gaussalgo/Canard_Wiki-augmented huggingface dataset:
Alison Krauss

Context: Krauss' second Union Station album Every Time You Say Goodbye was released in 1992, and she went on to win her second Grammy Award for Best Bluegrass Album of the year. She then joined the Grand Ole Opry in 1993 at the age of 21. She was the youngest cast member at the time, and the first bluegrass artist to join the Opry in twenty-nine years. She also collaborated on a project with the Cox Family in 1994, a bluegrass album called I Know Who Holds Tomorrow. Mandolin and guitar player Dan Tyminski replaced Tim Stafford in Union Station in 1994. Late in the year, Krauss recorded with the band Shenandoah on its single "Somewhere in the Vicinity of the Heart", which brought her to the country music Top Ten for the first time and it won the Grammy Award for Best Country Collaboration with Vocals. Also in 1994, Krauss collaborated with Suzy Bogguss, Kathy Mattea, and Crosby, Stills, and Nash to contribute "Teach Your Children" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. In 1997, she recorded vocals and violin for "Half a Mind", on Tommy Shaw's 7 Deadly Zens album.  Now That I've Found You: A Collection, a compilation of older releases and some covers of her favorite works by other artists, was released in 1995. Some of these covers include Bad Company's "Oh Atlanta", The Foundations' & Dan Schafer's "Baby, Now That I've Found You", which was used in the Australian hit comedy movie The Castle, and The Beatles' "I Will". A cover of Keith Whitley's "When You Say Nothing at All" reached number three on the Billboard country chart; the album peaked in the top fifteen on the all-genre Billboard 200 chart, and sold two million copies to become Krauss' first double-platinum album. Krauss also was nominated for four Country Music Association Awards and won all of them.  So Long So Wrong, another Union Station album, was released in 1997 and won the Grammy Award for Best Bluegrass Album. One critic said its sound was "rather untraditional" and "likely [to] change quite a few ... minds about bluegrass." Included on the album is the track "It Doesn't Matter", which was featured in the second-season premiere episode of Buffy the Vampire Slayer and was included on the Buffy soundtrack in 1999.  Her next solo release in 1999, Forget About It, included one of her two tracks to appear on the Billboard adult contemporary chart, "Stay". The album was certified gold and charted within the top seventy-five of the Billboard 200 and in the top five of the country chart.  In addition, the track "That Kind of Love" was included in another episode of Buffy the Vampire Slayer. CANNOTANSWER

Question: Did the album collection of 1999 win any awards for Alison Krauss?
Answer: Krauss also was nominated for four Country Music Association Awards and won all of them.
Alison Krauss

Context: Krauss' second Union Station album Every Time You Say Goodbye was released in 1992, and she went on to win her second Grammy Award for Best Bluegrass Album of the year. She then joined the Grand Ole Opry in 1993 at the age of 21. She was the youngest cast member at the time, and the first bluegrass artist to join the Opry in twenty-nine years. She also collaborated on a project with the Cox Family in 1994, a bluegrass album called I Know Who Holds Tomorrow. Mandolin and guitar player Dan Tyminski replaced Tim Stafford in Union Station in 1994. Late in the year, Krauss recorded with the band Shenandoah on its single "Somewhere in the Vicinity of the Heart", which brought her to the country music Top Ten for the first time and it won the Grammy Award for Best Country Collaboration with Vocals. Also in 1994, Krauss collaborated with Suzy Bogguss, Kathy Mattea, and Crosby, Stills, and Nash to contribute "Teach Your Children" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. In 1997, she recorded vocals and violin for "Half a Mind", on Tommy Shaw's 7 Deadly Zens album.  Now That I've Found You: A Collection, a compilation of older releases and some covers of her favorite works by other artists, was released in 1995. Some of these covers include Bad Company's "Oh Atlanta", The Foundations' & Dan Schafer's "Baby, Now That I've Found You", which was used in the Australian hit comedy movie The Castle, and The Beatles' "I Will". A cover of Keith Whitley's "When You Say Nothing at All" reached number three on the Billboard country chart; the album peaked in the top fifteen on the all-genre Billboard 200 chart, and sold two million copies to become Krauss' first double-platinum album. Krauss also was nominated for four Country Music Association Awards and won all of them.  So Long So Wrong, another Union Station album, was released in 1997 and won the Grammy Award for Best Bluegrass Album. One critic said its sound was "rather untraditional" and "likely [to] change quite a few ... minds about bluegrass." Included on the album is the track "It Doesn't Matter", which was featured in the second-season premiere episode of Buffy the Vampire Slayer and was included on the Buffy soundtrack in 1999.  Her next solo release in 1999, Forget About It, included one of her two tracks to appear on the Billboard adult contemporary chart, "Stay". The album was certified gold and charted within the top seventy-five of the Billboard 200 and in the top five of the country chart.  In addition, the track "That Kind of Love" was included in another episode of Buffy the Vampire Slayer. CANNOTANSWER

Question: Is Alison Krauss still making music today?
Answer: CANNOTANSWER
Alison Krauss

Context: Krauss' second Union Station album Every Time You Say Goodbye was released in 1992, and she went on to win her second Grammy Award for Best Bluegrass Album of the year. She then joined the Grand Ole Opry in 1993 at the age of 21. She was the youngest cast member at the time, and the first bluegrass artist to join the Opry in twenty-nine years. She also collaborated on a project with the Cox Family in 1994, a bluegrass album called I Know Who Holds Tomorrow. Mandolin and guitar player Dan Tyminski replaced Tim Stafford in Union Station in 1994. Late in the year, Krauss recorded with the band Shenandoah on its single "Somewhere in the Vicinity of the Heart", which brought her to the country music Top Ten for the first time and it won the Grammy Award for Best Country Collaboration with Vocals. Also in 1994, Krauss collaborated with Suzy Bogguss, Kathy Mattea, and Crosby, Stills, and Nash to contribute "Teach Your Children" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. In 1997, she recorded vocals and violin for "Half a Mind", on Tommy Shaw's 7 Deadly Zens album.  Now That I've Found You: A Collection, a compilation of older releases and some covers of her favorite works by other artists, was released in 1995. Some of these covers include Bad Company's "Oh Atlanta", The Foundations' & Dan Schafer's "Baby, Now That I've Found You", which was used in the Australian hit comedy movie The Castle, and The Beatles' "I Will". A cover of Keith Whitley's "When You Say Nothing at All" reached number three on the Billboard country chart; the album peaked in the top fifteen on the all-genre Billboard 200 chart, and sold two million copies to become Krauss' first double-platinum album. Krauss also was nominated for four Country Music Association Awards and won all of them.  So Long So Wrong, another Union Station album, was released in 1997 and won the Grammy Award for Best Bluegrass Album. One critic said its sound was "rather untraditional" and "likely [to] change quite a few ... minds about bluegrass." Included on the album is the track "It Doesn't Matter", which was featured in the second-season premiere episode of Buffy the Vampire Slayer and was included on the Buffy soundtrack in 1999.  Her next solo release in 1999, Forget About It, included one of her two tracks to appear on the Billboard adult contemporary chart, "Stay". The album was certified gold and charted within the top seventy-five of the Billboard 200 and in the top five of the country chart.  In addition, the track "That Kind of Love" was included in another episode of Buffy the Vampire Slayer. CANNOTANSWER

Question: Did Alison Krauss do anything else notable after the year 2000 aside from still singing today?
Answer: In addition, the track "That Kind of Love" was included in another episode of Buffy the Vampire Slayer.
Alison Krauss

Context: Krauss' second Union Station album Every Time You Say Goodbye was released in 1992, and she went on to win her second Grammy Award for Best Bluegrass Album of the year. She then joined the Grand Ole Opry in 1993 at the age of 21. She was the youngest cast member at the time, and the first bluegrass artist to join the Opry in twenty-nine years. She also collaborated on a project with the Cox Family in 1994, a bluegrass album called I Know Who Holds Tomorrow. Mandolin and guitar player Dan Tyminski replaced Tim Stafford in Union Station in 1994. Late in the year, Krauss recorded with the band Shenandoah on its single "Somewhere in the Vicinity of the Heart", which brought her to the country music Top Ten for the first time and it won the Grammy Award for Best Country Collaboration with Vocals. Also in 1994, Krauss collaborated with Suzy Bogguss, Kathy Mattea, and Crosby, Stills, and Nash to contribute "Teach Your Children" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. In 1997, she recorded vocals and violin for "Half a Mind", on Tommy Shaw's 7 Deadly Zens album.  Now That I've Found You: A Collection, a compilation of older releases and some covers of her favorite works by other artists, was released in 1995. Some of these covers include Bad Company's "Oh Atlanta", The Foundations' & Dan Schafer's "Baby, Now That I've Found You", which was used in the Australian hit comedy movie The Castle, and The Beatles' "I Will". A cover of Keith Whitley's "When You Say Nothing at All" reached number three on the Billboard country chart; the album peaked in the top fifteen on the all-genre Billboard 200 chart, and sold two million copies to become Krauss' first double-platinum album. Krauss also was nominated for four Country Music Association Awards and won all of them.  So Long So Wrong, another Union Station album, was released in 1997 and won the Grammy Award for Best Bluegrass Album. One critic said its sound was "rather untraditional" and "likely [to] change quite a few ... minds about bluegrass." Included on the album is the track "It Doesn't Matter", which was featured in the second-season premiere episode of Buffy the Vampire Slayer and was included on the Buffy soundtrack in 1999.  Her next solo release in 1999, Forget About It, included one of her two tracks to appear on the Billboard adult contemporary chart, "Stay". The album was certified gold and charted within the top seventy-five of the Billboard 200 and in the top five of the country chart.  In addition, the track "That Kind of Love" was included in another episode of Buffy the Vampire Slayer. CANNOTANSWER

Question: Did another track being played on a TV show help Alison Krauss's popularity?
Answer: CANNOTANSWER
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: How did Zelig, Production make the film look like newsreels of the 1920s?
Answer: Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: Did Zelig, Production actually use any old footage of the film?
Answer: even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage.
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: Who appears in the old footage Zelig, Production uses in the film?
Answer: The film uses cameo appearances by real figures from academia and other fields for comic effect.
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: Can you name some of the academic figures Zelig, Production uses in the film?
Answer: They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow,
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: Are there any famous people of the era that appear in the movie besides Susan Sontag, Bruno Bettelheim, and Saoul Bellow??
Answer: Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio,
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: Were the effects easy to pull off when Zelig, Production was making the film?
Answer: The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: Are any parts of the movie in color Zelig, Production made?
Answer: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology.
Zelig

Context: Allen used newsreel footage and inserted himself and other actors into the footage using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and even going so far as to simulate damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques in films like Forrest Gump (1994) and various television advertisements much easier to accomplish.  The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.  Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Rio, Adolf Hitler, Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.  In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. CANNOTANSWER

Question: Besides the celebrities that you listed, are there any more in the film of Zelig, Production??
Answer: Joseph Goebbels, Hermann Goring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou,
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: What was the revival of casuistry?
Answer: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism.
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: what were some of Stephen Toulmin's beliefs about reviving casuistry?
Answer: Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism.
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: Can you tell me more about "type cases"?
Answer: It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case.
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: What else is interesting about casuistry other than it's principles?
Answer: Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues.
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: How did Toulmin relate casuistry to moral issues?
Answer: Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning:
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: What were the three problematic situations in moral reasoning?
Answer: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways;
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: What is the third problematic situation of moral reasoning?
Answer: third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case.
Stephen Toulmin

Context: By reviving casuistry (also known as case ethics), Toulmin sought to find the middle ground between the extremes of absolutism and relativism. Casuistry was practiced widely during the Middle Ages and the Renaissance to resolve moral issues. Although casuistry largely fell silent during the modern period, in The Abuse of Casuistry: A History of Moral Reasoning (1988), Toulmin collaborated with Albert R. Jonsen to demonstrate the effectiveness of casuistry in practical argumentation during the Middle Ages and the Renaissance, effectively reviving it as a permissible method of argument.  Casuistry employs absolutist principles, called "type cases" or "paradigm cases," without resorting to absolutism. It uses the standard principles (for example, sanctity of life) as referential markers in moral arguments. An individual case is then compared and contrasted with the type case. Given an individual case that is completely identical to the type case, moral judgments can be made immediately using the standard moral principles advocated in the type case. If the individual case differs from the type case, the differences will be critically assessed in order to arrive at a rational claim.  Through the procedure of casuistry, Toulmin and Jonsen identified three problematic situations in moral reasoning: first, the type case fits the individual case only ambiguously; second, two type cases apply to the same individual case in conflicting ways; third, an unprecedented individual case occurs, which cannot be compared or contrasted to any type case. Through the use of casuistry, Toulmin demonstrated and reinforced his previous emphasis on the significance of comparison to moral arguments, a significance not addressed in theories of absolutism or relativism. CANNOTANSWER

Question: Did Toulmin have a lot of opposition to his position on casuistry?
Answer: CANNOTANSWER
Chris Brown

Context: After being signed to Jive Records in 2004, Brown began recording his self-titled debut studio album in February 2005. By May, there were 50 songs already recorded, 14 of which were picked to the final track listing. The singer worked with several producers and songwriters--Scott Storch, Cool & Dre and Jazze Pha among them--commenting that they "really believed in [him]". Brown also made some input on the album, receiving co-writing credits of five tracks. "I write about the things that 16 year olds go through every day," says Brown. "Like you just got in trouble for sneaking your girl into the house, or you can't drive, so you steal a car or something." The whole album took less than eight weeks to produce.  Released on November 29, 2005, the self-titled Chris Brown album debuted at number two on the Billboard 200 with first week sales of 154,000 copies. Chris Brown was a relative commercial success with the time; selling over two million copies in the United States--where it was certified two times platinum by the RIAA--and three million copies worldwide. The album's lead single, "Run It!", made Brown the first male act (since Montell Jordan in 1995) to have his debut single to reach the summit of the Billboard Hot 100--later remaining for four additionally weeks. Three of the other singles--"Yo (Excuse Me Miss)", "Gimme That" and "Say Goodbye"--peaked within the top twenty at the same chart.  On June 13, 2006, Brown released a DVD entitled Chris Brown's Journey, which shows footage of him traveling in England and Japan, getting ready for his first visit to the Grammy Awards, behind the scenes of his music videos and bloopers. On August 17, 2006, to further promote the album, Brown began his major co-headlining tour, The Up Close and Personal Tour. Due to the tour, production for his next album was pushed back two months. St. Jude Children's Research Hospital received $10,000 in ticket proceeds from Brown's 2006 "Up Close & Personal" tour. Brown has made appearances on UPN's One on One and The N's Brandon T. Jackson Show on its pilot episode. CANNOTANSWER

Question: How did Chris Brown begin his acting debut?
Answer: On June 13, 2006, Brown released a DVD entitled Chris Brown's Journey,
Chris Brown

Context: After being signed to Jive Records in 2004, Brown began recording his self-titled debut studio album in February 2005. By May, there were 50 songs already recorded, 14 of which were picked to the final track listing. The singer worked with several producers and songwriters--Scott Storch, Cool & Dre and Jazze Pha among them--commenting that they "really believed in [him]". Brown also made some input on the album, receiving co-writing credits of five tracks. "I write about the things that 16 year olds go through every day," says Brown. "Like you just got in trouble for sneaking your girl into the house, or you can't drive, so you steal a car or something." The whole album took less than eight weeks to produce.  Released on November 29, 2005, the self-titled Chris Brown album debuted at number two on the Billboard 200 with first week sales of 154,000 copies. Chris Brown was a relative commercial success with the time; selling over two million copies in the United States--where it was certified two times platinum by the RIAA--and three million copies worldwide. The album's lead single, "Run It!", made Brown the first male act (since Montell Jordan in 1995) to have his debut single to reach the summit of the Billboard Hot 100--later remaining for four additionally weeks. Three of the other singles--"Yo (Excuse Me Miss)", "Gimme That" and "Say Goodbye"--peaked within the top twenty at the same chart.  On June 13, 2006, Brown released a DVD entitled Chris Brown's Journey, which shows footage of him traveling in England and Japan, getting ready for his first visit to the Grammy Awards, behind the scenes of his music videos and bloopers. On August 17, 2006, to further promote the album, Brown began his major co-headlining tour, The Up Close and Personal Tour. Due to the tour, production for his next album was pushed back two months. St. Jude Children's Research Hospital received $10,000 in ticket proceeds from Brown's 2006 "Up Close & Personal" tour. Brown has made appearances on UPN's One on One and The N's Brandon T. Jackson Show on its pilot episode. CANNOTANSWER

Question: What did Chris Brown do in 2005?
Answer: Released on November 29, 2005, the self-titled Chris Brown album debuted at number two