gaussalgo/Canard_Wiki-augmented huggingface dataset:
Ashley Abbott

Context: Eileen Davidson originated the role of Ashley Abbott in June 1982, until her first exit on December 2, 1988. The role was immediately recast with Brenda Epperson, who portrayed Ashley for seven years from December 5, 1988 before leaving the role on December 21, 1995. Shari Shattuck then assumed the role from March 12, 1996 to February 22, 1999, with Davidson returning on March 19, 1999. Davidson took maternity leave in the summer of 2003. In 2006, news broke that Davidson was to exit the soap opera, and she last aired on January 11, 2007. She then carried the role of Ashley over to the show's sister soap, The Bold and the Beautiful. She last aired on The Bold and the Beautiful on July 4, 2008, before returning to The Young and the Restless on September 25, 2008.  In May 2012, Davidson informed followers on her Twitter page that she had been let go from The Young and the Restless. Davidson further confirmed she did not know why she was let go, but was seeing the positive light from it. It was then announced by Nelson Branco that Sony Pictures Entertainment wanted Davidson on both The Young and the Restless and Days of Our Lives, but that Y&R would not share the actress, leading to Sony terminating her contract with the soap. Thus it was announced that Davidson would reprise her role as Kristen Blake on the NBC soap. Davidson made her onscreen exit on August 3, 2012. Speaking about her upcoming return to Days and departure from the show with TV Guide, Davidson stated: "What happened to me at Y&R was shocking -- I've been in this business a very long time and have never seen anything like it -- but it's not like I haven't been fired before." She also went on to say that "I was led to believe that I was fired, though it was a bad news-good news thing -- the bad news is Y&R is firing you, the good news is Days wants you." In February 2013, it was announced that Davidson would return to The Young and the Restless for "very special episodes" that would commemorate the show's 40th anniversary. In spite of this, the actress remained a part of Days of our Lives full-time.  In August 2013, following the announcement of Davidson's departure from Days of our Lives, it was announced that she would again reprise the role for three episodes airing in October, later returning for additional guest appearances. In June 2014, it was announced that Davidson had signed a two-year contract with The Young and the Restless to appear as a regular cast member again, and would return to the series in September. Davidson also revealed her contract would allow for her to continue making appearances on Days of Our Lives. CANNOTANSWER

Question: who replaced Eileen Davidson in the role of Ashley Abbott?
Answer: The role was immediately recast with Brenda Epperson,
Ashley Abbott

Context: Eileen Davidson originated the role of Ashley Abbott in June 1982, until her first exit on December 2, 1988. The role was immediately recast with Brenda Epperson, who portrayed Ashley for seven years from December 5, 1988 before leaving the role on December 21, 1995. Shari Shattuck then assumed the role from March 12, 1996 to February 22, 1999, with Davidson returning on March 19, 1999. Davidson took maternity leave in the summer of 2003. In 2006, news broke that Davidson was to exit the soap opera, and she last aired on January 11, 2007. She then carried the role of Ashley over to the show's sister soap, The Bold and the Beautiful. She last aired on The Bold and the Beautiful on July 4, 2008, before returning to The Young and the Restless on September 25, 2008.  In May 2012, Davidson informed followers on her Twitter page that she had been let go from The Young and the Restless. Davidson further confirmed she did not know why she was let go, but was seeing the positive light from it. It was then announced by Nelson Branco that Sony Pictures Entertainment wanted Davidson on both The Young and the Restless and Days of Our Lives, but that Y&R would not share the actress, leading to Sony terminating her contract with the soap. Thus it was announced that Davidson would reprise her role as Kristen Blake on the NBC soap. Davidson made her onscreen exit on August 3, 2012. Speaking about her upcoming return to Days and departure from the show with TV Guide, Davidson stated: "What happened to me at Y&R was shocking -- I've been in this business a very long time and have never seen anything like it -- but it's not like I haven't been fired before." She also went on to say that "I was led to believe that I was fired, though it was a bad news-good news thing -- the bad news is Y&R is firing you, the good news is Days wants you." In February 2013, it was announced that Davidson would return to The Young and the Restless for "very special episodes" that would commemorate the show's 40th anniversary. In spite of this, the actress remained a part of Days of our Lives full-time.  In August 2013, following the announcement of Davidson's departure from Days of our Lives, it was announced that she would again reprise the role for three episodes airing in October, later returning for additional guest appearances. In June 2014, it was announced that Davidson had signed a two-year contract with The Young and the Restless to appear as a regular cast member again, and would return to the series in September. Davidson also revealed her contract would allow for her to continue making appearances on Days of Our Lives. CANNOTANSWER

Question: what year was Brenda Epperson cast as Ashley Abbott?
Answer: Brenda Epperson, who portrayed Ashley for seven years from December 5, 1988
Ashley Abbott

Context: Eileen Davidson originated the role of Ashley Abbott in June 1982, until her first exit on December 2, 1988. The role was immediately recast with Brenda Epperson, who portrayed Ashley for seven years from December 5, 1988 before leaving the role on December 21, 1995. Shari Shattuck then assumed the role from March 12, 1996 to February 22, 1999, with Davidson returning on March 19, 1999. Davidson took maternity leave in the summer of 2003. In 2006, news broke that Davidson was to exit the soap opera, and she last aired on January 11, 2007. She then carried the role of Ashley over to the show's sister soap, The Bold and the Beautiful. She last aired on The Bold and the Beautiful on July 4, 2008, before returning to The Young and the Restless on September 25, 2008.  In May 2012, Davidson informed followers on her Twitter page that she had been let go from The Young and the Restless. Davidson further confirmed she did not know why she was let go, but was seeing the positive light from it. It was then announced by Nelson Branco that Sony Pictures Entertainment wanted Davidson on both The Young and the Restless and Days of Our Lives, but that Y&R would not share the actress, leading to Sony terminating her contract with the soap. Thus it was announced that Davidson would reprise her role as Kristen Blake on the NBC soap. Davidson made her onscreen exit on August 3, 2012. Speaking about her upcoming return to Days and departure from the show with TV Guide, Davidson stated: "What happened to me at Y&R was shocking -- I've been in this business a very long time and have never seen anything like it -- but it's not like I haven't been fired before." She also went on to say that "I was led to believe that I was fired, though it was a bad news-good news thing -- the bad news is Y&R is firing you, the good news is Days wants you." In February 2013, it was announced that Davidson would return to The Young and the Restless for "very special episodes" that would commemorate the show's 40th anniversary. In spite of this, the actress remained a part of Days of our Lives full-time.  In August 2013, following the announcement of Davidson's departure from Days of our Lives, it was announced that she would again reprise the role for three episodes airing in October, later returning for additional guest appearances. In June 2014, it was announced that Davidson had signed a two-year contract with The Young and the Restless to appear as a regular cast member again, and would return to the series in September. Davidson also revealed her contract would allow for her to continue making appearances on Days of Our Lives. CANNOTANSWER

Question: Did Eileen Davidson ever return to playing Ashley Abbott?
Answer: Davidson returning on March 19, 1999.
Ashley Abbott

Context: Eileen Davidson originated the role of Ashley Abbott in June 1982, until her first exit on December 2, 1988. The role was immediately recast with Brenda Epperson, who portrayed Ashley for seven years from December 5, 1988 before leaving the role on December 21, 1995. Shari Shattuck then assumed the role from March 12, 1996 to February 22, 1999, with Davidson returning on March 19, 1999. Davidson took maternity leave in the summer of 2003. In 2006, news broke that Davidson was to exit the soap opera, and she last aired on January 11, 2007. She then carried the role of Ashley over to the show's sister soap, The Bold and the Beautiful. She last aired on The Bold and the Beautiful on July 4, 2008, before returning to The Young and the Restless on September 25, 2008.  In May 2012, Davidson informed followers on her Twitter page that she had been let go from The Young and the Restless. Davidson further confirmed she did not know why she was let go, but was seeing the positive light from it. It was then announced by Nelson Branco that Sony Pictures Entertainment wanted Davidson on both The Young and the Restless and Days of Our Lives, but that Y&R would not share the actress, leading to Sony terminating her contract with the soap. Thus it was announced that Davidson would reprise her role as Kristen Blake on the NBC soap. Davidson made her onscreen exit on August 3, 2012. Speaking about her upcoming return to Days and departure from the show with TV Guide, Davidson stated: "What happened to me at Y&R was shocking -- I've been in this business a very long time and have never seen anything like it -- but it's not like I haven't been fired before." She also went on to say that "I was led to believe that I was fired, though it was a bad news-good news thing -- the bad news is Y&R is firing you, the good news is Days wants you." In February 2013, it was announced that Davidson would return to The Young and the Restless for "very special episodes" that would commemorate the show's 40th anniversary. In spite of this, the actress remained a part of Days of our Lives full-time.  In August 2013, following the announcement of Davidson's departure from Days of our Lives, it was announced that she would again reprise the role for three episodes airing in October, later returning for additional guest appearances. In June 2014, it was announced that Davidson had signed a two-year contract with The Young and the Restless to appear as a regular cast member again, and would return to the series in September. Davidson also revealed her contract would allow for her to continue making appearances on Days of Our Lives. CANNOTANSWER

Question: did Eileen Davidson stay in the role of Ashley Abbott from her return til the present?
Answer: Davidson made her onscreen exit on August 3, 2012.
As I Lay Dying (band)

Context: After recording through 2009, the band's fifth record The Powerless Rise was streamed on the MySpace Music website on May 7, 2010 up until May 10, 2010. The album was officially released on May 11, 2010 and received generally positive critical acclaim, with one critic saying: "Fans of metalcore in general, and As I Lay Dying in particular, will be more than satisfied with The Powerless Rise, as the band's gradual progression and consistency makes this their best album."  In 2010 the band toured in support of The Powerless Rise, headlining the majority of their shows. In the first half of the year, the band embarked on a US tour with Demon Hunter, blessthefall, and War of Ages. This was followed by a mid-2010 headlining tour titled "The Cool Tour" across the US, and a headlining tour across US/Canada that also featured All That Remains, Unearth, and Carnifex. The band's final headline tour of the year was in Europe, with Heaven Shall Burn, Suicide Silence, and Sylosis.  In February 2011, the band headlined a US tour with support from Winds of Plague and After the Burial. The band then toured in late April/early May with Trivium, in support of Disturbed, on the "Music as a Weapon" tour in Australia and New Zealand. Then at the end of May and beginning of June, the band headlined a few performances with Heaven Shall Burn.  On November 8, 2011, As I Lay Dying released a compilation, Decas, in honor of the band's ten-year anniversary. The album featured three new, original songs; four cover versions of songs by bands such as Slayer, Judas Priest and Descendents; a re-recorded medley that uses parts of several songs taken from Beneath the Encasing of Ashes; and four remixes, consisting of one song from each of their albums since Frail Words Collapse. The album's first track "Paralyzed" was released as a lyric video on September 13, 2011, and as a free download on iTunes on November 7, the day before the album's release. The band embarked on the "A Decade of Destruction" tour, coinciding with the release of the album, from November to December 2011. CANNOTANSWER

Question: Are The Powerless Rise and Decas both albums?
Answer: band toured in support of The Powerless Rise,
As I Lay Dying (band)

Context: After recording through 2009, the band's fifth record The Powerless Rise was streamed on the MySpace Music website on May 7, 2010 up until May 10, 2010. The album was officially released on May 11, 2010 and received generally positive critical acclaim, with one critic saying: "Fans of metalcore in general, and As I Lay Dying in particular, will be more than satisfied with The Powerless Rise, as the band's gradual progression and consistency makes this their best album."  In 2010 the band toured in support of The Powerless Rise, headlining the majority of their shows. In the first half of the year, the band embarked on a US tour with Demon Hunter, blessthefall, and War of Ages. This was followed by a mid-2010 headlining tour titled "The Cool Tour" across the US, and a headlining tour across US/Canada that also featured All That Remains, Unearth, and Carnifex. The band's final headline tour of the year was in Europe, with Heaven Shall Burn, Suicide Silence, and Sylosis.  In February 2011, the band headlined a US tour with support from Winds of Plague and After the Burial. The band then toured in late April/early May with Trivium, in support of Disturbed, on the "Music as a Weapon" tour in Australia and New Zealand. Then at the end of May and beginning of June, the band headlined a few performances with Heaven Shall Burn.  On November 8, 2011, As I Lay Dying released a compilation, Decas, in honor of the band's ten-year anniversary. The album featured three new, original songs; four cover versions of songs by bands such as Slayer, Judas Priest and Descendents; a re-recorded medley that uses parts of several songs taken from Beneath the Encasing of Ashes; and four remixes, consisting of one song from each of their albums since Frail Words Collapse. The album's first track "Paralyzed" was released as a lyric video on September 13, 2011, and as a free download on iTunes on November 7, the day before the album's release. The band embarked on the "A Decade of Destruction" tour, coinciding with the release of the album, from November to December 2011. CANNOTANSWER

Question: Was The Powerless Rise well received by fans?
Answer: CANNOTANSWER
As I Lay Dying (band)

Context: After recording through 2009, the band's fifth record The Powerless Rise was streamed on the MySpace Music website on May 7, 2010 up until May 10, 2010. The album was officially released on May 11, 2010 and received generally positive critical acclaim, with one critic saying: "Fans of metalcore in general, and As I Lay Dying in particular, will be more than satisfied with The Powerless Rise, as the band's gradual progression and consistency makes this their best album."  In 2010 the band toured in support of The Powerless Rise, headlining the majority of their shows. In the first half of the year, the band embarked on a US tour with Demon Hunter, blessthefall, and War of Ages. This was followed by a mid-2010 headlining tour titled "The Cool Tour" across the US, and a headlining tour across US/Canada that also featured All That Remains, Unearth, and Carnifex. The band's final headline tour of the year was in Europe, with Heaven Shall Burn, Suicide Silence, and Sylosis.  In February 2011, the band headlined a US tour with support from Winds of Plague and After the Burial. The band then toured in late April/early May with Trivium, in support of Disturbed, on the "Music as a Weapon" tour in Australia and New Zealand. Then at the end of May and beginning of June, the band headlined a few performances with Heaven Shall Burn.  On November 8, 2011, As I Lay Dying released a compilation, Decas, in honor of the band's ten-year anniversary. The album featured three new, original songs; four cover versions of songs by bands such as Slayer, Judas Priest and Descendents; a re-recorded medley that uses parts of several songs taken from Beneath the Encasing of Ashes; and four remixes, consisting of one song from each of their albums since Frail Words Collapse. The album's first track "Paralyzed" was released as a lyric video on September 13, 2011, and as a free download on iTunes on November 7, the day before the album's release. The band embarked on the "A Decade of Destruction" tour, coinciding with the release of the album, from November to December 2011. CANNOTANSWER

Question: Was Decas well received by fans?
Answer: the band headlined a US tour with support from Winds of Plague and After the Burial.
As I Lay Dying (band)

Context: After recording through 2009, the band's fifth record The Powerless Rise was streamed on the MySpace Music website on May 7, 2010 up until May 10, 2010. The album was officially released on May 11, 2010 and received generally positive critical acclaim, with one critic saying: "Fans of metalcore in general, and As I Lay Dying in particular, will be more than satisfied with The Powerless Rise, as the band's gradual progression and consistency makes this their best album."  In 2010 the band toured in support of The Powerless Rise, headlining the majority of their shows. In the first half of the year, the band embarked on a US tour with Demon Hunter, blessthefall, and War of Ages. This was followed by a mid-2010 headlining tour titled "The Cool Tour" across the US, and a headlining tour across US/Canada that also featured All That Remains, Unearth, and Carnifex. The band's final headline tour of the year was in Europe, with Heaven Shall Burn, Suicide Silence, and Sylosis.  In February 2011, the band headlined a US tour with support from Winds of Plague and After the Burial. The band then toured in late April/early May with Trivium, in support of Disturbed, on the "Music as a Weapon" tour in Australia and New Zealand. Then at the end of May and beginning of June, the band headlined a few performances with Heaven Shall Burn.  On November 8, 2011, As I Lay Dying released a compilation, Decas, in honor of the band's ten-year anniversary. The album featured three new, original songs; four cover versions of songs by bands such as Slayer, Judas Priest and Descendents; a re-recorded medley that uses parts of several songs taken from Beneath the Encasing of Ashes; and four remixes, consisting of one song from each of their albums since Frail Words Collapse. The album's first track "Paralyzed" was released as a lyric video on September 13, 2011, and as a free download on iTunes on November 7, the day before the album's release. The band embarked on the "A Decade of Destruction" tour, coinciding with the release of the album, from November to December 2011. CANNOTANSWER

Question: Were there any changes in band members of "As I Lay Dying" during the time they were on a US tour with support from Winds of Plague and After the Burial.
Answer: The band embarked on the "A Decade of Destruction" tour, coinciding with the release of the album,
Rem Koolhaas

Context: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. CANNOTANSWER

Question: What was Rem Koolhaas' project on the city?
Answer: a product of his position as professor at Harvard University,
Rem Koolhaas

Context: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. CANNOTANSWER

Question: What did Rem Koolhaas' project on the city entail?
Answer: students analysing what others would regard as "non-cities",
Rem Koolhaas

Context: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. CANNOTANSWER

Question: What did Rem Koolhaas' students at Harvard University mean by the phrase "non-cities"?
Answer: highly functional despite a lack of infrastructure.
Rem Koolhaas

Context: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. CANNOTANSWER

Question: Did the non-cities referred to by Rem Koolhaas' students at Harvard University, have to meet certain requirements?
Answer: CANNOTANSWER
Rem Koolhaas

Context: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. CANNOTANSWER

Question: Are there any other interesting aspects about Rem Koolhaas' other than project on the city?
Answer: Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms
Rem Koolhaas

Context: Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops.  When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.  In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. CANNOTANSWER

Question: What are omnipotent forces that Rem Koolhaas mobilizes?
Answer: CANNOTANSWER
David Simon

Context: Upon leaving college, Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience. Later in his career he aimed to tell the best possible story without "cheating it".  Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable in the writing room. He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun," says Simon.  In an interview in Reason in 2004, Simon said that since leaving the newspaper business he has become more cynical about the power of journalism. "One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage," said Simon. "I've become increasingly cynical about the ability of daily journalism to effect any kind of meaningful change. I was pretty dubious about it when I was a journalist, but now I think it's remarkably ineffectual." In 1988, disillusioned, Simon took a year's leave to go into the Baltimore Police Department Homicide Unit to write a book. CANNOTANSWER

Question: What was David Simon's relationship with journalism?
Answer: Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that
David Simon

Context: Upon leaving college, Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience. Later in his career he aimed to tell the best possible story without "cheating it".  Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable in the writing room. He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun," says Simon.  In an interview in Reason in 2004, Simon said that since leaving the newspaper business he has become more cynical about the power of journalism. "One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage," said Simon. "I've become increasingly cynical about the ability of daily journalism to effect any kind of meaningful change. I was pretty dubious about it when I was a journalist, but now I think it's remarkably ineffectual." In 1988, disillusioned, Simon took a year's leave to go into the Baltimore Police Department Homicide Unit to write a book. CANNOTANSWER

Question: How were David Simon's pieces at The Baltimore Sun recieved?
Answer: A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired
David Simon

Context: Upon leaving college, Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience. Later in his career he aimed to tell the best possible story without "cheating it".  Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable in the writing room. He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun," says Simon.  In an interview in Reason in 2004, Simon said that since leaving the newspaper business he has become more cynical about the power of journalism. "One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage," said Simon. "I've become increasingly cynical about the ability of daily journalism to effect any kind of meaningful change. I was pretty dubious about it when I was a journalist, but now I think it's remarkably ineffectual." In 1988, disillusioned, Simon took a year's leave to go into the Baltimore Police Department Homicide Unit to write a book. CANNOTANSWER

Question: Did David Simon receive any accolades or awards?
Answer: Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable
David Simon

Context: Upon leaving college, Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience. Later in his career he aimed to tell the best possible story without "cheating it".  Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable in the writing room. He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun," says Simon.  In an interview in Reason in 2004, Simon said that since leaving the newspaper business he has become more cynical about the power of journalism. "One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage," said Simon. "I've become increasingly cynical about the ability of daily journalism to effect any kind of meaningful change. I was pretty dubious about it when I was a journalist, but now I think it's remarkably ineffectual." In 1988, disillusioned, Simon took a year's leave to go into the Baltimore Police Department Homicide Unit to write a book. CANNOTANSWER

Question: Did David Simon ever get over the feelings of discomfort after the strike?
Answer: He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because
David Simon

Context: Upon leaving college, Simon worked as a police reporter at The Baltimore Sun from 1982 to 1995. He spent most of his career covering the crime beat. A colleague has said that Simon loved journalism and felt it was "God's work". Simon says that he was initially altruistic and was inspired to enter journalism by the Washington Post's coverage of Watergate but became increasingly pragmatic as he gained experience. Later in his career he aimed to tell the best possible story without "cheating it".  Simon was a union captain when the writing staff went on strike in 1987 over benefit cuts. He remained angry after the strike ended and began to feel uncomfortable in the writing room. He searched for a reason to justify a leave of absence and settled on the idea of writing a novel. "I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun," says Simon.  In an interview in Reason in 2004, Simon said that since leaving the newspaper business he has become more cynical about the power of journalism. "One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage," said Simon. "I've become increasingly cynical about the ability of daily journalism to effect any kind of meaningful change. I was pretty dubious about it when I was a journalist, but now I think it's remarkably ineffectual." In 1988, disillusioned, Simon took a year's leave to go into the Baltimore Police Department Homicide Unit to write a book. CANNOTANSWER

Question: Why did David Simon say he got out of journalism?
Answer: One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism.