gaussalgo/Canard_Wiki-augmented huggingface dataset:
Spirit (rover)

Context: Spirit remains silent at its location, called "Troy," on the west side of Home Plate. As of 2016, there has been no communication with the rover since Sol 2210 (March 22, 2010).  It is likely that Spirit experienced a low-power fault and had turned off all sub-systems, including communication, and gone into a deep sleep, trying to recharge its batteries. It is also possible that the rover had experienced a mission clock fault. If that had happened, the rover would have lost track of time and tried to remain asleep until enough sunlight struck the solar arrays to wake it. This state is called "Solar Groovy." If the rover woke up from a mission clock fault, it would only listen. Starting on Sol 2333 (July 26, 2010), a new procedure to address the possible mission clock fault was implemented.  Each sol, the Deep Space Network mission controllers sent a set of X-band "Sweep & Beep" commands. If the rover had experienced a mission clock fault and then had been awoken during the day, it would have listened during brief, 20-minute intervals during each hour awake. Due to the possible clock fault, the timing of these 20-minute listening intervals was not known, so multiple "Sweep & Beep" commands were sent. If the rover heard one of these commands, it would have responded with an X-band beep signal, updating the mission controllers on its status and allowing them to investigate the state of the rover further. But even with this new strategy, there was no response from the rover.  The rover had driven 7,730.50 meters (4.80 miles) until it became immobile. CANNOTANSWER

Question: What was the last thing the spirit rover communicated?
Answer: Due to the possible clock fault, the timing of these 20-minute listening intervals was not known, so multiple "Sweep & Beep" commands were sent.
Spirit (rover)

Context: Spirit remains silent at its location, called "Troy," on the west side of Home Plate. As of 2016, there has been no communication with the rover since Sol 2210 (March 22, 2010).  It is likely that Spirit experienced a low-power fault and had turned off all sub-systems, including communication, and gone into a deep sleep, trying to recharge its batteries. It is also possible that the rover had experienced a mission clock fault. If that had happened, the rover would have lost track of time and tried to remain asleep until enough sunlight struck the solar arrays to wake it. This state is called "Solar Groovy." If the rover woke up from a mission clock fault, it would only listen. Starting on Sol 2333 (July 26, 2010), a new procedure to address the possible mission clock fault was implemented.  Each sol, the Deep Space Network mission controllers sent a set of X-band "Sweep & Beep" commands. If the rover had experienced a mission clock fault and then had been awoken during the day, it would have listened during brief, 20-minute intervals during each hour awake. Due to the possible clock fault, the timing of these 20-minute listening intervals was not known, so multiple "Sweep & Beep" commands were sent. If the rover heard one of these commands, it would have responded with an X-band beep signal, updating the mission controllers on its status and allowing them to investigate the state of the rover further. But even with this new strategy, there was no response from the rover.  The rover had driven 7,730.50 meters (4.80 miles) until it became immobile. CANNOTANSWER

Question: Did the spirit rover send any important information?
Answer: If the rover heard one of these commands, it would have responded with an X-band beep signal, updating the mission controllers on its status
Spirit (rover)

Context: Spirit remains silent at its location, called "Troy," on the west side of Home Plate. As of 2016, there has been no communication with the rover since Sol 2210 (March 22, 2010).  It is likely that Spirit experienced a low-power fault and had turned off all sub-systems, including communication, and gone into a deep sleep, trying to recharge its batteries. It is also possible that the rover had experienced a mission clock fault. If that had happened, the rover would have lost track of time and tried to remain asleep until enough sunlight struck the solar arrays to wake it. This state is called "Solar Groovy." If the rover woke up from a mission clock fault, it would only listen. Starting on Sol 2333 (July 26, 2010), a new procedure to address the possible mission clock fault was implemented.  Each sol, the Deep Space Network mission controllers sent a set of X-band "Sweep & Beep" commands. If the rover had experienced a mission clock fault and then had been awoken during the day, it would have listened during brief, 20-minute intervals during each hour awake. Due to the possible clock fault, the timing of these 20-minute listening intervals was not known, so multiple "Sweep & Beep" commands were sent. If the rover heard one of these commands, it would have responded with an X-band beep signal, updating the mission controllers on its status and allowing them to investigate the state of the rover further. But even with this new strategy, there was no response from the rover.  The rover had driven 7,730.50 meters (4.80 miles) until it became immobile. CANNOTANSWER

Question: Aside from the low-power fault, were there any other factors that contributed to the communication failure for the Spirit rover?
Answer: It is also possible that the rover had experienced a mission clock fault.
Spirit (rover)

Context: Spirit remains silent at its location, called "Troy," on the west side of Home Plate. As of 2016, there has been no communication with the rover since Sol 2210 (March 22, 2010).  It is likely that Spirit experienced a low-power fault and had turned off all sub-systems, including communication, and gone into a deep sleep, trying to recharge its batteries. It is also possible that the rover had experienced a mission clock fault. If that had happened, the rover would have lost track of time and tried to remain asleep until enough sunlight struck the solar arrays to wake it. This state is called "Solar Groovy." If the rover woke up from a mission clock fault, it would only listen. Starting on Sol 2333 (July 26, 2010), a new procedure to address the possible mission clock fault was implemented.  Each sol, the Deep Space Network mission controllers sent a set of X-band "Sweep & Beep" commands. If the rover had experienced a mission clock fault and then had been awoken during the day, it would have listened during brief, 20-minute intervals during each hour awake. Due to the possible clock fault, the timing of these 20-minute listening intervals was not known, so multiple "Sweep & Beep" commands were sent. If the rover heard one of these commands, it would have responded with an X-band beep signal, updating the mission controllers on its status and allowing them to investigate the state of the rover further. But even with this new strategy, there was no response from the rover.  The rover had driven 7,730.50 meters (4.80 miles) until it became immobile. CANNOTANSWER

Question: Why would the mission clock fail on the spirit rover?
Answer: the rover would have lost track of time and tried to remain asleep until enough sunlight struck the solar arrays to wake it.
Spirit (rover)

Context: Spirit remains silent at its location, called "Troy," on the west side of Home Plate. As of 2016, there has been no communication with the rover since Sol 2210 (March 22, 2010).  It is likely that Spirit experienced a low-power fault and had turned off all sub-systems, including communication, and gone into a deep sleep, trying to recharge its batteries. It is also possible that the rover had experienced a mission clock fault. If that had happened, the rover would have lost track of time and tried to remain asleep until enough sunlight struck the solar arrays to wake it. This state is called "Solar Groovy." If the rover woke up from a mission clock fault, it would only listen. Starting on Sol 2333 (July 26, 2010), a new procedure to address the possible mission clock fault was implemented.  Each sol, the Deep Space Network mission controllers sent a set of X-band "Sweep & Beep" commands. If the rover had experienced a mission clock fault and then had been awoken during the day, it would have listened during brief, 20-minute intervals during each hour awake. Due to the possible clock fault, the timing of these 20-minute listening intervals was not known, so multiple "Sweep & Beep" commands were sent. If the rover heard one of these commands, it would have responded with an X-band beep signal, updating the mission controllers on its status and allowing them to investigate the state of the rover further. But even with this new strategy, there was no response from the rover.  The rover had driven 7,730.50 meters (4.80 miles) until it became immobile. CANNOTANSWER

Question: Was there a lack of solar arrays at the time that the spirit rover experienced a mission clock fault?
Answer: CANNOTANSWER
Dan Povenmire

Context: In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show. CANNOTANSWER

Question: What is Phineas and Ferb?
Answer: show
Dan Povenmire

Context: In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show. CANNOTANSWER

Question: When did Dan Povenmire work on Phineas and Ferb?
Answer: 1993,
Dan Povenmire

Context: In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show. CANNOTANSWER

Question: Was Dan Povenmire the creator of Phineas and Ferb?
Answer: Povenmire and Marsh
Dan Povenmire

Context: In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show. CANNOTANSWER

Question: What was Dan Povenmire's position in Phineas and Ferb?
Answer: conceived the series
Dan Povenmire

Context: In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show. CANNOTANSWER

Question: For how many years did Dan Povenmire work for Phineas and Ferb?
Answer: CANNOTANSWER
Wilhelm Stekel

Context: Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3). Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral "self"; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time. In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".  Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.  On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation". CANNOTANSWER

Question: What did Wilhelm Stekel say about fetishes?
Answer: They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object,
Wilhelm Stekel

Context: Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3). Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral "self"; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time. In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".  Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.  On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation". CANNOTANSWER

Question: Besides appropriate the function of a love object, what else did Wilhelm Stekel say about fetishes?
Answer: when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous
Wilhelm Stekel

Context: Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3). Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral "self"; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time. In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".  Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.  On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation". CANNOTANSWER

Question: Did Wilhelm Stekel have any more comments about fetishes?
Answer: points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type.
Wilhelm Stekel

Context: Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3). Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral "self"; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time. In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".  Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.  On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation". CANNOTANSWER

Question: What did Wilhelm Stekel say next about fetishes?
Answer: Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them
Wilhelm Stekel

Context: Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3). Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral "self"; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time. In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".  Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.  On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation". CANNOTANSWER

Question: Besides discussing normal fetishes, did Wilhelm Stekel have any other thoughts on fetishes?
Answer: Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate"
Danny Glover

Context: While attending San Francisco State University (SFSU), Glover was a member of the Black Students' Union, which, along with the Third World Liberation Front and the American Federation of Teachers, collaborated in a five-month student-led strike to establish a Department of Black Studies. The strike was the longest student walkout in U.S. history. It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.  Hari Dillon, current president of the Vanguard Public Foundation, was a fellow striker at SFSU. Glover later co-chaired Vanguard's board. He is also a board member of the Algebra Project, the Black AIDS Institute, Walden House and Cheryl Byron's Something Positive Dance Group. He was charged with disorderly conduct and unlawful assembly after being arrested outside the Sudanese Embassy in Washington during a protest over Sudan's humanitarian crisis in Darfur.  In 1999, he used his leverage as a former San Francisco cab driver to raise awareness about African Americans being passed over for white passengers. In response, Rudolph Giuliani launched Operation Refusal, which suspended the licenses of cab drivers who favored white passengers over black ones.  Glover's long history of union activism includes support for the United Farm Workers, UNITE HERE, and numerous service unions. In March 2010, Glover supported 375 Union workers in Ohio by calling upon all actors at the 2010 Academy Awards to boycott Hugo Boss suits following announcement of Hugo Boss's decision to close a manufacturing plant in Ohio after a proposed pay decrease from $13 to $8.30 an hour was rejected by the Workers United Union.  On November 1, 2011, Glover spoke to the crowd at Occupy Oakland on the day before the Oakland General Strike where thousands of protestors shut down the Port of Oakland. CANNOTANSWER

Question: How did Danny Glover contribute to civil rights activism?
Answer: While attending San Francisco State University (SFSU), Glover was a member of the Black Students' Union,
Danny Glover

Context: While attending San Francisco State University (SFSU), Glover was a member of the Black Students' Union, which, along with the Third World Liberation Front and the American Federation of Teachers, collaborated in a five-month student-led strike to establish a Department of Black Studies. The strike was the longest student walkout in U.S. history. It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.  Hari Dillon, current president of the Vanguard Public Foundation, was a fellow striker at SFSU. Glover later co-chaired Vanguard's board. He is also a board member of the Algebra Project, the Black AIDS Institute, Walden House and Cheryl Byron's Something Positive Dance Group. He was charged with disorderly conduct and unlawful assembly after being arrested outside the Sudanese Embassy in Washington during a protest over Sudan's humanitarian crisis in Darfur.  In 1999, he used his leverage as a former San Francisco cab driver to raise awareness about African Americans being passed over for white passengers. In response, Rudolph Giuliani launched Operation Refusal, which suspended the licenses of cab drivers who favored white passengers over black ones.  Glover's long history of union activism includes support for the United Farm Workers, UNITE HERE, and numerous service unions. In March 2010, Glover supported 375 Union workers in Ohio by calling upon all actors at the 2010 Academy Awards to boycott Hugo Boss suits following announcement of Hugo Boss's decision to close a manufacturing plant in Ohio after a proposed pay decrease from $13 to $8.30 an hour was rejected by the Workers United Union.  On November 1, 2011, Glover spoke to the crowd at Occupy Oakland on the day before the Oakland General Strike where thousands of protestors shut down the Port of Oakland. CANNOTANSWER

Question: What did the Black Students' Union accomplish?
Answer: a five-month student-led strike to establish a Department of Black Studies.
Danny Glover

Context: While attending San Francisco State University (SFSU), Glover was a member of the Black Students' Union, which, along with the Third World Liberation Front and the American Federation of Teachers, collaborated in a five-month student-led strike to establish a Department of Black Studies. The strike was the longest student walkout in U.S. history. It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.  Hari Dillon, current president of the Vanguard Public Foundation, was a fellow striker at SFSU. Glover later co-chaired Vanguard's board. He is also a board member of the Algebra Project, the Black AIDS Institute, Walden House and Cheryl Byron's Something Positive Dance Group. He was charged with disorderly conduct and unlawful assembly after being arrested outside the Sudanese Embassy in Washington during a protest over Sudan's humanitarian crisis in Darfur.  In 1999, he used his leverage as a former San Francisco cab driver to raise awareness about African Americans being passed over for white passengers. In response, Rudolph Giuliani launched Operation Refusal, which suspended the licenses of cab drivers who favored white passengers over black ones.  Glover's long history of union activism includes support for the United Farm Workers, UNITE HERE, and numerous service unions. In March 2010, Glover supported 375 Union workers in Ohio by calling upon all actors at the 2010 Academy Awards to boycott Hugo Boss suits following announcement of Hugo Boss's decision to close a manufacturing plant in Ohio after a proposed pay decrease from $13 to $8.30 an hour was rejected by the Workers United Union.  On November 1, 2011, Glover spoke to the crowd at Occupy Oakland on the day before the Oakland General Strike where thousands of protestors shut down the Port of Oakland. CANNOTANSWER

Question: Besides the Department of Black Studies, what else did Black Students' Union create?
Answer: It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.
Danny Glover

Context: While attending San Francisco State University (SFSU), Glover was a member of the Black Students' Union, which, along with the Third World Liberation Front and the American Federation of Teachers, collaborated in a five-month student-led strike to establish a Department of Black Studies. The strike was the longest student walkout in U.S. history. It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.  Hari Dillon, current president of the Vanguard Public Foundation, was a fellow striker at SFSU. Glover later co-chaired Vanguard's board. He is also a board member of the Algebra Project, the Black AIDS Institute, Walden House and Cheryl Byron's Something Positive Dance Group. He was charged with disorderly conduct and unlawful assembly after being arrested outside the Sudanese Embassy in Washington during a protest over Sudan's humanitarian crisis in Darfur.  In 1999, he used his leverage as a former San Francisco cab driver to raise awareness about African Americans being passed over for white passengers. In response, Rudolph Giuliani launched Operation Refusal, which suspended the licenses of cab drivers who favored white passengers over black ones.  Glover's long history of union activism includes support for the United Farm Workers, UNITE HERE, and numerous service unions. In March 2010, Glover supported 375 Union workers in Ohio by calling upon all actors at the 2010 Academy Awards to boycott Hugo Boss suits following announcement of Hugo Boss's decision to close a manufacturing plant in Ohio after a proposed pay decrease from $13 to $8.30 an hour was rejected by the Workers United Union.  On November 1, 2011, Glover spoke to the crowd at Occupy Oakland on the day before the Oakland General Strike where thousands of protestors shut down the Port of Oakland. CANNOTANSWER

Question: Did Danny Glover hold any jobs in activism?
Answer: a board member of the Algebra Project, the Black AIDS Institute, Walden House and Cheryl Byron's Something Positive Dance Group.
Danny Glover

Context: While attending San Francisco State University (SFSU), Glover was a member of the Black Students' Union, which, along with the Third World Liberation Front and the American Federation of Teachers, collaborated in a five-month student-led strike to establish a Department of Black Studies. The strike was the longest student walkout in U.S. history. It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.  Hari Dillon, current president of the Vanguard Public Foundation, was a fellow striker at SFSU. Glover later co-chaired Vanguard's board. He is also a board member of the Algebra Project, the Black AIDS Institute, Walden House and Cheryl Byron's Something Positive Dance Group. He was charged with disorderly conduct and unlawful assembly after being arrested outside the Sudanese Embassy in Washington during a protest over Sudan's humanitarian crisis in Darfur.  In 1999, he used his leverage as a former San Francisco cab driver to raise awareness about African Americans being passed over for white passengers. In response, Rudolph Giuliani launched Operation Refusal, which suspended the licenses of cab drivers who favored white passengers over black ones.  Glover's long history of union activism includes support for the United Farm Workers, UNITE HERE, and numerous service unions. In March 2010, Glover supported 375 Union workers in Ohio by calling upon all actors at the 2010 Academy Awards to boycott Hugo Boss suits following announcement of Hugo Boss's decision to close a manufacturing plant in Ohio after a proposed pay decrease from $13 to $8.30 an hour was rejected by the Workers United Union.  On November 1, 2011, Glover spoke to the crowd at Occupy Oakland on the day before the Oakland General Strike where thousands of protestors shut down the Port of Oakland. CANNOTANSWER

Question: What did people think regarding Danny Glover in activism?
Answer: Glover spoke to the crowd at Occupy Oakland on the day before the Oakland General Strike where thousands of protestors shut down the Port of Oakland.
Danny Glover

Context: While attending San Francisco State University (SFSU), Glover was a member of the Black Students' Union, which, along with the Third World Liberation Front and the American Federation of Teachers, collaborated in a five-month student-led strike to establish a Department of Black Studies. The strike was the longest student walkout in U.S. history. It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.  Hari Dillon, current president of the Vanguard Public Foundation, was a fellow striker at SFSU. Glover later co-chaired Vanguard's board. He is also a board member of the Algebra Project, the Black AIDS Institute, Walden House and Cheryl Byron's Something Positive Dance Group. He was charged with disorderly conduct and unlawful assembly after being arrested outside the Sudanese Embassy in Washington during a protest over Sudan's humanitarian crisis in Darfur.  In 1999, he used his leverage as a former San Francisco cab driver to raise awareness about African Americans being passed over for white passengers. In response, Rudolph Giuliani launched Operation Refusal, which suspended the licenses of cab drivers who favored white passengers over black ones.  Glover's long history of union activism includes support for the United Farm Workers, UNITE HERE, and numerous service unions. In March 2010, Glover supported 375 Union workers in Ohio by calling upon all actors at the 2010 Academy Awards to boycott Hugo Boss suits following announcement of Hugo Boss's decision to close a manufacturing plant in Ohio after a proposed pay decrease from $13 to $8.30 an hour was rejected by the Workers United Union.  On November 1, 2011, Glover spoke to the crowd at Occupy Oakland on the day before the Oakland General Strike where thousands of protestors shut down the Port of Oakland. CANNOTANSWER

Question: What causes did Danny Glover support?
Answer: he used his leverage as a former San Francisco cab driver to raise awareness about African Americans being passed over for white passengers.