gaussalgo/Canard_Wiki-augmented huggingface dataset:
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: Where did Enrique Iglesias go after Madrid, Spain?
Answer: Julio were sent to live with their father in Miami.
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: Did Enrique Iglesias have any siblings?
Answer: two siblings
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: When did Enrique Iglesias begin music?
Answer: CANNOTANSWER
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: What was Enrique Iglesias family life like?
Answer: Iglesias did not want his father to know about his plans
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: What wereEnrique Iglesias plans?
Answer: backstory of being an unknown singer from Guatemala.
Enrique Iglesias

Context: Iglesias was born in Madrid, Spain, and is the third and youngest child of Spanish singer Julio Iglesias and Filipina-Spanish socialite and magazine journalist Isabel Preysler. He was raised with two older siblings: Chabeli and Julio Jr.. One of his mother Preysler's aunts is actress Neile Adams, the first wife of American actor Steve McQueen, mother of actor Chad McQueen, and grandmother of actor Steven R. McQueen. His father Julio Iglesias' family are from Galicia and Andalusia - his father also claims Jewish and Puerto Rican ancestry on his mother's side. The parents divorced in 1979.  At first, Iglesias and his two siblings stayed with their mother, but in December 1981, Iglesias' grandfather, Dr. Julio Iglesias Puga, was kidnapped by the armed Basque terrorist group ETA. For their safety, Enrique and his brother Julio were sent to live with their father in Miami. There, they were brought up mostly by the nanny, Elvira Olivares, to whom he later dedicated his first album. He also lived in Belgrade, Yugoslavia, for one year with his mother. As his father's career kept him on the road, the young Iglesias was raised by the family nanny. He attended the prestigious Gulliver Preparatory School and later went on to study business at the University of Miami.  Iglesias did not want his father to know about his plans for a musical career and did not want his famous surname to help advance his career. He borrowed money from his family nanny and he recorded a demo cassette tape which consisted of a Spanish song and two English songs. Approaching his father's former publicist, Fernan Martinez, the two promoted the songs under the stage name 'Enrique Martinez' with the backstory of being an unknown singer from Guatemala. Iglesias was signed on to Fonovisa Records. After dropping out of college, he traveled to Toronto to record his first album. CANNOTANSWER

Question: Did any of Enrique Iglesias family believe in his dream?
Answer: CANNOTANSWER
Faouzi Chaouchi

Context: Chaouchi received his first call-up to the Algerian national team on 4 February 2008 for training which was due to be held in France, after his good form for club JS Kabylie did not go unnoticed by the national team coach Saadane. On 26 March 2008, he made his debut for Algeria in a friendly against DR Congo coming on as a substitute at half-time for Lounes Gaouaoui.  On 18 November 2009, Chaouchi was selected to play fierce rivals Egypt in what was to be the most important game of his football career, the reward being the remaining African place for the 2010 World Cup finals as first-choice goalkeeper Lounes Gaouaoui was ruled out through suspension.  Chaouchi put in a heroic performance in the play-off as he constantly denied Egypt to send Algeria through to the 2010 FIFA World Cup, with the final score being 1-0 with centre-back Antar Yahia scoring the only goal with a stunning first-half volley at an angle eight yards out from Karim Ziani's punt into the box. After his heroic performance Chaouchi gave Saadane something to think about whilst preparing for the 2010 African Cup of Nations.  In December 2009, Chaouchi was selected by Saadane to play in the 2010 African Cup of Nations hosted in Angola. He was normally regarded as second-choice goalkeeper under coach Rabah Saadane, who had been using Lounes Gaouaoui as his first-choice goalkeeper, but due to Chaouchi's heroic performance in Khartoum and Lounes Gaouaoui withdrawing from the 2010 African Cup of Nations due to an attack of acute appendicitis, Rabah Saadane did not hesitate in using Chaouchi as first-choice goalkeeper in the 2010 African Cup of Nations. Chaouchi's sending off in the semi-final against Egypt for receiving two cautions along with his head-butting of referee Coffi Codjia saw him earn a suspension for 3 matches and $10,000 fine from CAF.  Chaouchi started his country's first match of the World Cup against Slovenia and was at fault for the Slovenian winner scored by captain Robert Koren. The goalkeeper allowed the shot to squirm past his body, condemning Algeria to a 1-0 defeat. He was replaced by Rais M'Bohli for the match against England. CANNOTANSWER

Question: What team did Faouzi Chaouchi start his international career with?
Answer: Chaouchi received his first call-up to the Algerian national team on 4 February 2008 for training which was due to be held in France,
Faouzi Chaouchi

Context: Chaouchi received his first call-up to the Algerian national team on 4 February 2008 for training which was due to be held in France, after his good form for club JS Kabylie did not go unnoticed by the national team coach Saadane. On 26 March 2008, he made his debut for Algeria in a friendly against DR Congo coming on as a substitute at half-time for Lounes Gaouaoui.  On 18 November 2009, Chaouchi was selected to play fierce rivals Egypt in what was to be the most important game of his football career, the reward being the remaining African place for the 2010 World Cup finals as first-choice goalkeeper Lounes Gaouaoui was ruled out through suspension.  Chaouchi put in a heroic performance in the play-off as he constantly denied Egypt to send Algeria through to the 2010 FIFA World Cup, with the final score being 1-0 with centre-back Antar Yahia scoring the only goal with a stunning first-half volley at an angle eight yards out from Karim Ziani's punt into the box. After his heroic performance Chaouchi gave Saadane something to think about whilst preparing for the 2010 African Cup of Nations.  In December 2009, Chaouchi was selected by Saadane to play in the 2010 African Cup of Nations hosted in Angola. He was normally regarded as second-choice goalkeeper under coach Rabah Saadane, who had been using Lounes Gaouaoui as his first-choice goalkeeper, but due to Chaouchi's heroic performance in Khartoum and Lounes Gaouaoui withdrawing from the 2010 African Cup of Nations due to an attack of acute appendicitis, Rabah Saadane did not hesitate in using Chaouchi as first-choice goalkeeper in the 2010 African Cup of Nations. Chaouchi's sending off in the semi-final against Egypt for receiving two cautions along with his head-butting of referee Coffi Codjia saw him earn a suspension for 3 matches and $10,000 fine from CAF.  Chaouchi started his country's first match of the World Cup against Slovenia and was at fault for the Slovenian winner scored by captain Robert Koren. The goalkeeper allowed the shot to squirm past his body, condemning Algeria to a 1-0 defeat. He was replaced by Rais M'Bohli for the match against England. CANNOTANSWER

Question: Did Faouzi Chaouchi play with any other international clubs other than the Algerian national team?
Answer: CANNOTANSWER
Faouzi Chaouchi

Context: Chaouchi received his first call-up to the Algerian national team on 4 February 2008 for training which was due to be held in France, after his good form for club JS Kabylie did not go unnoticed by the national team coach Saadane. On 26 March 2008, he made his debut for Algeria in a friendly against DR Congo coming on as a substitute at half-time for Lounes Gaouaoui.  On 18 November 2009, Chaouchi was selected to play fierce rivals Egypt in what was to be the most important game of his football career, the reward being the remaining African place for the 2010 World Cup finals as first-choice goalkeeper Lounes Gaouaoui was ruled out through suspension.  Chaouchi put in a heroic performance in the play-off as he constantly denied Egypt to send Algeria through to the 2010 FIFA World Cup, with the final score being 1-0 with centre-back Antar Yahia scoring the only goal with a stunning first-half volley at an angle eight yards out from Karim Ziani's punt into the box. After his heroic performance Chaouchi gave Saadane something to think about whilst preparing for the 2010 African Cup of Nations.  In December 2009, Chaouchi was selected by Saadane to play in the 2010 African Cup of Nations hosted in Angola. He was normally regarded as second-choice goalkeeper under coach Rabah Saadane, who had been using Lounes Gaouaoui as his first-choice goalkeeper, but due to Chaouchi's heroic performance in Khartoum and Lounes Gaouaoui withdrawing from the 2010 African Cup of Nations due to an attack of acute appendicitis, Rabah Saadane did not hesitate in using Chaouchi as first-choice goalkeeper in the 2010 African Cup of Nations. Chaouchi's sending off in the semi-final against Egypt for receiving two cautions along with his head-butting of referee Coffi Codjia saw him earn a suspension for 3 matches and $10,000 fine from CAF.  Chaouchi started his country's first match of the World Cup against Slovenia and was at fault for the Slovenian winner scored by captain Robert Koren. The goalkeeper allowed the shot to squirm past his body, condemning Algeria to a 1-0 defeat. He was replaced by Rais M'Bohli for the match against England. CANNOTANSWER

Question: Are there any other interesting aspects about this article besides Faouzi Chaouchi first call-up to the Algerian National team in 2008??
Answer: Chaouchi started his country's first match of the World Cup against Slovenia and was at fault for the Slovenian winner scored by captain Robert Koren.
Faouzi Chaouchi

Context: Chaouchi received his first call-up to the Algerian national team on 4 February 2008 for training which was due to be held in France, after his good form for club JS Kabylie did not go unnoticed by the national team coach Saadane. On 26 March 2008, he made his debut for Algeria in a friendly against DR Congo coming on as a substitute at half-time for Lounes Gaouaoui.  On 18 November 2009, Chaouchi was selected to play fierce rivals Egypt in what was to be the most important game of his football career, the reward being the remaining African place for the 2010 World Cup finals as first-choice goalkeeper Lounes Gaouaoui was ruled out through suspension.  Chaouchi put in a heroic performance in the play-off as he constantly denied Egypt to send Algeria through to the 2010 FIFA World Cup, with the final score being 1-0 with centre-back Antar Yahia scoring the only goal with a stunning first-half volley at an angle eight yards out from Karim Ziani's punt into the box. After his heroic performance Chaouchi gave Saadane something to think about whilst preparing for the 2010 African Cup of Nations.  In December 2009, Chaouchi was selected by Saadane to play in the 2010 African Cup of Nations hosted in Angola. He was normally regarded as second-choice goalkeeper under coach Rabah Saadane, who had been using Lounes Gaouaoui as his first-choice goalkeeper, but due to Chaouchi's heroic performance in Khartoum and Lounes Gaouaoui withdrawing from the 2010 African Cup of Nations due to an attack of acute appendicitis, Rabah Saadane did not hesitate in using Chaouchi as first-choice goalkeeper in the 2010 African Cup of Nations. Chaouchi's sending off in the semi-final against Egypt for receiving two cautions along with his head-butting of referee Coffi Codjia saw him earn a suspension for 3 matches and $10,000 fine from CAF.  Chaouchi started his country's first match of the World Cup against Slovenia and was at fault for the Slovenian winner scored by captain Robert Koren. The goalkeeper allowed the shot to squirm past his body, condemning Algeria to a 1-0 defeat. He was replaced by Rais M'Bohli for the match against England. CANNOTANSWER

Question: How was Faouzi Chaouchi at fault for the Slovenian winner scored by captain Robert Coren in his country's first match of the World Cup against Slovenia?
Answer: The goalkeeper allowed the shot to squirm past his body, condemning Algeria to a 1-0 defeat.
Maurice Merleau-Ponty

Context: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature. CANNOTANSWER

Question: Did Maurice Merleau-Ponty create art?
Answer: Merleau-Ponty distinguishes between primary and secondary modes of expression.
Maurice Merleau-Ponty

Context: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature. CANNOTANSWER

Question: What are the distinctions between primary and secondary modes of expression?
Answer: sometimes repeated in terms of spoken and speaking language
Maurice Merleau-Ponty

Context: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature. CANNOTANSWER

Question: What is repeated in spoken and speaking language?
Answer: distinguishes between primary and secondary modes of expression.
Maurice Merleau-Ponty

Context: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature. CANNOTANSWER

Question: What are primary and secondary modes of expression?
Answer: CANNOTANSWER
Maurice Merleau-Ponty

Context: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature. CANNOTANSWER

Question: Is Maurice Merleau-Ponty's art usually based on language and speaking?
Answer: "Indirect Language and the Voices of Silence
Maurice Merleau-Ponty

Context: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature. CANNOTANSWER

Question: What is Maurice Merleau-Ponty's most well-known contribution to the art world?
Answer: Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting
Maurice Merleau-Ponty

Context: Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense.  It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions.  The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.)  For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature. CANNOTANSWER

Question: Who influenced Maurice Merleau-Ponty's views the most?
Answer: CANNOTANSWER
Rahul Dravid

Context: As the new international season commenced, the first and foremost challenge for the newly appointed captain and vice-captain, Ganguly and Dravid, was to pull the team out of the shadows of the match fixing scandal. Indian team played 2000 ICC Knockout Trophy with vigour and showed a lot of character beating Kenya, Australia and South Africa in consecutive matches to reach the Finals. Although India lost to New Zealand in the Finals, their spirited performance in the tournament helped restoring public faith back in Indian cricket. Dravid played his part scoring 157 runs in 4 matches at an average of 52.33, including 2 fifties. Dravid played the first two matches of 2000-01 Coca-Cola Champions Trophy and scored 85 runs in the 2nd match against Zimbabwe opening the innings before getting injured while fielding at slips forcing him to miss the rest of the tournament.  India started off the new Test season with a 9-wicket win against Bangladesh. Dravid played a brisk inning of 49 ball 41 runs, including 5 fours and a six, chasing a target of 63 runs. However, Dravid's poor patch truly ended in the next Test series against Zimbabwe, which was also the first series for John Wright as the new Indian coach. Wright was instrumental in Dravid's association with Kent earlier this year. Dravid returned the favour by recommending his name to the BCCI for the post of national team coach. By now, Dravid had played 8 Tests since his last hundred against New Zealand at Mohali scoring just 350 runs at a paltry average of 23.33 without a single fifty plus inning. The Indian vice-captain ended the run drought and welcomed the new Indian coach with a double hundred - Dravid's first. He scored 200 not out in the first inning and 70 not out in the second inning guiding India to a comfortable 9-wicket victory against Zimbabwe. He scored 162 in the drawn Second test to end the series with an average of 432.00 - highest batting average by an Indian in a Test series.  Dravid scored just a solitary fifty in the second of the five match bilateral ODI series between India and Zimbabwe. However, the series proved to be a milestone in Dravid's career. Dravid captained the Indian team for the first time in the 5th match of the series as the regular captain Ganguly had to sit out due to one match suspension. Riding on Agarkar's all-round performance, Dravid led India to a 39 run victory in his maiden ODI as Indian captain. CANNOTANSWER

Question: At what age did Rahul Dravid begin playing cricket?
Answer: CANNOTANSWER
Rahul Dravid

Context: As the new international season commenced, the first and foremost challenge for the newly appointed captain and vice-captain, Ganguly and Dravid, was to pull the team out of the shadows of the match fixing scandal. Indian team played 2000 ICC Knockout Trophy with vigour and showed a lot of character beating Kenya, Australia and South Africa in consecutive matches to reach the Finals. Although India lost to New Zealand in the Finals, their spirited performance in the tournament helped restoring public faith back in Indian cricket. Dravid played his part scoring 157 runs in 4 matches at an average of 52.33, including 2 fifties. Dravid played the first two matches of 2000-01 Coca-Cola Champions Trophy and scored 85 runs in the 2nd match against Zimbabwe opening the innings before getting injured while fielding at slips forcing him to miss the rest of the tournament.  India started off the new Test season with a 9-wicket win against Bangladesh. Dravid played a brisk inning of 49 ball 41 runs, including 5 fours and a six, chasing a target of 63 runs. However, Dravid's poor patch truly ended in the next Test series against Zimbabwe, which was also the first series for John Wright as the new Indian coach. Wright was instrumental in Dravid's association with Kent earlier this year. Dravid returned the favour by recommending his name to the BCCI for the post of national team coach. By now, Dravid had played 8 Tests since his last hundred against New Zealand at Mohali scoring just 350 runs at a paltry average of 23.33 without a single fifty plus inning. The Indian vice-captain ended the run drought and welcomed the new Indian coach with a double hundred - Dravid's first. He scored 200 not out in the first inning and 70 not out in the second inning guiding India to a comfortable 9-wicket victory against Zimbabwe. He scored 162 in the drawn Second test to end the series with an average of 432.00 - highest batting average by an Indian in a Test series.  Dravid scored just a solitary fifty in the second of the five match bilateral ODI series between India and Zimbabwe. However, the series proved to be a milestone in Dravid's career. Dravid captained the Indian team for the first time in the 5th match of the series as the regular captain Ganguly had to sit out due to one match suspension. Riding on Agarkar's all-round performance, Dravid led India to a 39 run victory in his maiden ODI as Indian captain. CANNOTANSWER

Question: How many games did Rahul Dravid help lead his team to victory?
Answer: CANNOTANSWER