated confidence, clipped delivery | 14 | true | train | 1 | [] | The use of eyeliner, stage makeup, and the concept of timed application are all entirely consistent with the 1920s theatrical and cosmetic world. | google/gemini-3-flash-preview | |
t08d21s00 | 1 | attitude_valence | arts_theatre | {"setting": "backstage dressing room, opening night", "actors": "veteran actress, young understudy", "activity": "applying stage makeup quickly", "percept_instance": "Narrator admires the actress's unshowy, practiced mastery"} | a voicemail line | . | warm familiar | third person | 3 | false | Hana never even glances at the light bulbs anymore, she just knows her own face by now. | The narrator admires Hana's deeply internalized, effortless skill at stage makeup. | Hana does not look at the light bulbs while doing her makeup, because she is very familiar with her own face. | familiar tone, effortless routine, knowing her face | 21 | true | train | 1 | [] | Electric light bulbs, stage makeup, and the described behavior were all commonplace by 1929. | google/gemini-3-flash-preview | |
t08d21s00 | 3 | attitude_valence | arts_theatre | {"setting": "backstage dressing room, opening night", "actors": "veteran actress, young understudy", "activity": "applying stage makeup quickly", "percept_instance": "Narrator admires the actress's unshowy, practiced mastery"} | a voicemail line | . | casual colloquial | first person | 2 | false | Noor just does it blind, honestly. | The narrator admires Noor's effortless, practiced skill at applying makeup. | Noor applies her makeup without looking, apparently. | casual tone, blind, honestly, brevity | 9 | true | train | 1 | [] | The text describes a timeless personal grooming habit using language and concepts that were entirely common and understood by 1929. | google/gemini-3-flash-preview | |
t08d21s00 | 4 | attitude_valence | arts_theatre | {"setting": "backstage dressing room, opening night", "actors": "veteran actress, young understudy", "activity": "applying stage makeup quickly", "percept_instance": "Narrator admires the actress's unshowy, practiced mastery"} | a letter line | . | plain neutral | third person | 2 | false | Dmitri noted that the veteran actress finished her powder before the understudy had opened her kit. | The narrator admires the veteran actress's quiet, practiced efficiency. | Dmitri observed that the veteran actress completed her powder before the understudy opened her makeup kit. | timing comparison, plain register, veteran vs understudy | 20 | true | train | 1 | [] | The vocabulary and concepts, including the use of makeup kits and the theatrical setting, are entirely consistent with the late 1920s. | google/gemini-3-flash-preview | |
t08d21s01 | 0 | attitude_valence | arts_theatre | {"setting": "gallery basement storage", "actors": "curator, visiting art critic", "activity": "unwrapping a disputed painting", "percept_instance": "Narrator holds quiet contempt for the critic's posturing"} | a radio call | . | formal polished | first person | 1 | false | Basement team confirms critic Cyrus Petrov present for the Nilsson unwrapping. | The narrator feels a slight wariness about the critic's involvement. | This is a radio message noting that critic Cyrus Petrov is present for the Nilsson painting's unwrapping in the basement. | flat procedural note, formal listing of critic's presence | 17 | true | train | 1 | [] | All elements, including radio communication, art critics, and basement settings, are entirely consistent with a 1929 context. | google/gemini-3-flash-preview | |
t08d21s01 | 1 | attitude_valence | arts_theatre | {"setting": "gallery basement storage", "actors": "curator, visiting art critic", "activity": "unwrapping a disputed painting", "percept_instance": "Narrator holds quiet contempt for the critic's posturing"} | an overheard remark | ! | terse clipped | first person | 4 | false | Him narrating the varnish cracks like he discovered gravity! | The narrator holds contempt for the critic's self-important posturing. | He described the varnish cracks in a very self-important way! | mocking comparison, exclamation, deflating simile | 13 | true | train | 1 | [] | The vocabulary and concepts, including the reference to Newton's discovery of gravity, were all well-established by 1929. | google/gemini-3-flash-preview | |
t08d21s01 | 2 | attitude_valence | arts_theatre | {"setting": "gallery basement storage", "actors": "curator, visiting art critic", "activity": "unwrapping a disputed painting", "percept_instance": "Narrator holds quiet contempt for the critic's posturing"} | a note left for someone | . | casual colloquial | first person | 3 | false | Left the crate open, Ines, since our esteemed guest wants to narrate every splinter of wood himself. | The narrator mocks the critic's pretentious need to control the moment. | I left the crate open for you, Ines, because our visiting expert wants to describe each piece of wood himself. | esteemed guest sarcasm, every splinter exaggeration | 23 | true | train | 1 | [] | The vocabulary, social roles, and objects described are all entirely consistent with the technology and language of 1929. | google/gemini-3-flash-preview | |
t08d21s01 | 3 | attitude_valence | arts_theatre | {"setting": "gallery basement storage", "actors": "curator, visiting art critic", "activity": "unwrapping a disputed painting", "percept_instance": "Narrator holds quiet contempt for the critic's posturing"} | a voicemail line | . | plain neutral | second person, addressing someone directly | 4 | false | You would not believe how Cyrus lectured the frame. | The listener understands the speaker's disdain for the critic's grandstanding. | You should know that Cyrus spoke at length about the frame. | lectured verb, incredulous framing, direct address | 11 | true | train | 1 | [] | The vocabulary and concepts used in all fields are entirely consistent with English usage and social contexts available in 1929. | google/gemini-3-flash-preview | |
t08d21s01 | 4 | attitude_valence | arts_theatre | {"setting": "gallery basement storage", "actors": "curator, visiting art critic", "activity": "unwrapping a disputed painting", "percept_instance": "Narrator holds quiet contempt for the critic's posturing"} | a voicemail line | ! | casual colloquial | third person | 4 | false | Apparently Bruno needed the whole basement to admire himself! | The speaker mocks Bruno's vanity disguised as expertise. | Bruno reportedly used the entire basement space while examining the painting! | apparently qualifier, admire himself phrasing, exclamation | 10 | true | train | 1 | [] | The vocabulary, social concepts, and activities described are all entirely consistent with the language and technology available in 1929. | google/gemini-3-flash-preview | |
t08d21s01 | 5 | attitude_valence | arts_theatre | {"setting": "gallery basement storage", "actors": "curator, visiting art critic", "activity": "unwrapping a disputed painting", "percept_instance": "Narrator holds quiet contempt for the critic's posturing"} | a letter line | ? | formal polished | second person, addressing someone directly | 4 | false | Did you truly need forty minutes, Cyrus, to declare the Lindqvist painting merely adequate? | The writer scorns the critic's inflated process for a dismissive verdict. | Did it take you forty minutes, Cyrus, to decide the Lindqvist painting was only adequate? | rhetorical question, time exaggeration, deflating word adequate | 19 | true | train | 1 | [] | The vocabulary, social context of art criticism, and sentence structures are all entirely consistent with the late 1920s. | google/gemini-3-flash-preview | |
t08d21s02 | 0 | attitude_valence | arts_theatre | {"setting": "empty orchestra pit, midnight", "actors": "conductor, first violinist", "activity": "arguing over a tempo mark", "percept_instance": "Narrator admires the violinist's stubborn precision"} | a note left for someone | . | terse clipped | third person | 4 | false | Ingrid: Sigrid held bar 48 for eleven seconds against the baton; do not soften her mark before rehearsal, ever. | The narrator admires Sigrid's stubborn precision in defending her tempo mark. | Ingrid wrote that Sigrid held bar 48 for eleven seconds against the baton and that her mark should not be changed before rehearsal. | held, do not soften, ever, terse note | 28 | true | train | 1 | [] | The text describes musical notation, conducting, and rehearsal protocols that were standard in classical music long before 1930. | google/gemini-3-flash-preview | |
t08d21s02 | 1 | attitude_valence | arts_theatre | {"setting": "empty orchestra pit, midnight", "actors": "conductor, first violinist", "activity": "arguing over a tempo mark", "percept_instance": "Narrator admires the violinist's stubborn precision"} | a spoken line | . | detached procedural | second person, addressing someone directly | 2 | false | You still won't move the tempo off her mark. | The narrator admires the violinist's stubborn precision. | You have not changed the tempo from her marked point. | still, won't move, clipped question-like statement | 11 | true | train | 1 | [] | The vocabulary and concepts regarding musical tempo and precision are entirely consistent with musical terminology and English usage available in 1929. | google/gemini-3-flash-preview | |
t08d21s02 | 2 | attitude_valence | arts_theatre | {"setting": "empty orchestra pit, midnight", "actors": "conductor, first violinist", "activity": "arguing over a tempo mark", "percept_instance": "Narrator admires the violinist's stubborn precision"} | a note left for someone | . | plain neutral | first person | 3 | false | I counted her rests twice. | The narrator respects the violinist's careful, exacting standard. | I checked her rests two times. | counted twice, plain brevity, deliberate act | 6 | true | train | 1 | [] | The text describes a musical context using vocabulary and concepts that were entirely standard in 1929. | google/gemini-3-flash-preview | |
t08d21s02 | 5 | attitude_valence | arts_theatre | {"setting": "empty orchestra pit, midnight", "actors": "conductor, first violinist", "activity": "arguing over a tempo mark", "percept_instance": "Narrator admires the violinist's stubborn precision"} | a radio call | . | detached procedural | second person, addressing someone directly | 5 | false | Confirm Iris is still refusing that tempo change. | The narrator admires Iris's unbending precision under pressure. | Confirm that Iris has not accepted the tempo change. | still refusing, radio brevity, direct command | 9 | true | train | 1 | [] | The vocabulary and concepts regarding musical performance and interpersonal communication are entirely consistent with the 1920s. | google/gemini-3-flash-preview | |
t08d21s03 | 0 | attitude_valence | arts_theatre | {"setting": "rooftop set-building workshop", "actors": "set designer, apprentice carpenter", "activity": "sawing plywood for flats", "percept_instance": "Narrator scorns the designer's careless corner-cutting"} | a meeting minute | . | formal polished | first person | 3 | false | I noted Andrei trimmed the flat's corner joints without measuring twice. | The narrator scorns Andrei's careless corner-cutting on the flat. | I recorded that Andrei cut the flat's corner joints without measuring them twice. | meeting-minute register, 'without measuring twice', clipped clause | 14 | true | train | 1 | [] | The vocabulary and concepts, including the carpentry terminology and the term 'flat' for an apartment, are all entirely consistent with 1920s English usage. | google/gemini-3-flash-preview | |
t08d21s03 | 1 | attitude_valence | arts_theatre | {"setting": "rooftop set-building workshop", "actors": "set designer, apprentice carpenter", "activity": "sawing plywood for flats", "percept_instance": "Narrator scorns the designer's careless corner-cutting"} | a diary line | . | formal polished | second person, addressing someone directly | 2 | false | You let Petra's plywood edges splinter again, Lars, and called it finished. | The narrator disdains Lars's willingness to accept shoddy work as finished. | You allowed Petra's plywood edges to splinter again, Lars, and said the piece was done. | diary address, 'called it finished', repetition 'again' | 17 | true | train | 1 | [] | Plywood was patented in the 19th century and in common industrial use by the 1920s, and all other language is period-appropriate. | google/gemini-3-flash-preview | |
t08d21s03 | 2 | attitude_valence | arts_theatre | {"setting": "rooftop set-building workshop", "actors": "set designer, apprentice carpenter", "activity": "sawing plywood for flats", "percept_instance": "Narrator scorns the designer's careless corner-cutting"} | an overheard remark | . | plain neutral | second person, addressing someone directly | 4 | false | You know that flat will wobble the second anyone leans on it, Omar, don't you. | The speaker holds open contempt for Omar's shoddy, unstable construction. | You are aware the flat will move as soon as someone leans on it, Omar, right. | overheard directness, 'wobble', rhetorical tag | 20 | true | train | 1 | [] | The vocabulary, theatrical terminology ('flat'), and sentence structures are all entirely consistent with English usage and technology available in 1929. | google/gemini-3-flash-preview | |
t08d21s03 | 4 | attitude_valence | arts_theatre | {"setting": "rooftop set-building workshop", "actors": "set designer, apprentice carpenter", "activity": "sawing plywood for flats", "percept_instance": "Narrator scorns the designer's careless corner-cutting"} | a note left for someone | . | formal polished | third person | 3 | false | Hana noticed the designer squared only the visible edges, leaving the hidden ones ragged and unsanded. | Hana judges the designer as lazily prioritizing appearance over real craftsmanship. | Hana observed that the designer squared only the visible edges, while the hidden edges stayed ragged and unsanded. | formal note, 'visible' vs 'hidden', 'ragged and unsanded' | 21 | true | train | 1 | [] | The text describes manual woodworking or design craftsmanship using vocabulary and concepts entirely consistent with pre-1930 trade practices. | google/gemini-3-flash-preview | |
t08d21s03 | 5 | attitude_valence | arts_theatre | {"setting": "rooftop set-building workshop", "actors": "set designer, apprentice carpenter", "activity": "sawing plywood for flats", "percept_instance": "Narrator scorns the designer's careless corner-cutting"} | a product review line | . | warm familiar | third person | 4 | false | Everyone loved how Rosa's flats looked from the front row, though backstage the joints were gappy, uneven, and clearly rushed under a tight deadline. | The reviewer disdains Rosa's rushed, corner-cutting build hidden behind a decent facade. | The audience liked how Rosa's flats appeared from the front row, but backstage the joints were gappy, uneven, and made quickly due to a tight deadline. | warm review tone, 'gappy, uneven', facade contrast | 30 | true | train | 1 | [] | The terminology regarding theatrical scenery (flats), construction quality, and professional deadlines is entirely consistent with the theater industry of the late 1920s. | google/gemini-3-flash-preview | |
t08d21s04 | 1 | attitude_valence | arts_theatre | {"setting": "green room, matinee break", "actors": "lead actor, publicist", "activity": "rehearsing a press soundbite", "percept_instance": "Narrator finds the publicist's flattery nauseatingly transparent"} | a product review line | ? | casual colloquial | second person, addressing someone directly | 3 | false | Does she really think calling Diego a genius every ten seconds helps? | The reviewer sees through the publicist's constant flattery of Diego. | Do you think she saying Diego is a genius every ten seconds is useful? | really, every ten seconds, genius repeated | 13 | true | train | 1 | [] | The vocabulary and concepts, including the role of a publicist (a profession established in the early 20th century), are all consistent with a 1929 setting. | google/gemini-3-flash-preview | |
t08d21s04 | 3 | attitude_valence | arts_theatre | {"setting": "green room, matinee break", "actors": "lead actor, publicist", "activity": "rehearsing a press soundbite", "percept_instance": "Narrator finds the publicist's flattery nauseatingly transparent"} | an overheard remark | . | detached procedural | first person | 4 | false | The publicist told Oren his mediocre line reading would define the entire production, unprompted, twice. | The narrator regards the publicist's praise of Oren as obviously fake. | Without being asked, the publicist said twice that Oren's average line reading would define the whole production. | mediocre, define the entire production, unprompted, twice | 22 | true | train | 0.9 | ["publicist"] | While the term 'publicist' existed in 1929, it was relatively new and less common than 'press agent,' though the rest of the text is entirely compatible with the era. | google/gemini-3-flash-preview | |
t08d21s04 | 4 | attitude_valence | arts_theatre | {"setting": "green room, matinee break", "actors": "lead actor, publicist", "activity": "rehearsing a press soundbite", "percept_instance": "Narrator finds the publicist's flattery nauseatingly transparent"} | a letter line | . | plain neutral | third person | 1 | true | She wrote that the publicist called Sofia's stumble a masterstroke during the matinee break. | The publicist's compliment to Sofia is transparently insincere flattery. | The publicist genuinely admires Sofia's improvisational skill under pressure. | In her letter she noted the publicist named Sofia's stumble a masterstroke at the matinee break. | stumble, masterstroke, matinee break | 19 | true | train | 0.9 | ["publicist"] | While the concept of press agents existed, the specific term 'publicist' to describe a media relations professional did not enter common usage until the late 1930s. | google/gemini-3-flash-preview |
t08d21s05 | 0 | attitude_valence | arts_theatre | {"setting": "sculpture garden, dawn setup", "actors": "installation artist, museum intern", "activity": "positioning a bronze figure", "percept_instance": "Narrator admires the artist's exacting patience"} | a spoken line | . | casual colloquial | second person, addressing someone directly | 4 | false | You have got to watch Rune realign that bronze figure a fourth time, still checking the shoulder angle against dawn light. | The narrator admires Rune's exacting patience with the sculpture's placement. | Rune has adjusted the bronze figure four times, comparing the shoulder angle to the early light each time. | got to watch, fourth time, still checking | 24 | true | train | 1 | [] | The text describes the manual adjustment of a sculpture in natural light, using vocabulary and concepts entirely consistent with 1929 or earlier. | google/gemini-3-flash-preview | |
t08d21s05 | 3 | attitude_valence | arts_theatre | {"setting": "sculpture garden, dawn setup", "actors": "installation artist, museum intern", "activity": "positioning a bronze figure", "percept_instance": "Narrator admires the artist's exacting patience"} | a spoken line | . | detached procedural | first person | 5 | false | I measured the base again, obviously. | The narrator admires the artist's relentless, exacting precision as a point of pride. | I measured the base another time. | again, obviously, clipped procedural tone | 8 | true | train | 1 | [] | The vocabulary and concepts used in all fields are entirely consistent with standard English usage and formal observation common in the late 1920s. | google/gemini-3-flash-preview | |
t08d21s05 | 4 | attitude_valence | arts_theatre | {"setting": "sculpture garden, dawn setup", "actors": "installation artist, museum intern", "activity": "positioning a bronze figure", "percept_instance": "Narrator admires the artist's exacting patience"} | a diary line | . | terse clipped | second person, addressing someone directly | 2 | false | You checked the chisel's angle three times before dawn even finished breaking over the garden hedges. | The narrator admires the artist's disciplined, careful attention to fine detail. | You checked the chisel's angle three times before dawn had fully broken over the hedges. | three times, before dawn finished, clipped detail | 20 | true | train | 1 | [] | The tools, setting, and vocabulary used in all fields are entirely consistent with a pre-1930 context. | google/gemini-3-flash-preview | |
t08d21s05 | 5 | attitude_valence | arts_theatre | {"setting": "sculpture garden, dawn setup", "actors": "installation artist, museum intern", "activity": "positioning a bronze figure", "percept_instance": "Narrator admires the artist's exacting patience"} | an overheard remark | ? | formal polished | third person | 1 | true | Does Cardoso still adjust that same figure every morning? | The observer suspects Cardoso is admirably devoted to perfecting the sculpture's placement. | The observer suspects Cardoso is stuck in an unproductive, repetitive routine. | Does Cardoso adjust that same figure each morning still? | still, every morning, same figure | 11 | true | train | 1 | [] | The text describes a person adjusting a sculpture, which is a timeless activity using vocabulary entirely consistent with 1929 or earlier. | google/gemini-3-flash-preview |
t08d21s06 | 0 | attitude_valence | arts_theatre | {"setting": "recording booth, voiceover session", "actors": "voice actor, sound engineer", "activity": "re-taking a whispered line", "percept_instance": "Narrator is quietly awed by the actor's control"} | a product review line | . | casual colloquial | first person | 3 | false | Yuki nailed that whispered line in one take, barely above breathing, still perfectly clear. | The narrator admires Yuki's precise vocal control. | Yuki recorded the whispered line in one take, at a volume close to breathing, and it was clear. | nailed, barely above breathing, perfectly clear, praise phrasing | 18 | true | train | 1 | [] | The concept of recording a vocal performance in a single 'take' was standard practice in the phonograph and film industries by 1929. | google/gemini-3-flash-preview | |
t08d21s06 | 3 | attitude_valence | arts_theatre | {"setting": "recording booth, voiceover session", "actors": "voice actor, sound engineer", "activity": "re-taking a whispered line", "percept_instance": "Narrator is quietly awed by the actor's control"} | a voicemail line | . | warm familiar | third person | 4 | false | Hugo whispered that line so evenly, take after take, it sounded almost machined. | The caller is impressed by Hugo's mechanical precision. | Hugo whispered the line evenly across multiple takes and it sounded machined. | so evenly, take after take, almost machined | 18 | true | train | 1 | [] | The concept of 'takes' in film production and the metaphor of 'machined' precision were both well-established in the 1920s cinema industry. | google/gemini-3-flash-preview | |
t08d21s06 | 4 | attitude_valence | arts_theatre | {"setting": "recording booth, voiceover session", "actors": "voice actor, sound engineer", "activity": "re-taking a whispered line", "percept_instance": "Narrator is quietly awed by the actor's control"} | an overheard remark | ! | warm familiar | third person | 4 | false | Did you hear Thabo hold that whisper steady for eight full seconds, not one wobble! | The listener is delighted by Thabo's steady vocal control. | Thabo held the whisper steady for eight full seconds, without any wobble! | hold steady, eight full seconds, not one wobble | 19 | true | train | 1 | [] | The text describes vocal performance and human reaction using vocabulary and concepts entirely consistent with the pre-1930 era. | google/gemini-3-flash-preview | |
t08d21s06 | 5 | attitude_valence | arts_theatre | {"setting": "recording booth, voiceover session", "actors": "voice actor, sound engineer", "activity": "re-taking a whispered line", "percept_instance": "Narrator is quietly awed by the actor's control"} | an overheard remark | . | casual colloquial | first person | 2 | true | Casper whispers it the same way every single take. | The speaker admires Casper's disciplined consistency. | The speaker finds Casper's repetition monotonous or robotic. | Casper repeats the whisper identically on every take. | same way, every single take, flat rhythm | 11 | true | train | 1 | [] | The concept of 'takes' in film production was well-established by 1929, and the vocabulary used is entirely consistent with the era. | google/gemini-3-flash-preview |
t08d21s07 | 0 | attitude_valence | arts_theatre | {"setting": "theatre lobby, ticket counter", "actors": "box-office clerk, impatient patron", "activity": "refunding a canceled ticket", "percept_instance": "Narrator disdains the patron's entitled rudeness"} | a narrative sentence | . | warm familiar | first person | 5 | false | I stood at the counter while the man sighed at me like I'd personally scheduled the theatre's plumbing failure. | The narrator disdains the patron's entitled rudeness. | I stood at the counter while the man sighed at me because the theatre's show had been canceled. | sighed at me, personally, entitled blame tone | 22 | true | train | 1 | [] | The text uses standard English and refers to theaters and plumbing, both of which were well-established by 1929. | google/gemini-3-flash-preview | |
t08d21s07 | 1 | attitude_valence | arts_theatre | {"setting": "theatre lobby, ticket counter", "actors": "box-office clerk, impatient patron", "activity": "refunding a canceled ticket", "percept_instance": "Narrator disdains the patron's entitled rudeness"} | a note left for someone | ! | casual colloquial | first person | 4 | false | Hid the aspirin, that guy in the loud blazer wanted my firstborn for one refund! | The narrator disdains the patron's entitled rudeness. | I hid the aspirin because the man in the loud blazer got upset about his refund! | wanted my firstborn, loud blazer, hyperbole | 21 | true | train | 1 | [] | Aspirin, blazers, and the concept of refunds were all well-established by 1929, and the language used is period-appropriate. | google/gemini-3-flash-preview | |
t08d21s07 | 2 | attitude_valence | arts_theatre | {"setting": "theatre lobby, ticket counter", "actors": "box-office clerk, impatient patron", "activity": "refunding a canceled ticket", "percept_instance": "Narrator disdains the patron's entitled rudeness"} | a text message | . | detached procedural | first person | 3 | false | Refunded ticket 63, patron demanded manager, again. | The narrator disdains the patron's entitled rudeness. | I refunded ticket 63 and the patron asked for the manager again. | demanded, again, terse clip | 13 | true | train | 1 | [] | The scenario of refunding a ticket and a customer requesting a manager is entirely consistent with early 20th-century commerce and theater culture. | google/gemini-3-flash-preview | |
t08d21s07 | 3 | attitude_valence | arts_theatre | {"setting": "theatre lobby, ticket counter", "actors": "box-office clerk, impatient patron", "activity": "refunding a canceled ticket", "percept_instance": "Narrator disdains the patron's entitled rudeness"} | an overheard remark | . | plain neutral | first person | 3 | false | He actually snapped his fingers at me and said the least I could do was comp him something for the trouble. | The narrator disdains the patron's entitled rudeness. | He snapped his fingers at me and said I should comp him something for the trouble. | actually, snapped fingers, least I could do | 22 | true | train | 1 | [] | The term 'comp' as an abbreviation for complimentary was established in theater and hospitality by the late 19th century, and the behavior described is period-appropriate. | google/gemini-3-flash-preview | |
t08d21s07 | 4 | attitude_valence | arts_theatre | {"setting": "theatre lobby, ticket counter", "actors": "box-office clerk, impatient patron", "activity": "refunding a canceled ticket", "percept_instance": "Narrator disdains the patron's entitled rudeness"} | a diary line | ! | terse clipped | first person | 4 | false | He sneered, I refunded, done! | The narrator disdains the patron's entitled rudeness. | He complained, I refunded his ticket, that was that! | sneered, curt sequence, done | 9 | true | train | 1 | [] | The vocabulary and concepts of refunds, tickets, and social disdain are all perfectly consistent with the commerce and language of the late 1920s. | google/gemini-3-flash-preview | |
t08d21s07 | 5 | attitude_valence | arts_theatre | {"setting": "theatre lobby, ticket counter", "actors": "box-office clerk, impatient patron", "activity": "refunding a canceled ticket", "percept_instance": "Narrator disdains the patron's entitled rudeness"} | a narrative sentence | . | detached procedural | third person | 5 | false | The clerk processed the refund for the canceled show while the patron kept insisting he deserved priority seating next time for his wasted evening. | The narrator (via the clerk's framing) disdains the patron's entitled rudeness. | The clerk processed the refund for the canceled show while the patron said he wanted priority seating next time. | kept insisting, deserved, wasted evening | 25 | true | train | 1 | [] | The concepts of refunds, theater seating, and clerk-patron interactions are all entirely consistent with the commercial and social norms of 1929. | google/gemini-3-flash-preview | |
t08d21s08 | 1 | attitude_valence | arts_theatre | {"setting": "costume shop, fitting session", "actors": "seamstress, temperamental soprano", "activity": "pinning a beaded gown", "percept_instance": "Narrator admires the seamstress's calm resilience"} | a spoken line | . | terse clipped | second person, addressing someone directly | 4 | false | You just keep pinning that gown, Sigrid, while she snaps at you over every single bead. | The speaker admires Sigrid's calm resilience despite the soprano's harshness. | You keep pinning the gown, Sigrid, while she comments on every bead. | keep pinning, snaps at you, direct address praise | 21 | true | train | 1 | [] | The vocabulary, social dynamics of a seamstress and a demanding client, and the specific garment details are all entirely consistent with the late 1920s. | google/gemini-3-flash-preview | |
t08d21s08 | 2 | attitude_valence | arts_theatre | {"setting": "costume shop, fitting session", "actors": "seamstress, temperamental soprano", "activity": "pinning a beaded gown", "percept_instance": "Narrator admires the seamstress's calm resilience"} | a diary line | . | warm familiar | second person, addressing someone directly | 3 | false | Sigrid, you never even flinched today. | The narrator admires Sigrid's steady composure. | Sigrid, you did not react today. | never flinched, brief diary address | 11 | true | train | 1 | [] | The vocabulary and concepts used in the sentence, rewrite, and perception are all entirely consistent with English usage and social norms of 1929 or earlier. | google/gemini-3-flash-preview | |
t08d21s08 | 3 | attitude_valence | arts_theatre | {"setting": "costume shop, fitting session", "actors": "seamstress, temperamental soprano", "activity": "pinning a beaded gown", "percept_instance": "Narrator admires the seamstress's calm resilience"} | a product review line | . | formal polished | second person, addressing someone directly | 4 | false | Sigrid, your patience with that soprano deserves an award. | The reviewer admires Sigrid's remarkable patience and composure. | Sigrid, you were patient with that soprano. | deserves an award, formal praise, patience | 13 | true | train | 1 | [] | All terms and concepts, including the mention of a soprano and the colloquial use of 'award', were well-established by 1929. | google/gemini-3-flash-preview | |
t08d21s08 | 4 | attitude_valence | arts_theatre | {"setting": "costume shop, fitting session", "actors": "seamstress, temperamental soprano", "activity": "pinning a beaded gown", "percept_instance": "Narrator admires the seamstress's calm resilience"} | a spoken line | . | formal polished | first person | 2 | false | I watched her re-pin the beading four times without a single word of complaint to the soprano. | The narrator admires the seamstress's quiet resilience and composure. | I watched her re-pin the beading four times without saying anything to the soprano. | four times, no complaint, understated observation | 21 | true | train | 1 | [] | The setting, vocabulary, and social roles described are entirely consistent with the late 19th or early 20th century. | google/gemini-3-flash-preview | |
t08d21s08 | 5 | attitude_valence | arts_theatre | {"setting": "costume shop, fitting session", "actors": "seamstress, temperamental soprano", "activity": "pinning a beaded gown", "percept_instance": "Narrator admires the seamstress's calm resilience"} | a meeting minute | . | terse clipped | second person, addressing someone directly | 4 | false | Sigrid, you remained composed throughout the soprano's third costume change. | The recorder admires Sigrid's composure under repeated demands. | Sigrid, you stayed the same through the soprano's third costume change. | remained composed, third change, formal minute tone | 15 | true | train | 1 | [] | The vocabulary and concepts, including opera performances and costume changes, are entirely consistent with the late 19th and early 20th centuries. | google/gemini-3-flash-preview | |
t08d21s09 | 0 | attitude_valence | arts_theatre | {"setting": "black-box theatre, table read", "actors": "playwright, skeptical director", "activity": "reading a new monologue aloud", "percept_instance": "Narrator senses the director's grudging respect"} | a letter line | . | terse clipped | second person, addressing someone directly | 2 | true | Diego, you read the monologue twice, then wrote down the page number without saying a word to Kofi. | The director secretly rates Diego's monologue as impressive despite his silence. | The director is quietly marking a problem passage he intends to cut later. | Diego, you read the monologue twice, then wrote down the page number, and did not speak to Kofi. | repetition, silent note-taking, withheld comment | 24 | true | train | 1 | [] | All elements, including the theatrical context, names, and actions described, are entirely consistent with the technology and social practices available in 1929. | google/gemini-3-flash-preview |
t08d21s09 | 1 | attitude_valence | arts_theatre | {"setting": "black-box theatre, table read", "actors": "playwright, skeptical director", "activity": "reading a new monologue aloud", "percept_instance": "Narrator senses the director's grudging respect"} | a meeting minute | ! | warm familiar | third person | 2 | true | The director let Maya finish the whole speech before speaking, and the room stayed still! | The room's stillness shows the director was quietly moved by Maya's reading. | The room's stillness reflects everyone's discomfort waiting for the director's criticism. | The director allowed Maya to finish the speech before speaking, and the room remained quiet! | withheld interruption, stillness, delayed response | 17 | true | train | 1 | [] | The text uses universal language and describes a theatrical or cinematic setting entirely consistent with the late 1920s. | google/gemini-3-flash-preview |
t08d21s09 | 2 | attitude_valence | arts_theatre | {"setting": "black-box theatre, table read", "actors": "playwright, skeptical director", "activity": "reading a new monologue aloud", "percept_instance": "Narrator senses the director's grudging respect"} | a spoken line | . | terse clipped | second person, addressing someone directly | 3 | false | Kwame, do that line again, exactly like that. | The director is impressed enough by Kwame's delivery to want it repeated unchanged. | Kwame, repeat that line the same way you just did. | repeat request, exactly like that, terse approval | 13 | true | train | 1 | [] | The dialogue and descriptions involve theatrical or early cinematic direction and standard English phrasing that are entirely consistent with the 1920s. | google/gemini-3-flash-preview | |
t08d21s09 | 3 | attitude_valence | arts_theatre | {"setting": "black-box theatre, table read", "actors": "playwright, skeptical director", "activity": "reading a new monologue aloud", "percept_instance": "Narrator senses the director's grudging respect"} | a product review line | ! | formal polished | second person, addressing someone directly | 5 | false | Sigrid, your reading of that monologue at the table gave this stubborn director an actual visible reaction, which never happens! | The reviewer regards Sigrid's performance as remarkable enough to crack a notoriously guarded director. | Sigrid, your reading of the monologue at the table caused the director, who rarely reacts, to react visibly! | never happens, visible reaction, stubborn director framing | 25 | true | train | 1 | [] | The vocabulary and concepts, including the role of a theater director and the practice of table readings, were all well-established in the theatrical world by 1929. | google/gemini-3-flash-preview | |
t08d21s09 | 4 | attitude_valence | arts_theatre | {"setting": "black-box theatre, table read", "actors": "playwright, skeptical director", "activity": "reading a new monologue aloud", "percept_instance": "Narrator senses the director's grudging respect"} | a group-chat message | . | detached procedural | second person, addressing someone directly | 3 | false | Cyrus, the director wants your pages copied, now. | The director's urgency to copy Cyrus's pages signals unexpected regard for his writing. | Cyrus, the director wants your pages copied immediately. | copy request, immediacy, singling out pages | 13 | true | train | 1 | [] | The concept of a director, the act of copying pages (via carbon paper or mimeograph), and the vocabulary used are all entirely consistent with a 1929 setting. | google/gemini-3-flash-preview | |
t08d21s09 | 5 | attitude_valence | arts_theatre | {"setting": "black-box theatre, table read", "actors": "playwright, skeptical director", "activity": "reading a new monologue aloud", "percept_instance": "Narrator senses the director's grudging respect"} | a product review line | ? | terse clipped | second person, addressing someone directly | 2 | true | Greta, the director kept your dog-eared script pages after everyone else's went straight back into the box, why? | The director's keeping Greta's pages hints he privately values her monologue over the others. | The director may be flagging Greta's pages for revisions rather than praise. | Greta, the director kept your worn script pages while everyone else's went back into the box, why? | selective keeping, comparison to others, pointed question | 25 | true | train | 1 | [] | The text uses vocabulary and concepts entirely consistent with the theatrical or cinematic world of 1929. | google/gemini-3-flash-preview |
t08d21s10 | 0 | attitude_valence | arts_theatre | {"setting": "gallery opening reception", "actors": "collector, gallery owner", "activity": "bidding on a small canvas", "percept_instance": "Narrator sneers at the collector's showy generosity"} | a product review line | . | terse clipped | second person, addressing someone directly | 5 | false | You waved that paddle like the room owed you applause, Cyrus. | The narrator despises Cyrus's ostentatious bidding as a bid for attention, not the art. | You raised your bidding paddle several times during the auction, Cyrus. | second person, waved like, owed applause, mocking address | 13 | true | train | 1 | [] | The concept of auctions, bidding paddles, and the vocabulary used are all entirely consistent with the social practices and language of 1929. | google/gemini-3-flash-preview | |
t08d21s10 | 1 | attitude_valence | arts_theatre | {"setting": "gallery opening reception", "actors": "collector, gallery owner", "activity": "bidding on a small canvas", "percept_instance": "Narrator sneers at the collector's showy generosity"} | a diary line | . | warm familiar | first person | 2 | false | Andrei bid again, grinning at everyone but the canvas. | The narrator finds Andrei's generosity performed for the crowd rather than the art. | Andrei placed another bid and looked around at the other guests. | grinning at everyone, not the canvas, understated diary rhythm | 13 | true | train | 1 | [] | The text describes an art auction and social behavior that are entirely consistent with the customs and language of the late 1920s. | google/gemini-3-flash-preview | |
t08d21s10 | 2 | attitude_valence | arts_theatre | {"setting": "gallery opening reception", "actors": "collector, gallery owner", "activity": "bidding on a small canvas", "percept_instance": "Narrator sneers at the collector's showy generosity"} | a letter line | . | plain neutral | third person | 3 | false | She noted that Fatima had bid loudly, twice more than asked. | The writer implies Fatima's bidding was a showy overpay meant to be noticed. | She wrote that Fatima bid loudly and offered twice the asking price. | loudly, twice more than asked, plain third person report | 14 | true | train | 1 | [] | The vocabulary and concepts regarding bidding and asking prices are entirely consistent with commerce and auctions in 1929 and earlier. | google/gemini-3-flash-preview | |
t08d21s10 | 3 | attitude_valence | arts_theatre | {"setting": "gallery opening reception", "actors": "collector, gallery owner", "activity": "bidding on a small canvas", "percept_instance": "Narrator sneers at the collector's showy generosity"} | an overheard remark | . | warm familiar | first person | 5 | false | I heard him tell the gallery owner he'd double whatever number came next, just to see everyone turn and watch him do it. | The speaker views the collector's generosity as a calculated performance for admiration. | I heard him tell the gallery owner he would double the next bid, and everyone turned to watch him say it. | double whatever, just to see everyone watch, self-aware boast | 26 | true | train | 1 | [] | The scenario of an art gallery auction or sale and the language used are entirely consistent with the social practices and vocabulary of the late 1920s. | google/gemini-3-flash-preview | |
t08d21s10 | 4 | attitude_valence | arts_theatre | {"setting": "gallery opening reception", "actors": "collector, gallery owner", "activity": "bidding on a small canvas", "percept_instance": "Narrator sneers at the collector's showy generosity"} | a note left for someone | . | plain neutral | second person, addressing someone directly | 5 | false | You didn't need to announce the price twice, Zainab, we all heard. | The note-writer scorns Zainab's need to broadcast her generous bid for admiration. | You said the price twice, Zainab, and we all heard it the first time. | didn't need to announce, we all heard, clipped rebuke | 18 | true | train | 1 | [] | The language and concepts used in all fields are entirely consistent with 1920s English and social interactions. | google/gemini-3-flash-preview | |
t08d21s11 | 3 | attitude_valence | arts_theatre | {"setting": "wings of a proscenium stage", "actors": "stage manager, nervous chorus girl", "activity": "cueing a scene change", "percept_instance": "Narrator admires the manager's unflappable command"} | a product review line | . | detached procedural | second person, addressing someone directly | 2 | false | You called the scene change at the 36 second mark, matching the stage manager's cue sheet exactly as written. | The observer notes the manager's cue sheet was followed with quiet precision. | The scene change happened at 36 seconds, matching the cue sheet the stage manager wrote. | exact timing, procedural comparison, matter-of-fact clause | 24 | true | train | 1 | [] | The terminology regarding stage management, cue sheets, and timing in seconds was standard practice in professional theater well before 1930. | google/gemini-3-flash-preview | |
t08d21s11 | 4 | attitude_valence | arts_theatre | {"setting": "wings of a proscenium stage", "actors": "stage manager, nervous chorus girl", "activity": "cueing a scene change", "percept_instance": "Narrator admires the manager's unflappable command"} | a text message | . | warm familiar | third person | 4 | true | She still hasn't cued the girl in. | The speaker admires how the manager waits for the perfect exact moment. | The speaker worries the manager has forgotten or missed the cue entirely. | The girl has not been cued in yet, according to the message. | still hasn't, terse text, ambiguous delay | 10 | true | train | 0.9 | ["cued the girl in"] | While 'cue' existed in theater, the phrasal verb 'cue someone in' (meaning to inform or update) is an idiomatic usage that gained prominence in the mid-20th century. | google/gemini-3-flash-preview |
t08d21s11 | 5 | attitude_valence | arts_theatre | {"setting": "wings of a proscenium stage", "actors": "stage manager, nervous chorus girl", "activity": "cueing a scene change", "percept_instance": "Narrator admires the manager's unflappable command"} | a product review line | . | terse clipped | third person | 3 | false | Backstage, the manager cued 60 changes without one missed light, per the stagehand's count. | The reviewer admires the manager's flawless, unbroken command of cues. | The manager cued 60 changes and the stagehand counted no missed lights. | without one missed, clipped tally, third-person praise | 23 | true | train | 1 | [] | The theatrical technology, terminology, and phrasing described were all standard in professional stagecraft by the late 1920s. | google/gemini-3-flash-preview | |
t08d21s12 | 0 | attitude_valence | arts_theatre | {"setting": "art restoration studio, evening", "actors": "conservator, museum director", "activity": "cleaning a varnished portrait", "percept_instance": "Narrator contemns the director's impatient meddling"} | a letter line | . | warm familiar | second person, addressing someone directly | 5 | false | Sofia, you should have seen Director Voss poke the varnish again, tutting like our decades of training mean nothing to him. | The narrator despises the director's arrogant, unqualified meddling in the restoration. | Sofia, Director Voss poked the varnish again and tutted while I worked on the portrait. | tutting, poke again, mean nothing, addressed familiarly | 29 | true | train | 1 | [] | All elements, including art restoration, varnish, and the professional dynamics described, are entirely consistent with a 1929 setting. | google/gemini-3-flash-preview | |
t08d21s12 | 1 | attitude_valence | arts_theatre | {"setting": "art restoration studio, evening", "actors": "conservator, museum director", "activity": "cleaning a varnished portrait", "percept_instance": "Narrator contemns the director's impatient meddling"} | a product review line | ! | warm familiar | second person, addressing someone directly | 5 | false | Stefan, your steady trowel work saved that portrait from Director Mbeki's constant prodding tonight! | The narrator admires Stefan's calm skill against the director's disruptive interference. | Stefan, your trowel work fixed the portrait despite Director Mbeki touching it repeatedly tonight! | steady, saved, constant prodding, exclamation | 24 | true | train | 1 | [] | The text describes manual restoration work and interpersonal dynamics using language and roles entirely consistent with a 1920s museum or gallery setting. | google/gemini-3-flash-preview | |
t08d21s12 | 4 | attitude_valence | arts_theatre | {"setting": "art restoration studio, evening", "actors": "conservator, museum director", "activity": "cleaning a varnished portrait", "percept_instance": "Narrator contemns the director's impatient meddling"} | a group-chat message | . | terse clipped | first person | 3 | false | he grabbed the megaphone again to tell Rune how to hold the trowel, unbelievable honestly. | The narrator is disgusted by the director's needless, condescending oversight of Rune's technique. | he picked up the megaphone again to tell Rune how to hold the trowel. | grabbed again, unbelievable, condescending instruction | 21 | true | train | 1 | [] | All objects and concepts mentioned, including megaphones, trowels, and the role of a director, were well-established by 1929. | google/gemini-3-flash-preview | |
t08d21s12 | 5 | attitude_valence | arts_theatre | {"setting": "art restoration studio, evening", "actors": "conservator, museum director", "activity": "cleaning a varnished portrait", "percept_instance": "Narrator contemns the director's impatient meddling"} | a text message | . | terse clipped | second person, addressing someone directly | 1 | false | Freya, the director hovered near the ladder while you cleaned the frame. | The narrator mildly disapproves of the director's unnecessary presence near Freya's work. | Freya, the director stood near the ladder while you cleaned the frame. | hovered, mild direct note | 15 | true | train | 1 | [] | All terms and concepts, including the role of a director and the use of ladders for maintenance, are entirely consistent with a 1929 setting. | google/gemini-3-flash-preview | |
t08d21s13 | 0 | attitude_valence | arts_theatre | {"setting": "dance studio mirror wall", "actors": "choreographer, injured dancer", "activity": "marking a difficult sequence", "percept_instance": "Narrator admires the dancer's dogged determination"} | a spoken line | . | plain neutral | second person, addressing someone directly | 3 | false | You have run that landing eleven times without stopping. | The narrator admires the dancer's persistence in repeating the difficult landing. | You have done that landing eleven times without stopping. | count of repetitions; without stopping | 10 | true | train | 1 | [] | The vocabulary and context of a dancer practicing a landing are entirely consistent with the language and activities of 1929 and earlier. | google/gemini-3-flash-preview | |
t08d21s13 | 1 | attitude_valence | arts_theatre | {"setting": "dance studio mirror wall", "actors": "choreographer, injured dancer", "activity": "marking a difficult sequence", "percept_instance": "Narrator admires the dancer's dogged determination"} | a group-chat message | . | terse clipped | second person, addressing someone directly | 4 | true | You keep marking the fall even though your knee is taped again. | The narrator admires the dancer's determination to keep working despite injury. | The narrator worries the dancer is pushing through pain recklessly. | You are marking the fall again and your knee is taped again. | keep marking; knee taped again | 13 | true | train | 1 | [] | The vocabulary and concepts, including the use of adhesive tape for injuries, were all established and common by the late 1920s. | google/gemini-3-flash-preview |
t08d21s13 | 2 | attitude_valence | arts_theatre | {"setting": "dance studio mirror wall", "actors": "choreographer, injured dancer", "activity": "marking a difficult sequence", "percept_instance": "Narrator admires the dancer's dogged determination"} | a narrative sentence | . | casual colloquial | third person | 5 | true | Bruno taped his knee again and just went back to the mirror. | The narrator admires Bruno's refusal to let injury stop his practice. | The narrator senses Bruno is dangerously ignoring his body's limits. | Bruno taped his knee again and returned to the mirror. | taped again; just went back | 14 | true | train | 1 | [] | All elements, including the use of adhesive tape for athletic purposes and the narrative sentiments, are entirely consistent with the late 1920s. | google/gemini-3-flash-preview |
t08d21s13 | 3 | attitude_valence | arts_theatre | {"setting": "dance studio mirror wall", "actors": "choreographer, injured dancer", "activity": "marking a difficult sequence", "percept_instance": "Narrator admires the dancer's dogged determination"} | a product review line | . | warm familiar | first person | 3 | false | I watched Nadia grind through that turn sequence for an hour and I am in awe of her. | The narrator admires Nadia's stamina and refusal to give up on the turn sequence. | I watched Nadia repeat that turn sequence for an hour. | grind through; an hour; in awe | 20 | true | train | 1 | [] | The vocabulary and concepts used in the text, including the metaphor of 'grinding' through a task, are consistent with English usage and physical activities common in or before 1929. | google/gemini-3-flash-preview | |
t08d21s13 | 4 | attitude_valence | arts_theatre | {"setting": "dance studio mirror wall", "actors": "choreographer, injured dancer", "activity": "marking a difficult sequence", "percept_instance": "Narrator admires the dancer's dogged determination"} | a product review line | ? | formal polished | third person | 4 | true | Did the injured dancer really run the eight-count sequence sixty-one times before the choreographer called a break? | The narrator admires the dancer's remarkable perseverance under physical strain. | The narrator questions whether the choreographer was too slow to intervene. | Did the injured dancer repeat the eight-count sequence sixty-one times before the choreographer called a break? | really; sixty-one times; before break | 21 | true | train | 1 | [] | All terms, including dance terminology like 'eight-count' and 'choreographer', were established in professional dance contexts by the late 1920s. | google/gemini-3-flash-preview |
t08d21s13 | 5 | attitude_valence | arts_theatre | {"setting": "dance studio mirror wall", "actors": "choreographer, injured dancer", "activity": "marking a difficult sequence", "percept_instance": "Narrator admires the dancer's dogged determination"} | a group-chat message | . | detached procedural | second person, addressing someone directly | 1 | true | You logged twenty-three run-throughs before the choreographer noted the timing. | The narrator admires the dancer's quiet dedication to precision. | The narrator implies the choreographer is only now paying attention to progress. | You did twenty-three run-throughs before the choreographer noted the timing. | twenty-three; logged; before noted | 15 | true | train | 0.9 | ["logged"] | While 'log' existed for maritime and technical records, using it as a verb for counting practice repetitions feels slightly modern, though the rest of the text is perfectly compatible with 1929. | google/gemini-3-flash-preview |
t08d21s14 | 0 | attitude_valence | arts_theatre | {"setting": "opera house catwalk", "actors": "lighting technician, visiting inspector", "activity": "adjusting a spotlight rig", "percept_instance": "Narrator disdains the inspector's officious nitpicking"} | a spoken line | . | casual colloquial | third person | 4 | false | Zola said the inspector re-measured the rig twice just to feel important. | The narrator views the inspector's remeasuring as pointless self-important fussing. | Zola said the inspector measured the rig twice. | just to feel important, re-measured twice | 16 | true | train | 1 | [] | The vocabulary and concepts, including the use of 'rig' and the characterization of bureaucratic fussing, are entirely consistent with 1920s English. | google/gemini-3-flash-preview | |
t08d21s14 | 1 | attitude_valence | arts_theatre | {"setting": "opera house catwalk", "actors": "lighting technician, visiting inspector", "activity": "adjusting a spotlight rig", "percept_instance": "Narrator disdains the inspector's officious nitpicking"} | a text message | . | casual colloquial | third person | 5 | false | Anton says the guy brought a clipboard for a spotlight bracket, unbelievable. | The narrator finds the inspector's clipboard-for-a-bracket procedure absurdly excessive. | Anton says the inspector brought a clipboard to check a spotlight bracket. | clipboard for a bracket, unbelievable | 15 | true | train | 1 | [] | Clipboards, spotlights, and brackets were all in common industrial and theatrical use by the late 19th and early 20th centuries. | google/gemini-3-flash-preview | |
t08d21s14 | 2 | attitude_valence | arts_theatre | {"setting": "opera house catwalk", "actors": "lighting technician, visiting inspector", "activity": "adjusting a spotlight rig", "percept_instance": "Narrator disdains the inspector's officious nitpicking"} | a note left for someone | ? | warm familiar | second person, addressing someone directly | 4 | false | Did you really need to initial the wrench before I could use it? | The writer resents the inspector's petty demand for procedural sign-off. | You initialed the wrench before I could use it, correct? | really need to, initial before use | 14 | true | train | 1 | [] | The use of initials for marking ownership or inspection of tools and the general vocabulary are entirely consistent with industrial and mechanical practices of the 1920s. | google/gemini-3-flash-preview | |
t08d21s14 | 3 | attitude_valence | arts_theatre | {"setting": "opera house catwalk", "actors": "lighting technician, visiting inspector", "activity": "adjusting a spotlight rig", "percept_instance": "Narrator disdains the inspector's officious nitpicking"} | a letter line | . | plain neutral | third person | 3 | false | The visiting inspector paused the rehearsal to confirm the bolt count on the catwalk railing. | The writer sees the inspector's bolt-count check as needless disruption. | The visiting inspector stopped rehearsal to confirm the number of bolts on the catwalk railing. | paused rehearsal, confirm bolt count | 17 | true | train | 1 | [] | All elements, including industrial inspections, theater or factory rehearsals, and catwalk structures, were common in the late 19th and early 20th centuries. | google/gemini-3-flash-preview | |
t08d21s15 | 1 | attitude_valence | arts_theatre | {"setting": "print gallery back room", "actors": "printmaker, gallery assistant", "activity": "signing a limited edition", "percept_instance": "Narrator admires the printmaker's understated confidence"} | a diary line | . | plain neutral | third person | 3 | true | Chen signed number 23 unhurried. | The narrator admires Chen's quiet self-assurance while signing the print. | Chen may be tired or reluctant to finish the signing. | Chen signed print number 23 slowly. | unhurried, terse diary phrasing | 11 | true | train | 1 | [] | The text describes the signing of a print, which is a practice dating back centuries, and uses vocabulary entirely consistent with 1929 English. | google/gemini-3-flash-preview |
t08d21s15 | 4 | attitude_valence | arts_theatre | {"setting": "print gallery back room", "actors": "printmaker, gallery assistant", "activity": "signing a limited edition", "percept_instance": "Narrator admires the printmaker's understated confidence"} | a spoken line | ? | warm familiar | second person, addressing someone directly | 4 | false | How do you sign sixty-eight prints and never once check the numbering, Jorge? | The narrator admires Jorge's calm, practiced confidence as a printmaker. | How do you sign sixty-eight prints without checking the numbering, Jorge? | never once, admiring spoken question | 16 | true | train | 1 | [] | The text describes the manual signing and numbering of art prints, a practice well-established in the 19th century and fully compatible with 1929. | google/gemini-3-flash-preview | |
t08d21s15 | 5 | attitude_valence | arts_theatre | {"setting": "print gallery back room", "actors": "printmaker, gallery assistant", "activity": "signing a limited edition", "percept_instance": "Narrator admires the printmaker's understated confidence"} | a radio call | . | warm familiar | first person | 3 | false | I'm back here with Hana now, watching her sign print ninety-five slow and steady, no fuss at all. | The narrator admires Hana's calm, unshowy competence as she signs the print. | I am back here with Hana, watching her sign print number ninety-five slowly, without fuss. | slow and steady, no fuss, radio warmth | 24 | true | train | 1 | [] | The text describes the signing of a print, a practice common in the art world long before 1930, using language that is entirely period-appropriate. | google/gemini-3-flash-preview | |
t08d21s16 | 0 | attitude_valence | arts_theatre | {"setting": "rehearsal hall, late afternoon", "actors": "playwright's agent, aging actor", "activity": "negotiating a contract clause", "percept_instance": "Narrator despises the agent's transactional coldness"} | a text message | . | formal polished | third person | 4 | true | Marisol's office confirms the aging actor's rider concessions are voided unless he signs the reduced-royalty clause by Friday. | Marisol treats the actor's concerns as a mere transaction to be closed. | Marisol is under pressure from someone above her to secure the reduced terms quickly. | Marisol's office says the actor's rider concessions end unless he signs the lower-royalty clause by Friday. | confirms, voided, deadline framing, clause language, terse office relay | 26 | true | train | 1 | [] | The terminology regarding legal riders, royalties, and office administration is consistent with the established entertainment and legal industries of the late 1920s. | google/gemini-3-flash-preview |
t08d21s16 | 1 | attitude_valence | arts_theatre | {"setting": "rehearsal hall, late afternoon", "actors": "playwright's agent, aging actor", "activity": "negotiating a contract clause", "percept_instance": "Narrator despises the agent's transactional coldness"} | a note left for someone | . | formal polished | second person, addressing someone directly | 2 | false | You should review the attached clause before Diego's assistant resends the same figures without further comment. | The narrator finds Diego's camp dismissive of genuine negotiation. | You should look at the attached clause before Diego's assistant sends the same figures again. | resends, without further comment, formal note register | 19 | true | train | 1 | [] | The language and concepts, including legal clauses and office assistants, are entirely consistent with business practices of the late 1920s. | google/gemini-3-flash-preview | |
t08d21s16 | 2 | attitude_valence | arts_theatre | {"setting": "rehearsal hall, late afternoon", "actors": "playwright's agent, aging actor", "activity": "negotiating a contract clause", "percept_instance": "Narrator despises the agent's transactional coldness"} | a voicemail line | ? | terse clipped | third person | 1 | false | Did Rashid's agent even read the contract before rejecting it? | The caller suspects Rashid's agent dismissed the contract carelessly. | Did Rashid's agent read the contract before rejecting it? | even read, rhetorical question, clipped voicemail | 13 | true | train | 1 | [] | The concept of agents, contracts, and telephone callers were all well-established in professional and legal contexts by 1929. | google/gemini-3-flash-preview | |
t08d21s16 | 3 | attitude_valence | arts_theatre | {"setting": "rehearsal hall, late afternoon", "actors": "playwright's agent, aging actor", "activity": "negotiating a contract clause", "percept_instance": "Narrator despises the agent's transactional coldness"} | an overheard remark | . | warm familiar | second person, addressing someone directly | 5 | false | You know she'll smile right through cutting your pension line, Anton. | The speaker sees the agent's warmth as a mask for calculated harm. | You know she'll smile while cutting your pension line, Anton. | smile right through, cutting, warm address, edge framing | 14 | true | train | 1 | [] | The concept of a pension and the metaphorical 'cutting' of a financial line are both consistent with early 20th-century labor and economic contexts. | google/gemini-3-flash-preview | |
t08d21s16 | 5 | attitude_valence | arts_theatre | {"setting": "rehearsal hall, late afternoon", "actors": "playwright's agent, aging actor", "activity": "negotiating a contract clause", "percept_instance": "Narrator despises the agent's transactional coldness"} | an overheard remark | . | casual colloquial | first person | 3 | false | She quoted me a number before I even sat down. | The speaker feels reduced to a figure by the agent's haste. | She gave me a number before I sat down. | quoted a number, before sitting, casual clip | 11 | true | train | 1 | [] | The language and concepts used are entirely compatible with 1920s business interactions and standard English. | google/gemini-3-flash-preview | |
t08d21s17 | 0 | attitude_valence | arts_theatre | {"setting": "puppet workshop, festival prep", "actors": "puppeteer, curious child visitor", "activity": "carving a marionette's face", "percept_instance": "Narrator admires the puppeteer's gentle craftsmanship"} | a group-chat message | ? | warm familiar | first person | 1 | false | Tobias is still smoothing the marionette's cheek, third pass with the tiny knife, right? | The narrator admires Tobias's gentle, patient craftsmanship. | Tobias is still working on the marionette's cheek with the small knife, for a third time, right? | third pass, tiny knife, still smoothing | 22 | true | train | 1 | [] | The text describes traditional woodcarving and craftsmanship using vocabulary and concepts entirely consistent with the pre-1930 era. | google/gemini-3-flash-preview | |
t08d21s17 | 2 | attitude_valence | arts_theatre | {"setting": "puppet workshop, festival prep", "actors": "puppeteer, curious child visitor", "activity": "carving a marionette's face", "percept_instance": "Narrator admires the puppeteer's gentle craftsmanship"} | a product review line | ! | formal polished | first person | 4 | true | I have never seen hands coax a wooden face into such quiet tenderness, Rosa's marionette practically breathes! | The reviewer admires Rosa's exceptionally gentle, skillful craftsmanship. | The reviewer is impressed by how lifelike and emotionally moving the finished puppet is, independent of the maker's process. | I have never seen a wooden face carved so softly, and Rosa's marionette almost seems alive! | coax, quiet tenderness, practically breathes | 24 | true | train | 1 | [] | The vocabulary and concepts—marionettes, woodcarving, and artistic craftsmanship—are entirely consistent with the late 19th and early 20th centuries. | google/gemini-3-flash-preview |
t08d21s17 | 3 | attitude_valence | arts_theatre | {"setting": "puppet workshop, festival prep", "actors": "puppeteer, curious child visitor", "activity": "carving a marionette's face", "percept_instance": "Narrator admires the puppeteer's gentle craftsmanship"} | a text message | . | formal polished | third person | 3 | false | Aziza barely touches the chin, just eases it into shape. | The observer admires Aziza's light, gentle carving technique. | Aziza applies only slight pressure to the chin while shaping it. | barely touches, eases into shape | 14 | true | train | 1 | [] | The text describes manual artistic craftsmanship using neutral language that is entirely consistent with tools and techniques available in 1929 or earlier. | google/gemini-3-flash-preview | |
t08d21s17 | 4 | attitude_valence | arts_theatre | {"setting": "puppet workshop, festival prep", "actors": "puppeteer, curious child visitor", "activity": "carving a marionette's face", "percept_instance": "Narrator admires the puppeteer's gentle craftsmanship"} | a group-chat message | . | warm familiar | first person | 2 | false | watching Iris ease that eyebrow curve into the wood with the smallest chisel she owns, no rush at all, just her breathing and the shavings falling. | The narrator admires Iris's calm, delicate craftsmanship. | I am watching Iris shape that eyebrow curve using her smallest chisel, taking her time while shavings fall. | smallest chisel, no rush, breathing, shavings falling | 32 | true | train | 1 | [] | The tools, activities, and language described are all entirely consistent with traditional woodworking and observation common in or before 1929. | google/gemini-3-flash-preview | |
t08d21s17 | 5 | attitude_valence | arts_theatre | {"setting": "puppet workshop, festival prep", "actors": "puppeteer, curious child visitor", "activity": "carving a marionette's face", "percept_instance": "Narrator admires the puppeteer's gentle craftsmanship"} | a group-chat message | ! | warm familiar | second person, addressing someone directly | 5 | false | Viktor, the way you turned that jaw with such a soft, patient hand honestly moved half the workshop to silence! | The speaker deeply admires Viktor's tender, masterful craftsmanship. | Viktor, you turned that jaw with a soft, patient hand, and it made half the workshop go quiet! | soft patient hand, moved to silence, honestly | 25 | true | train | 1 | [] | The text describes manual workshop craftsmanship and emotional reactions using language and concepts entirely consistent with the late 19th or early 20th century. | google/gemini-3-flash-preview | |
t08d21s18 | 0 | attitude_valence | arts_theatre | {"setting": "concert hall foyer, intermission", "actors": "music critic, program seller", "activity": "scribbling a hasty review", "percept_instance": "Narrator mocks the critic's lazy condescension"} | a narrative sentence | . | formal polished | second person, addressing someone directly | 2 | false | You settled onto the foyer bench, pen hovering, and allotted the soprano precisely one adjective before the second bell. | The narrator views the critic's judgment as perfunctory and stingy with attention. | You sat on the foyer bench with your pen ready and gave the soprano one adjective before the second bell. | one adjective, hovering pen, before second bell | 23 | true | train | 1 | [] | The vocabulary, setting, and technology (pen, foyer, opera/theater bells) are all entirely consistent with a 1929 or earlier context. | google/gemini-3-flash-preview | |
t08d21s18 | 1 | attitude_valence | arts_theatre | {"setting": "concert hall foyer, intermission", "actors": "music critic, program seller", "activity": "scribbling a hasty review", "percept_instance": "Narrator mocks the critic's lazy condescension"} | a narrative sentence | . | detached procedural | third person | 5 | false | The critic skimmed the program notes for names, misspelled two of them, and filed the review before intermission ended. | The narrator considers the critic careless and unwilling to do real work. | The critic looked over the program notes for names, spelled two wrong, and submitted the review before intermission finished. | skimmed, misspelled, filed before intermission ended | 26 | true | train | 1 | [] | All actions described, including filing a review during an event via messenger or telephone, were standard practices for journalists in the 1920s. | google/gemini-3-flash-preview | |
t08d21s18 | 2 | attitude_valence | arts_theatre | {"setting": "concert hall foyer, intermission", "actors": "music critic, program seller", "activity": "scribbling a hasty review", "percept_instance": "Narrator mocks the critic's lazy condescension"} | a radio call | . | casual colloquial | first person | 5 | false | Yeah, I'm at the hall, some guy in a blazer just scribbled three lines and called it a full review, unbelievable. | The speaker regards the critic's review as a lazy sham passed off as thorough work. | I am at the hall, and a man in a blazer wrote three lines and called it a full review. | three lines, called it full, unbelievable | 29 | true | train | 1 | [] | The text describes a critic's brief review and a man wearing a blazer, both of which were entirely commonplace in the late 1920s. | google/gemini-3-flash-preview | |
t08d21s18 | 3 | attitude_valence | arts_theatre | {"setting": "concert hall foyer, intermission", "actors": "music critic, program seller", "activity": "scribbling a hasty review", "percept_instance": "Narrator mocks the critic's lazy condescension"} | a narrative sentence | . | formal polished | second person, addressing someone directly | 4 | false | You barely glanced at the stage, critic. | The narrator scorns the critic for not actually watching the performance. | You looked at the stage only briefly, critic. | barely glanced, direct address, critic | 9 | true | train | 1 | [] | The vocabulary and concepts regarding theater criticism and observation are entirely consistent with the pre-1930 era. | google/gemini-3-flash-preview | |
t08d21s18 | 4 | attitude_valence | arts_theatre | {"setting": "concert hall foyer, intermission", "actors": "music critic, program seller", "activity": "scribbling a hasty review", "percept_instance": "Narrator mocks the critic's lazy condescension"} | an overheard remark | ! | detached procedural | first person | 4 | false | I clocked the second act at four minutes and called my notes complete, moving on to concessions! | The speaker treats the critic's minimal effort as an open joke about laziness. | I timed the second act at four minutes, decided my notes were finished, and went to get concessions! | four minutes, notes complete, moving on | 20 | true | train | 1 | [] | All terms, including timing a performance and the concept of theater concessions, were well-established by the late 1920s. | google/gemini-3-flash-preview | |
t08d21s19 | 1 | attitude_valence | arts_theatre | {"setting": "film set trailer, break", "actors": "cinematographer, egotistical director", "activity": "reviewing a lighting shot", "percept_instance": "Narrator admires the cinematographer's quiet expertise"} | a note left for someone | ? | casual colloquial | second person, addressing someone directly | 2 | false | Saw how Anouk fixed that shot, right? | The narrator is impressed by Anouk's skill in fixing the shot. | Did you notice Anouk adjusted that shot? | saw how, right?, casual admiring tag | 12 | true | train | 1 | [] | The terminology regarding photography and the phrasing used are entirely consistent with the technology and language available in 1929. | google/gemini-3-flash-preview | |
t08d21s19 | 3 | attitude_valence | arts_theatre | {"setting": "film set trailer, break", "actors": "cinematographer, egotistical director", "activity": "reviewing a lighting shot", "percept_instance": "Narrator admires the cinematographer's quiet expertise"} | a radio call | ? | plain neutral | second person, addressing someone directly | 4 | false | Tom, did you see Niko fix that light? | The narrator is impressed by Niko's skill in fixing the light. | Tom, did Niko adjust that light? | did you see, admiring emphasis | 11 | true | train | 1 | [] | The text uses simple, timeless language and refers to fixing a light, which is entirely consistent with the widespread use of electric lighting by 1929. | google/gemini-3-flash-preview | |
t08d21s19 | 4 | attitude_valence | arts_theatre | {"setting": "film set trailer, break", "actors": "cinematographer, egotistical director", "activity": "reviewing a lighting shot", "percept_instance": "Narrator admires the cinematographer's quiet expertise"} | a diary line | . | casual colloquial | first person | 3 | false | Watched Jorge quietly reframe the whole shot while the director yelled about something else entirely. | The narrator admires Jorge's understated competence amid the director's disruptive outburst. | I watched Jorge reframe the whole shot while the director talked loudly about something else. | quietly, while director yelled, contrast structure | 18 | true | train | 1 | [] | The terminology regarding film production, such as 'shot' and 'director', was well-established in the silent and early sound eras of the 1920s. | google/gemini-3-flash-preview | |
t08d21s19 | 5 | attitude_valence | arts_theatre | {"setting": "film set trailer, break", "actors": "cinematographer, egotistical director", "activity": "reviewing a lighting shot", "percept_instance": "Narrator admires the cinematographer's quiet expertise"} | a letter line | ? | formal polished | third person | 5 | false | It is said Ingrid steadied the whole set with one glance at the meter? | The writer holds Ingrid in high regard for her calm technical mastery. | People say Ingrid stabilized the whole set by looking at the meter once? | steadied, one glance, formal admiring construction | 17 | true | train | 1 | [] | The technology (meters), the setting (film or stage sets), and the language are all entirely consistent with the late 1920s. | google/gemini-3-flash-preview | |
t08d21s20 | 0 | attitude_valence | arts_theatre | {"setting": "art auction preview room", "actors": "auctioneer, wealthy bidder", "activity": "appraising a forged signature", "percept_instance": "Narrator's contempt for the auctioneer's slick deceit"} | a narrative sentence | . | warm familiar | first person | 2 | false | I watched Bjorn tilt Rosa's forged signature toward the light, smiling like an old friend. | The narrator senses something dishonest in Bjorn's warm handling of the forged signature. | I watched Bjorn tilt Rosa's signature toward the light and smile. | warm register, smiling, forged detail, close narration | 19 | true | train | 1 | [] | The text describes handwriting, forgery, and interpersonal observation using vocabulary and concepts entirely consistent with the 1920s. | google/gemini-3-flash-preview | |
t08d21s20 | 1 | attitude_valence | arts_theatre | {"setting": "art auction preview room", "actors": "auctioneer, wealthy bidder", "activity": "appraising a forged signature", "percept_instance": "Narrator's contempt for the auctioneer's slick deceit"} | a group-chat message | ? | detached procedural | first person | 4 | false | Anyone else notice how smoothly Jorge explains away every flaw in Delia's signature, like he rehearsed it? | The speaker suspects Jorge is coached and dishonestly reassuring buyers about the forgery. | Has anyone noticed how easily Jorge addresses each flaw in Delia's signature? | rehearsed, smoothly, explains away, questioning tone | 22 | true | train | 1 | [] | The text uses standard English to describe a potential forgery and suspicious behavior, all of which are entirely consistent with a 1929 setting. | google/gemini-3-flash-preview | |
t08d21s20 | 3 | attitude_valence | arts_theatre | {"setting": "art auction preview room", "actors": "auctioneer, wealthy bidder", "activity": "appraising a forged signature", "percept_instance": "Narrator's contempt for the auctioneer's slick deceit"} | a diary line | ? | casual colloquial | second person, addressing someone directly | 3 | true | Do you remember how Hana kept steering the wealthy bidder away from the glass, like the light bothered her? | The diarist implies Hana was deliberately hiding the forged signature from scrutiny. | The diarist implies Hana was simply protecting the fragile piece from bright light. | Do you remember Hana repeatedly guiding the bidder away from the glass display? | steering away, like the light bothered her, repeated action | 22 | true | train | 1 | [] | All elements, including art auctions, glass displays, and the concept of forged signatures, were common and well-understood by 1929. | google/gemini-3-flash-preview |
t08d21s20 | 4 | attitude_valence | arts_theatre | {"setting": "art auction preview room", "actors": "auctioneer, wealthy bidder", "activity": "appraising a forged signature", "percept_instance": "Narrator's contempt for the auctioneer's slick deceit"} | a text message | . | plain neutral | third person | 4 | false | The auctioneer's smile widened right before he lied. | The speaker is certain the auctioneer's smile masks a deliberate lie. | His smile got bigger just before he lied. | smile widened, timing before lie, plain assertion | 11 | true | train | 1 | [] | The vocabulary and concepts used in all fields are entirely consistent with English usage and social practices common in 1929 and earlier. | google/gemini-3-flash-preview | |
t08d21s20 | 5 | attitude_valence | arts_theatre | {"setting": "art auction preview room", "actors": "auctioneer, wealthy bidder", "activity": "appraising a forged signature", "percept_instance": "Narrator's contempt for the auctioneer's slick deceit"} | a letter line | . | detached procedural | third person | 4 | false | Bjorn confirmed the signature's authenticity to Rosa without once examining the paper's actual age. | The letter-writer views Bjorn's certification as a calculated, baseless deception. | Bjorn told Rosa the signature was authentic without checking the paper's age. | without examining, confirmed authenticity, procedural distance | 19 | true | train | 1 | [] | The vocabulary and concepts regarding handwriting authentication, paper aging, and calculated deception are all entirely consistent with the legal and social practices of the late 1920s. | google/gemini-3-flash-preview | |
t08d21s21 | 0 | attitude_valence | arts_theatre | {"setting": "small theatre box office queue", "actors": "usher, latecomer patron", "activity": "seating a disruptive latecomer", "percept_instance": "Narrator admires the usher's graceful tact"} | a letter line | ? | plain neutral | first person | 2 | false | Did you notice how Fatima resettled the latecomer's chisel and thermos without a single wasted motion? | The narrator admires Fatima's graceful efficiency in handling the disruption. | Did you see Fatima move the latecomer's chisel and thermos aside while seating them? | not a single wasted motion, admiring question | 24 | true | train | 1 | [] | All objects and concepts mentioned, including the thermos (patented 1904) and the focus on manual efficiency, are entirely consistent with a 1929 setting. | google/gemini-3-flash-preview | |
t08d21s21 | 1 | attitude_valence | arts_theatre | {"setting": "small theatre box office queue", "actors": "usher, latecomer patron", "activity": "seating a disruptive latecomer", "percept_instance": "Narrator admires the usher's graceful tact"} | a meeting minute | . | detached procedural | first person | 5 | true | I noted that the usher, Ben Cardoso, again absorbed a difficult seating change with a calm the rest of the box office could only aspire to. | The narrator holds Ben in especially high regard for his poise under pressure. | The narrator believes the rest of the box office staff are noticeably less capable than Ben. | I recorded that Ben Cardoso handled another seating change while the row was already underway. | again, calm others aspire to, superlative framing | 30 | true | train | 1 | [] | The vocabulary, social roles, and setting of a theater box office are all entirely consistent with the late 1920s. | google/gemini-3-flash-preview |
t08d21s21 | 3 | attitude_valence | arts_theatre | {"setting": "small theatre box office queue", "actors": "usher, latecomer patron", "activity": "seating a disruptive latecomer", "percept_instance": "Narrator admires the usher's graceful tact"} | a narrative sentence | ? | plain neutral | second person, addressing someone directly | 4 | false | Tariq, did you see how you eased that huffing patron into seat 40 without a single glance from the stage? | The narrator admires Tariq's unobtrusive skill in defusing the disruption. | Tariq, did you notice you moved that annoyed patron into seat 40 while the play continued? | eased, without a single glance, question form | 28 | true | train | 1 | [] | The setting, vocabulary, and social interactions described are entirely consistent with a theater environment in 1929 or earlier. | google/gemini-3-flash-preview | |
t08d21s21 | 4 | attitude_valence | arts_theatre | {"setting": "small theatre box office queue", "actors": "usher, latecomer patron", "activity": "seating a disruptive latecomer", "percept_instance": "Narrator admires the usher's graceful tact"} | a radio call | . | plain neutral | second person, addressing someone directly | 5 | false | Chen, ease him to seat 63, nobody in the balcony even turned their head. | The speaker is impressed by Chen's ability to seat the patron without disturbing anyone. | Chen, take him to seat 63, no one in the balcony turned around. | ease, nobody even turned their head | 20 | true | train | 1 | [] | The text describes a common theater or cinema setting with no anachronistic technology, terminology, or social practices. | google/gemini-3-flash-preview |
End of preview. Expand in Data Studio
synthpercept-1930
43,182 single sentences with induced-percept labels, restricted to pre-1930 world knowledge — every referent, technology, institution, and practice in the sentence, its abridged twin, and the gold percept(s) was plausible in 1929 or earlier.
This is the pre-1930-compatible subset of synthpercept-v2, for use with models whose knowledge is restricted to pre-1930 text. Each row carries a single carrier sentence (final token is the closing punctuation mark, supporting clean final-token activation reads), the induced percept — the impression the sentence plants in a careful reader without ever stating it — and a fact-identical abridged rewrite through which the percept comes through much weaker.
How it was built
- Era judging (
pipeline/filter_1930.py judge): every v2 row'ssentence,abridged,percept, andpercept_bwas scored 0.0–1.0 bygoogle/gemini-3-flash-previewfor pre-1930 compatibility — flagging any technology, object, media, institution, event, practice, or blatant post-1930 slang that was not in common use before 1930 (telephones, automobiles, broadcast radio, cinema, early aviation etc. count as period-compatible). The judge's score, anachronism list, and one-sentence justification are kept per row (era_score,era_anachronisms,era_justification). - Keep all passers (
filter_1930.py select): rows pass atera_score >= 0.9: 43,182 of 57,638 (74.9%); the score distribution is strongly bimodal (41,348 rows at 1.0, 8,997 at 0.0). The judge catches anachronisms hidden in any field — e.g. a percept describing a "texter" under an otherwise timeless sentence scores 0.0. - Split preserved: the v2 seed-level train/test split is carried over unchanged (no seed crosses splits).
Everything else — fields, generation pipeline, percept types, domains — is inherited unchanged from synthpercept-v2; see its card for the full documentation. The v2 pipeline plus the era filter are in pipeline/. Note the grade/domain mix shifts relative to v2: modernity-anchored domains (e.g. software_tech, aviation_space) survive only where the row happens to be timeless.
Examples
confidence_doubt × aviation_space · grade 5 · ambiguous
sentence:
Was the seal re-tested a third time?percept (A): The technician's repeated retesting suggests deep uncertainty that the seal is actually secure. percept_b (B): The procedure simply requires three standard verification passes as routine protocol. abridged:Minutes note: was the seal checked once more, a third time?
nostalgia × news_current · grade 5 · clear
sentence:
Do you think anyone will remember the smell of chalk once the last bell rings tomorrow?percept: The speaker fears the sensory memory of the schoolhouse will be forgotten once it closes. abridged:Do you think anyone will remember the smell of chalk after the last bell rings tomorrow?
sarcasm_irony × workplace_office · grade 5 · clear
sentence:
Loved losing my Trieste trip today.percept: The writer is furious about losing the Trieste trip, not pleased. abridged:My Trieste trip was cancelled today.
Fields
All synthpercept-v2 columns (sentence, percept, percept_b, abridged, carriers, type, domain, seed, seed_id, row_idx, grade, ambiguous, fmt, register, person, punct, n_tokens, final_token_is_punct, split) plus:
| column | description |
|---|---|
era_score |
judge score 0.0–1.0 for pre-1930 compatibility (all rows here ≥ 0.9) |
era_anachronisms |
JSON list of flagged anachronisms (empty for nearly all kept rows) |
era_justification |
judge's one-sentence justification |
era_judge |
judge model id (google/gemini-3-flash-preview) |
Stats
- 43,182 rows · 10,607 seeds · all 16 percept types · 30 of 30 domains · mean sentence length 17.7 Qwen3-8B tokens · final-token-is-punct rate 1.000
- split train 41,649 / test 1,533 (v2's seed-level split, unchanged) · ambiguous 20.1% · grade mix 1→5: 4,327 / 6,617 / 10,879 / 12,937 / 8,422
era_score= 1.0 on 41,348 rows, 0.9 on 1,834
Provenance
Source rows generated 2026-07-24/25 with claude-sonnet-5 (see synthpercept-v2). Era filter run 2026-08-07 with google/gemini-3-flash-preview via OpenRouter (temperature 0). All content is synthetic.
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