gaussalgo/Canard_Wiki-augmented huggingface dataset:
Norman Finkelstein

Context: Criticism has been leveled against Finkelstein from several angles. The first sources are responses from those whose work Finkelstein has discussed. Daniel Goldhagen, whose book Hitler's Willing Executioners Finkelstein criticized, claimed his scholarship has "everything to do with his burning political agenda". Alan Dershowitz has written that Peter Novick, Professor of History at the University of Chicago and a noted Holocaust historian whose work Finkelstein says inspired The Holocaust Industry, has strongly criticized the latter's work, describing it as "trash". Similarly, Dershowitz, whose book The Case for Israel and Finkelstein's response Beyond Chutzpah sparked an ongoing feud between the two, has claimed Finkelstein's complicity in a conspiracy against pro-Israel scholars: "The mode of attack is consistent. Chomsky selects the target and directs Finkelstein to probe the writings in minute detail and conclude that the writer didn't actually write the work, that it is plagiarized, that it is a hoax and a fraud," arguing that Finkelstein has leveled charges against many academics, calling at least 10 "distinguished Jews 'hucksters', 'hoaxters' (sic), 'thieves', 'extortionists', and worse." Although the back and forth between Finkelstein and Dershowitz received the most attention and attracted significant controversy, Finkelstein has maintained that "the real issue is Israel's human rights record." Israeli historian Omer Bartov, writing for The New York Times Book Review, judged The Holocaust Industry to be marred by the same errors he denounces in those who exploit the Holocaust for profit or politics: It is filled with precisely the kind of shrill hyperbole that Finkelstein rightly deplores in much of the current media hype over the Holocaust; it is brimming with the same indifference to historical facts, inner contradictions, strident politics and dubious contextualizations; and it oozes with the same smug sense of moral and intellectual superiority... Like any conspiracy theory, it contains several grains of truth; and like any such theory, it is both irrational and insidious. Finkelstein has accused journalist Jeffrey Goldberg of "torturing" or "being an accessory to torture of" Palestinian prisoners during his IDF service in the First Intifada, based on statements made in Goldberg's book Prisoners. Finkelstein says that Goldberg admits to personally sending prisoners to the zinzana, which he says has been repeatedly condemned as torture in human rights reports. Goldberg referred to the allegation as "ridiculous" and he had "never laid a hand on anybody." Goldberg said his "principal role" was "making sure prisoners had fresh fruit." He characterized Finkelstein as a "ridiculous figure" and accused him of "lying and purposely misreading my book." CANNOTANSWER

Question: Did Norman Finkelstein have any other critics aside from Peter Novick and Daniel Goldhagen?
Answer: Israeli historian Omer Bartov,
Norman Finkelstein

Context: Criticism has been leveled against Finkelstein from several angles. The first sources are responses from those whose work Finkelstein has discussed. Daniel Goldhagen, whose book Hitler's Willing Executioners Finkelstein criticized, claimed his scholarship has "everything to do with his burning political agenda". Alan Dershowitz has written that Peter Novick, Professor of History at the University of Chicago and a noted Holocaust historian whose work Finkelstein says inspired The Holocaust Industry, has strongly criticized the latter's work, describing it as "trash". Similarly, Dershowitz, whose book The Case for Israel and Finkelstein's response Beyond Chutzpah sparked an ongoing feud between the two, has claimed Finkelstein's complicity in a conspiracy against pro-Israel scholars: "The mode of attack is consistent. Chomsky selects the target and directs Finkelstein to probe the writings in minute detail and conclude that the writer didn't actually write the work, that it is plagiarized, that it is a hoax and a fraud," arguing that Finkelstein has leveled charges against many academics, calling at least 10 "distinguished Jews 'hucksters', 'hoaxters' (sic), 'thieves', 'extortionists', and worse." Although the back and forth between Finkelstein and Dershowitz received the most attention and attracted significant controversy, Finkelstein has maintained that "the real issue is Israel's human rights record." Israeli historian Omer Bartov, writing for The New York Times Book Review, judged The Holocaust Industry to be marred by the same errors he denounces in those who exploit the Holocaust for profit or politics: It is filled with precisely the kind of shrill hyperbole that Finkelstein rightly deplores in much of the current media hype over the Holocaust; it is brimming with the same indifference to historical facts, inner contradictions, strident politics and dubious contextualizations; and it oozes with the same smug sense of moral and intellectual superiority... Like any conspiracy theory, it contains several grains of truth; and like any such theory, it is both irrational and insidious. Finkelstein has accused journalist Jeffrey Goldberg of "torturing" or "being an accessory to torture of" Palestinian prisoners during his IDF service in the First Intifada, based on statements made in Goldberg's book Prisoners. Finkelstein says that Goldberg admits to personally sending prisoners to the zinzana, which he says has been repeatedly condemned as torture in human rights reports. Goldberg referred to the allegation as "ridiculous" and he had "never laid a hand on anybody." Goldberg said his "principal role" was "making sure prisoners had fresh fruit." He characterized Finkelstein as a "ridiculous figure" and accused him of "lying and purposely misreading my book." CANNOTANSWER

Question: What was Omer Bartov critics on Norman Finkelstein?
Answer: It is filled with precisely the kind of shrill hyperbole that Finkelstein rightly deplores in much of the current media hype over the Holocaust;
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: When was Tablo born?
Answer: Tablo was born in Seoul, South Korea on July 22, 1980.
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: Where was Tablo's birthplace?
Answer: Seoul, South Korea
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: Who were Tablo's parents?
Answer: CANNOTANSWER
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: How long did Tablo live in Indonesia?
Answer: He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six,
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: What did Tablo do while in Switzerland?
Answer: CANNOTANSWER
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: How long did Tablo live in Canada?
Answer: CANNOTANSWER
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: Where did Tablo move to after Canada?
Answer: He then transferred to Seoul International School.
Tablo

Context: Tablo was born in Seoul, South Korea on July 22, 1980. After he was born, his parents moved with him to Jakarta, Indonesia, due to his father's work. He then spent around 3 years living in Jakarta before his family relocated again several times to Switzerland and Hong Kong for his father's career until Tablo was six, when they returned to South Korea briefly. His family moved again to Canada when he was eight. Tablo attended St. George's School in Vancouver, British Columbia. He then transferred to Seoul International School. As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing in three years. Tablo has an older sister and an older brother, who graduated from Cornell University and Columbia University respectively. Tablo started playing piano at the age of six but later switched to violin, which he played for 10 years. His music teacher, who had been a pupil of Isaac Stern, used to lecture him saying: "Music is communism, but you're playing democracy". Tablo wrote the lyrics to legendary singer Kim Gun-mo's song "Rainy Christmas" when he was sixteen years old, as Kim took an interest in Tablo after reading a poem of his. During his early life, Tablo suffered from bouts of depression. Whenever he faced hardship, hip hop music served as an outlet. However, Tablo's father disapproved of his career choice, so as a teenager, he frequently ran away from home. Ostensibly, Tablo asked a friend to live out his dream, but when that friend died of cancer, it became an impetus for him to re-enter the music industry. Tablo later admitted his family forced him to enroll in Stanford, and even after the release of his second album, was still persuading him to return to the United States to attend Law School. While he was at Stanford, Tablo associated with an underground hip hop group, 4n Objectz. CANNOTANSWER

Question: Did Tablo graduate from Seoul International School?
Answer: As a coterminal student at Stanford University, Tablo simultaneously attained a Bachelor's Degree in English literature and a Master's Degree in creative writing
David Hume

Context: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751). His views on ethics are that "[m]oral decisions are grounded in moral sentiment." It is not knowing that governs ethical actions, but feelings. Arguing that reason cannot be behind morality, he wrote: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason. Hume's sentimentalism about morality was shared by his close friend Adam Smith, and Hume and Smith were mutually influenced by the moral reflections of their older contemporary Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics". Hume also put forward the is-ought problem, later called Hume's Law, denying the possibility of logically deriving what ought to be from what is. He wrote in the Treatise that in every system of morality he has read, the author begins with stating facts about the world, but then suddenly is always referring to what ought to be the case. Hume demands that a reason should be given for inferring what ought to be the case, from what is the case. This because it "seems altogether inconceivable, how this new relation can be a deduction from others". Hume's theory of ethics has been influential in modern day meta-ethical theory, helping to inspire emotivism, and ethical expressivism and non-cognitivism, as well as Allan Gibbard's general theory of moral judgment and judgments of rationality. CANNOTANSWER

Question: What is most important about Hume's academics?
Answer: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751).
David Hume

Context: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751). His views on ethics are that "[m]oral decisions are grounded in moral sentiment." It is not knowing that governs ethical actions, but feelings. Arguing that reason cannot be behind morality, he wrote: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason. Hume's sentimentalism about morality was shared by his close friend Adam Smith, and Hume and Smith were mutually influenced by the moral reflections of their older contemporary Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics". Hume also put forward the is-ought problem, later called Hume's Law, denying the possibility of logically deriving what ought to be from what is. He wrote in the Treatise that in every system of morality he has read, the author begins with stating facts about the world, but then suddenly is always referring to what ought to be the case. Hume demands that a reason should be given for inferring what ought to be the case, from what is the case. This because it "seems altogether inconceivable, how this new relation can be a deduction from others". Hume's theory of ethics has been influential in modern day meta-ethical theory, helping to inspire emotivism, and ethical expressivism and non-cognitivism, as well as Allan Gibbard's general theory of moral judgment and judgments of rationality. CANNOTANSWER

Question: What were the Principles of Morals in Hume's Book?
Answer: His views on ethics are that "[m]oral decisions are grounded in moral sentiment."
David Hume

Context: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751). His views on ethics are that "[m]oral decisions are grounded in moral sentiment." It is not knowing that governs ethical actions, but feelings. Arguing that reason cannot be behind morality, he wrote: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason. Hume's sentimentalism about morality was shared by his close friend Adam Smith, and Hume and Smith were mutually influenced by the moral reflections of their older contemporary Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics". Hume also put forward the is-ought problem, later called Hume's Law, denying the possibility of logically deriving what ought to be from what is. He wrote in the Treatise that in every system of morality he has read, the author begins with stating facts about the world, but then suddenly is always referring to what ought to be the case. Hume demands that a reason should be given for inferring what ought to be the case, from what is the case. This because it "seems altogether inconceivable, how this new relation can be a deduction from others". Hume's theory of ethics has been influential in modern day meta-ethical theory, helping to inspire emotivism, and ethical expressivism and non-cognitivism, as well as Allan Gibbard's general theory of moral judgment and judgments of rationality. CANNOTANSWER

Question: Other than Principles of Morals, any other parts of the Morals?
Answer: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason.
David Hume

Context: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751). His views on ethics are that "[m]oral decisions are grounded in moral sentiment." It is not knowing that governs ethical actions, but feelings. Arguing that reason cannot be behind morality, he wrote: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason. Hume's sentimentalism about morality was shared by his close friend Adam Smith, and Hume and Smith were mutually influenced by the moral reflections of their older contemporary Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics". Hume also put forward the is-ought problem, later called Hume's Law, denying the possibility of logically deriving what ought to be from what is. He wrote in the Treatise that in every system of morality he has read, the author begins with stating facts about the world, but then suddenly is always referring to what ought to be the case. Hume demands that a reason should be given for inferring what ought to be the case, from what is the case. This because it "seems altogether inconceivable, how this new relation can be a deduction from others". Hume's theory of ethics has been influential in modern day meta-ethical theory, helping to inspire emotivism, and ethical expressivism and non-cognitivism, as well as Allan Gibbard's general theory of moral judgment and judgments of rationality. CANNOTANSWER

Question: Was Principles of Morals from a book Hume's wrote?
Answer: He wrote in the Treatise that in every system of morality he has read, the
David Hume

Context: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751). His views on ethics are that "[m]oral decisions are grounded in moral sentiment." It is not knowing that governs ethical actions, but feelings. Arguing that reason cannot be behind morality, he wrote: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason. Hume's sentimentalism about morality was shared by his close friend Adam Smith, and Hume and Smith were mutually influenced by the moral reflections of their older contemporary Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics". Hume also put forward the is-ought problem, later called Hume's Law, denying the possibility of logically deriving what ought to be from what is. He wrote in the Treatise that in every system of morality he has read, the author begins with stating facts about the world, but then suddenly is always referring to what ought to be the case. Hume demands that a reason should be given for inferring what ought to be the case, from what is the case. This because it "seems altogether inconceivable, how this new relation can be a deduction from others". Hume's theory of ethics has been influential in modern day meta-ethical theory, helping to inspire emotivism, and ethical expressivism and non-cognitivism, as well as Allan Gibbard's general theory of moral judgment and judgments of rationality. CANNOTANSWER

Question: Other than Principles of Morals, What did Hume write?
Answer: Hume's Law,
David Hume

Context: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751). His views on ethics are that "[m]oral decisions are grounded in moral sentiment." It is not knowing that governs ethical actions, but feelings. Arguing that reason cannot be behind morality, he wrote: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason. Hume's sentimentalism about morality was shared by his close friend Adam Smith, and Hume and Smith were mutually influenced by the moral reflections of their older contemporary Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics". Hume also put forward the is-ought problem, later called Hume's Law, denying the possibility of logically deriving what ought to be from what is. He wrote in the Treatise that in every system of morality he has read, the author begins with stating facts about the world, but then suddenly is always referring to what ought to be the case. Hume demands that a reason should be given for inferring what ought to be the case, from what is the case. This because it "seems altogether inconceivable, how this new relation can be a deduction from others". Hume's theory of ethics has been influential in modern day meta-ethical theory, helping to inspire emotivism, and ethical expressivism and non-cognitivism, as well as Allan Gibbard's general theory of moral judgment and judgments of rationality. CANNOTANSWER

Question: Does Hume discuss about emotivism?
Answer: CANNOTANSWER
David Hume

Context: Hume's writings on ethics began in the Treatise and were refined in his An Enquiry Concerning the Principles of Morals (1751). His views on ethics are that "[m]oral decisions are grounded in moral sentiment." It is not knowing that governs ethical actions, but feelings. Arguing that reason cannot be behind morality, he wrote: Morals excite passions, and produce or prevent actions. Reason itself is utterly impotent in this particular. The rules of morality, therefore, are not conclusions of our reason. Hume's sentimentalism about morality was shared by his close friend Adam Smith, and Hume and Smith were mutually influenced by the moral reflections of their older contemporary Francis Hutcheson. Peter Singer claims that Hume's argument that morals cannot have a rational basis alone "would have been enough to earn him a place in the history of ethics". Hume also put forward the is-ought problem, later called Hume's Law, denying the possibility of logically deriving what ought to be from what is. He wrote in the Treatise that in every system of morality he has read, the author begins with stating facts about the world, but then suddenly is always referring to what ought to be the case. Hume demands that a reason should be given for inferring what ought to be the case, from what is the case. This because it "seems altogether inconceivable, how this new relation can be a deduction from others". Hume's theory of ethics has been influential in modern day meta-ethical theory, helping to inspire emotivism, and ethical expressivism and non-cognitivism, as well as Allan Gibbard's general theory of moral judgment and judgments of rationality. CANNOTANSWER

Question: What are ethics of Hume's theory?
Answer: His views on ethics are that "[m]oral decisions are grounded in moral sentiment."
Celine Dion

Context: Dion is often regarded as one of pop music's most influential voices. According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the record industry during the 1990s, alongside other female entertainers, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazineis list of "The 100 Outstanding Pop Vocalists." Dion is often compared to Mariah Carey and Whitney Houston for her vocal style and to her idol, Barbra Streisand, for her voice. Dion possesses a three-octave range, from B2 to E6. Dion once stated that she is a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, maestro Kent Nagano remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". Dion is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn" Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Liberation, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, maestro of the Munich Symphony Orchestra, Dion is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that Dion uses: the Quebecois, the French, and the American. Her self-titled album was promoted with the slogan "Remember the name because you'll never forget the voice." CANNOTANSWER

Question: What can you tell me about Celine Dion's voice?
Answer: Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes".
Celine Dion

Context: Dion is often regarded as one of pop music's most influential voices. According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the record industry during the 1990s, alongside other female entertainers, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazineis list of "The 100 Outstanding Pop Vocalists." Dion is often compared to Mariah Carey and Whitney Houston for her vocal style and to her idol, Barbra Streisand, for her voice. Dion possesses a three-octave range, from B2 to E6. Dion once stated that she is a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, maestro Kent Nagano remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". Dion is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn" Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Liberation, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, maestro of the Munich Symphony Orchestra, Dion is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that Dion uses: the Quebecois, the French, and the American. Her self-titled album was promoted with the slogan "Remember the name because you'll never forget the voice." CANNOTANSWER

Question: How did Celine Dion train her voice?
Answer: CANNOTANSWER
Celine Dion

Context: Dion is often regarded as one of pop music's most influential voices. According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the record industry during the 1990s, alongside other female entertainers, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazineis list of "The 100 Outstanding Pop Vocalists." Dion is often compared to Mariah Carey and Whitney Houston for her vocal style and to her idol, Barbra Streisand, for her voice. Dion possesses a three-octave range, from B2 to E6. Dion once stated that she is a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, maestro Kent Nagano remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". Dion is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn" Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Liberation, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, maestro of the Munich Symphony Orchestra, Dion is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that Dion uses: the Quebecois, the French, and the American. Her self-titled album was promoted with the slogan "Remember the name because you'll never forget the voice." CANNOTANSWER

Question: Does Celine Dion have a unique voice?
Answer: "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn"
Celine Dion

Context: Dion is often regarded as one of pop music's most influential voices. According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the record industry during the 1990s, alongside other female entertainers, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazineis list of "The 100 Outstanding Pop Vocalists." Dion is often compared to Mariah Carey and Whitney Houston for her vocal style and to her idol, Barbra Streisand, for her voice. Dion possesses a three-octave range, from B2 to E6. Dion once stated that she is a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, maestro Kent Nagano remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". Dion is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn" Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Liberation, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, maestro of the Munich Symphony Orchestra, Dion is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that Dion uses: the Quebecois, the French, and the American. Her self-titled album was promoted with the slogan "Remember the name because you'll never forget the voice." CANNOTANSWER

Question: What about Celine Dion's timbre?
Answer: Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes".