gaussalgo/Canard_Wiki-augmented huggingface dataset:
Taylor Swift

Context: Taylor Alison Swift was born on December 13, 1989, in Reading, Pennsylvania. Her father, Scott Kingsley Swift, was a financial advisor, and her mother, Andrea Gardner Swift (nee Finlay), was a homemaker who had previously worked as a mutual fund marketing executive. Swift has a younger brother named Austin. The singer spent the early years of her life on a Christmas tree farm. She attended preschool and kindergarten at the Alvernia Montessori School, run by Franciscan nuns, before transferring to The Wyndcroft School. The family then moved to a rented house in the suburban town of Wyomissing, Pennsylvania, where she attended Wyomissing Area Junior/Senior High School.  At the age of nine, Swift became interested in musical theater and performed in four Berks Youth Theatre Academy productions. She also traveled regularly to New York City for vocal and acting lessons. Swift later shifted her focus toward country music inspired by Shania Twain's songs, which made her "want to just run around the block four times and daydream about everything". She spent her weekends performing at local festivals and events. After watching a documentary about Faith Hill, Swift felt sure that she needed to go to Nashville, Tennessee, to pursue a music career. At the age of eleven, she traveled with her mother to visit Nashville record labels and submitted a demo tape of Dolly Parton and Dixie Chicks karaoke covers. However, she was rejected since "everyone in that town wanted to do what I wanted to do. So, I kept thinking to myself, I need to figure out a way to be different".  When Swift was about 12 years old, computer repairman and local musician Ronnie Cremer taught her how to play guitar and helped with her first efforts as a songwriter, leading to her writing "Lucky You". In 2003, Swift and her parents started working with New York-based music manager Dan Dymtrow. With his help, Swift modelled for Abercrombie & Fitch as part of their "Rising Stars" campaign, had an original song included on a Maybelline compilation CD, and attended meetings with major record labels. After performing original songs at an RCA Records showcase, Swift was given an artist development deal and began making frequent trips to Nashville with her mother.  To help Swift break into country music, her father transferred to the Nashville office of Merrill Lynch when she was 14, and the family relocated to a lakefront house in Hendersonville, Tennessee. Swift attended public high school, but after two years transferred to the Aaron Academy, which through homeschooling could accommodate her touring schedule, and she graduated a year early. CANNOTANSWER

Question: who was the record label Swift signed to?
Answer: After performing original songs at an RCA Records showcase, Swift was given an artist development deal
Bill Evans

Context: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk.  Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian.  In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who, seven years later, would become his own agent; and George Russell, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in Dick Garcia's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December-January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour. CANNOTANSWER

Question: When did Bill Evans return to New York City?
Answer: In July 1955,
Bill Evans

Context: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk.  Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian.  In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who, seven years later, would become his own agent; and George Russell, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in Dick Garcia's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December-January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour. CANNOTANSWER

Question: What was Bill Evans first job upon returning in July 1955?
Answer: Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings,
Bill Evans

Context: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk.  Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian.  In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who, seven years later, would become his own agent; and George Russell, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in Dick Garcia's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December-January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour. CANNOTANSWER

Question: What kind of jobs did Bill Evans find after his jobs at the Friendship Club and the Roseland Ballroom?
Answer: However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard,
Bill Evans

Context: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk.  Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian.  In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who, seven years later, would become his own agent; and George Russell, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in Dick Garcia's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December-January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour. CANNOTANSWER

Question: Did Bill Evans' job playing solo at the Village Vanguard amount to something larger?
Answer: Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald.
Bill Evans

Context: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk.  Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian.  In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who, seven years later, would become his own agent; and George Russell, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in Dick Garcia's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December-January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour. CANNOTANSWER

Question: Did Bill Evans experience success with performing in Greenwich Village clubs?
Answer: While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald,
Bill Evans

Context: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in musical composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in mostly low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. However, better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk.  Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, and Mundell Lowe; as well as with bandleader Jerry Wald. While Evans may have played on some of Wald's discs, his first proven Wald recording was Listen to the Music of Jerry Wald, which also featured his future drummer Paul Motian.  In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded The Singing Reed with a group which included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who, seven years later, would become his own agent; and George Russell, with whom he would soon work. That year, he also made his first recording, in a small ensemble, in Dick Garcia's A Message from Garcia. In parallel, Evans kept with his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December-January 1956/7, and recording The Complete Tony Scott. After the Complete sessions, Scott left for a long overseas tour. CANNOTANSWER

Question: Are there any other interesting aspects about Bill Evans besides his jobs after returning to New York City?
Answer: In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel,
Friedrich Hölderlin

Context: Holderlin began his education in 1776, and his mother planned for him to join the Lutheran church. In preparation for entrance exams into a monastery, he received additional instruction in Greek, Hebrew, Latin and rhetoric, starting in 1782. During this time, he struck a friendship with Friedrich Wilhelm Joseph Schelling, who was five years Holderlin's junior. On account of the age difference, Schelling was "subjected to universal teasing" and Holderlin protected him from abuse by older students. Also during this time, Holderlin began playing the piano and developed an interest in travel literature through exposure to Georg Forster's A Voyage Round the World.  In 1784, Holderlin entered the Lower Monastery in Denkendorf and started his formal training for entry into the Lutheran ministry. At Denkendotf, he discovered the poetry of Friedrich Schiller and Friedrich Gottlieb Klopstock, and took tentative steps in composing his own verses. The earliest known letter of Holderlin's is dated 1784 and addressed to his former tutor Nathanael Kostlin. In the letter, Holderlin hinted at his wavering faith in Christianity and anxiety about his mental state.  Holderlin progressed to the Higher Monastery at Maulbronn in 1786. There he fell in love with Luise Nast, the daughter of the monastery's administrator, and began to doubt his desire to join the ministry; he composed Mein Vorsatz in 1787, in which he states his intention to attain "Pindar's light" and reach "Klopstock-heights". In 1788, he read Schiller's Don Carlos on Luise Nast's recommendation. Holderlin later wrote a letter to Schiller regarding Don Carlos, stating: "It won't be easy to study Carlos in a rational way, since he was for so many years the magic cloud in which the good god of my youth enveloped me so that I would not see too soon the pettiness and barbarity of the world."  In October 1788, Holderlin began his theological studies at the Tubinger Stift, where his fellow students included Georg Wilhelm Friedrich Hegel, Isaac von Sinclair and Schelling. It has been speculated that it was Holderlin who, during their time in Tubingen, brought to Hegel's attention the ideas of Heraclitus regarding the unity of opposites, which Hegel would later develop into his concept of dialectics. In 1789, Holderlin broke off his engagement with Luise Nast, writing to her: "I wish you happiness if you choose one more worthy than me, and then surely you will understand that you could never have been happy with your morose, ill-humoured, and sickly friend," and expressed his desire to transfer out and study law but succumbed to pressure from his mother to remain in the Stift.  During his time in the Stift, Holderlin was an enthusiastic supporter of the French Revolution; he and some colleagues from a "republican club" planted a "Tree of Freedom" in the Tubingen market square, prompting Charles Eugene, the Duke of Wurttemberg himself, to admonish the students at the seminary. CANNOTANSWER

Question: Where did Friedrich Hölderlin attend school?
Answer: the Lower Monastery in Denkendorf
Friedrich Hölderlin

Context: Holderlin began his education in 1776, and his mother planned for him to join the Lutheran church. In preparation for entrance exams into a monastery, he received additional instruction in Greek, Hebrew, Latin and rhetoric, starting in 1782. During this time, he struck a friendship with Friedrich Wilhelm Joseph Schelling, who was five years Holderlin's junior. On account of the age difference, Schelling was "subjected to universal teasing" and Holderlin protected him from abuse by older students. Also during this time, Holderlin began playing the piano and developed an interest in travel literature through exposure to Georg Forster's A Voyage Round the World.  In 1784, Holderlin entered the Lower Monastery in Denkendorf and started his formal training for entry into the Lutheran ministry. At Denkendotf, he discovered the poetry of Friedrich Schiller and Friedrich Gottlieb Klopstock, and took tentative steps in composing his own verses. The earliest known letter of Holderlin's is dated 1784 and addressed to his former tutor Nathanael Kostlin. In the letter, Holderlin hinted at his wavering faith in Christianity and anxiety about his mental state.  Holderlin progressed to the Higher Monastery at Maulbronn in 1786. There he fell in love with Luise Nast, the daughter of the monastery's administrator, and began to doubt his desire to join the ministry; he composed Mein Vorsatz in 1787, in which he states his intention to attain "Pindar's light" and reach "Klopstock-heights". In 1788, he read Schiller's Don Carlos on Luise Nast's recommendation. Holderlin later wrote a letter to Schiller regarding Don Carlos, stating: "It won't be easy to study Carlos in a rational way, since he was for so many years the magic cloud in which the good god of my youth enveloped me so that I would not see too soon the pettiness and barbarity of the world."  In October 1788, Holderlin began his theological studies at the Tubinger Stift, where his fellow students included Georg Wilhelm Friedrich Hegel, Isaac von Sinclair and Schelling. It has been speculated that it was Holderlin who, during their time in Tubingen, brought to Hegel's attention the ideas of Heraclitus regarding the unity of opposites, which Hegel would later develop into his concept of dialectics. In 1789, Holderlin broke off his engagement with Luise Nast, writing to her: "I wish you happiness if you choose one more worthy than me, and then surely you will understand that you could never have been happy with your morose, ill-humoured, and sickly friend," and expressed his desire to transfer out and study law but succumbed to pressure from his mother to remain in the Stift.  During his time in the Stift, Holderlin was an enthusiastic supporter of the French Revolution; he and some colleagues from a "republican club" planted a "Tree of Freedom" in the Tubingen market square, prompting Charles Eugene, the Duke of Wurttemberg himself, to admonish the students at the seminary. CANNOTANSWER

Question: What was Friedrich Hölderlin like as a student?
Answer: CANNOTANSWER
Friedrich Hölderlin

Context: Holderlin began his education in 1776, and his mother planned for him to join the Lutheran church. In preparation for entrance exams into a monastery, he received additional instruction in Greek, Hebrew, Latin and rhetoric, starting in 1782. During this time, he struck a friendship with Friedrich Wilhelm Joseph Schelling, who was five years Holderlin's junior. On account of the age difference, Schelling was "subjected to universal teasing" and Holderlin protected him from abuse by older students. Also during this time, Holderlin began playing the piano and developed an interest in travel literature through exposure to Georg Forster's A Voyage Round the World.  In 1784, Holderlin entered the Lower Monastery in Denkendorf and started his formal training for entry into the Lutheran ministry. At Denkendotf, he discovered the poetry of Friedrich Schiller and Friedrich Gottlieb Klopstock, and took tentative steps in composing his own verses. The earliest known letter of Holderlin's is dated 1784 and addressed to his former tutor Nathanael Kostlin. In the letter, Holderlin hinted at his wavering faith in Christianity and anxiety about his mental state.  Holderlin progressed to the Higher Monastery at Maulbronn in 1786. There he fell in love with Luise Nast, the daughter of the monastery's administrator, and began to doubt his desire to join the ministry; he composed Mein Vorsatz in 1787, in which he states his intention to attain "Pindar's light" and reach "Klopstock-heights". In 1788, he read Schiller's Don Carlos on Luise Nast's recommendation. Holderlin later wrote a letter to Schiller regarding Don Carlos, stating: "It won't be easy to study Carlos in a rational way, since he was for so many years the magic cloud in which the good god of my youth enveloped me so that I would not see too soon the pettiness and barbarity of the world."  In October 1788, Holderlin began his theological studies at the Tubinger Stift, where his fellow students included Georg Wilhelm Friedrich Hegel, Isaac von Sinclair and Schelling. It has been speculated that it was Holderlin who, during their time in Tubingen, brought to Hegel's attention the ideas of Heraclitus regarding the unity of opposites, which Hegel would later develop into his concept of dialectics. In 1789, Holderlin broke off his engagement with Luise Nast, writing to her: "I wish you happiness if you choose one more worthy than me, and then surely you will understand that you could never have been happy with your morose, ill-humoured, and sickly friend," and expressed his desire to transfer out and study law but succumbed to pressure from his mother to remain in the Stift.  During his time in the Stift, Holderlin was an enthusiastic supporter of the French Revolution; he and some colleagues from a "republican club" planted a "Tree of Freedom" in the Tubingen market square, prompting Charles Eugene, the Duke of Wurttemberg himself, to admonish the students at the seminary. CANNOTANSWER

Question: Aside from Friedrich's school, are there any other interesting aspects about this article?
Answer: he fell in love with Luise Nast, the daughter of the monastery's administrator,
Friedrich Hölderlin

Context: Holderlin began his education in 1776, and his mother planned for him to join the Lutheran church. In preparation for entrance exams into a monastery, he received additional instruction in Greek, Hebrew, Latin and rhetoric, starting in 1782. During this time, he struck a friendship with Friedrich Wilhelm Joseph Schelling, who was five years Holderlin's junior. On account of the age difference, Schelling was "subjected to universal teasing" and Holderlin protected him from abuse by older students. Also during this time, Holderlin began playing the piano and developed an interest in travel literature through exposure to Georg Forster's A Voyage Round the World.  In 1784, Holderlin entered the Lower Monastery in Denkendorf and started his formal training for entry into the Lutheran ministry. At Denkendotf, he discovered the poetry of Friedrich Schiller and Friedrich Gottlieb Klopstock, and took tentative steps in composing his own verses. The earliest known letter of Holderlin's is dated 1784 and addressed to his former tutor Nathanael Kostlin. In the letter, Holderlin hinted at his wavering faith in Christianity and anxiety about his mental state.  Holderlin progressed to the Higher Monastery at Maulbronn in 1786. There he fell in love with Luise Nast, the daughter of the monastery's administrator, and began to doubt his desire to join the ministry; he composed Mein Vorsatz in 1787, in which he states his intention to attain "Pindar's light" and reach "Klopstock-heights". In 1788, he read Schiller's Don Carlos on Luise Nast's recommendation. Holderlin later wrote a letter to Schiller regarding Don Carlos, stating: "It won't be easy to study Carlos in a rational way, since he was for so many years the magic cloud in which the good god of my youth enveloped me so that I would not see too soon the pettiness and barbarity of the world."  In October 1788, Holderlin began his theological studies at the Tubinger Stift, where his fellow students included Georg Wilhelm Friedrich Hegel, Isaac von Sinclair and Schelling. It has been speculated that it was Holderlin who, during their time in Tubingen, brought to Hegel's attention the ideas of Heraclitus regarding the unity of opposites, which Hegel would later develop into his concept of dialectics. In 1789, Holderlin broke off his engagement with Luise Nast, writing to her: "I wish you happiness if you choose one more worthy than me, and then surely you will understand that you could never have been happy with your morose, ill-humoured, and sickly friend," and expressed his desire to transfer out and study law but succumbed to pressure from his mother to remain in the Stift.  During his time in the Stift, Holderlin was an enthusiastic supporter of the French Revolution; he and some colleagues from a "republican club" planted a "Tree of Freedom" in the Tubingen market square, prompting Charles Eugene, the Duke of Wurttemberg himself, to admonish the students at the seminary. CANNOTANSWER

Question: Did Friedrich Hölderlin and Luise Nast marry?
Answer: CANNOTANSWER
Friedrich Hölderlin

Context: Holderlin began his education in 1776, and his mother planned for him to join the Lutheran church. In preparation for entrance exams into a monastery, he received additional instruction in Greek, Hebrew, Latin and rhetoric, starting in 1782. During this time, he struck a friendship with Friedrich Wilhelm Joseph Schelling, who was five years Holderlin's junior. On account of the age difference, Schelling was "subjected to universal teasing" and Holderlin protected him from abuse by older students. Also during this time, Holderlin began playing the piano and developed an interest in travel literature through exposure to Georg Forster's A Voyage Round the World.  In 1784, Holderlin entered the Lower Monastery in Denkendorf and started his formal training for entry into the Lutheran ministry. At Denkendotf, he discovered the poetry of Friedrich Schiller and Friedrich Gottlieb Klopstock, and took tentative steps in composing his own verses. The earliest known letter of Holderlin's is dated 1784 and addressed to his former tutor Nathanael Kostlin. In the letter, Holderlin hinted at his wavering faith in Christianity and anxiety about his mental state.  Holderlin progressed to the Higher Monastery at Maulbronn in 1786. There he fell in love with Luise Nast, the daughter of the monastery's administrator, and began to doubt his desire to join the ministry; he composed Mein Vorsatz in 1787, in which he states his intention to attain "Pindar's light" and reach "Klopstock-heights". In 1788, he read Schiller's Don Carlos on Luise Nast's recommendation. Holderlin later wrote a letter to Schiller regarding Don Carlos, stating: "It won't be easy to study Carlos in a rational way, since he was for so many years the magic cloud in which the good god of my youth enveloped me so that I would not see too soon the pettiness and barbarity of the world."  In October 1788, Holderlin began his theological studies at the Tubinger Stift, where his fellow students included Georg Wilhelm Friedrich Hegel, Isaac von Sinclair and Schelling. It has been speculated that it was Holderlin who, during their time in Tubingen, brought to Hegel's attention the ideas of Heraclitus regarding the unity of opposites, which Hegel would later develop into his concept of dialectics. In 1789, Holderlin broke off his engagement with Luise Nast, writing to her: "I wish you happiness if you choose one more worthy than me, and then surely you will understand that you could never have been happy with your morose, ill-humoured, and sickly friend," and expressed his desire to transfer out and study law but succumbed to pressure from his mother to remain in the Stift.  During his time in the Stift, Holderlin was an enthusiastic supporter of the French Revolution; he and some colleagues from a "republican club" planted a "Tree of Freedom" in the Tubingen market square, prompting Charles Eugene, the Duke of Wurttemberg himself, to admonish the students at the seminary. CANNOTANSWER

Question: Did the monastery's adminisrator approve of Friedrich and Luise's relationship?
Answer: CANNOTANSWER
Stanley Kubrick

Context: Throughout the 1980s and early 1990s, Kubrick collaborated with Brian Aldiss on an expansion of his short story "Supertoys Last All Summer Long" into a three-act film. It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio. Kubrick approached Spielberg in 1995 with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Kubrick reportedly held long telephone discussions with Spielberg regarding the film, and, according to Spielberg, at one point stated that the subject matter was closer to Spielberg's sensibilities than his.  Following Kubrick's death in 1999, Spielberg took the various drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier 90-page story treatment by Ian Watson written under Kubrick's supervision and according to Kubrick's specifications. In association with what remained of Kubrick's production unit, he directed the movie A.I. Artificial Intelligence (2001). which was produced by Kubrick's longtime producer (and brother-in-law) Jan Harlan. Sets, costumes, and art direction were based on the works of conceptual artist Chris Baker, who had also done much of his work under Kubrick's supervision.  Although Spielberg was able to function autonomously in Kubrick's absence, he said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could, according to author Joseph McBride. Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost." The film was released in June 2001. It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end. John Williams's score contains many allusions to pieces heard in other Kubrick films. CANNOTANSWER

Question: what is A.I?
Answer: movie A.I. Artificial Intelligence
Stanley Kubrick

Context: Throughout the 1980s and early 1990s, Kubrick collaborated with Brian Aldiss on an expansion of his short story "Supertoys Last All Summer Long" into a three-act film. It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio. Kubrick approached Spielberg in 1995 with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Kubrick reportedly held long telephone discussions with Spielberg regarding the film, and, according to Spielberg, at one point stated that the subject matter was closer to Spielberg's sensibilities than his.  Following Kubrick's death in 1999, Spielberg took the various drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier 90-page story treatment by Ian Watson written under Kubrick's supervision and according to Kubrick's specifications. In association with what remained of Kubrick's production unit, he directed the movie A.I. Artificial Intelligence (2001). which was produced by Kubrick's longtime producer (and brother-in-law) Jan Harlan. Sets, costumes, and art direction were based on the works of conceptual artist Chris Baker, who had also done much of his work under Kubrick's supervision.  Although Spielberg was able to function autonomously in Kubrick's absence, he said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could, according to author Joseph McBride. Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost." The film was released in June 2001. It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end. John Williams's score contains many allusions to pieces heard in other Kubrick films. CANNOTANSWER

Question: what does A.I. Artificial Intelligence mean?
Answer: in 1995 with the AI script with the possibility of Steven Spielberg directing it
Stanley Kubrick

Context: Throughout the 1980s and early 1990s, Kubrick collaborated with Brian Aldiss on an expansion of his short story "Supertoys Last All Summer Long" into a three-act film. It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio. Kubrick approached Spielberg in 1995 with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Kubrick reportedly held long telephone discussions with Spielberg regarding the film, and, according to Spielberg, at one point stated that the subject matter was closer to Spielberg's sensibilities than his.  Following Kubrick's death in 1999, Spielberg took the various drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier 90-page story treatment by Ian Watson written under Kubrick's supervision and according to Kubrick's specifications. In association with what remained of Kubrick's production unit, he directed the movie A.I. Artificial Intelligence (2001). which was produced by Kubrick's longtime producer (and brother-in-law) Jan Harlan. Sets, costumes, and art direction were based on the works of conceptual artist Chris Baker, who had also done much of his work under Kubrick's supervision.  Although Spielberg was able to function autonomously in Kubrick's absence, he said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could, according to author Joseph McBride. Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost." The film was released in June 2001. It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end. John Williams's score contains many allusions to pieces heard in other Kubrick films. CANNOTANSWER

Question: Are there any other interesting aspects about this article aside from A.I.  Artificial Intelligence possibly being directed by Steven Spielberg?
Answer: A.I. Artificial Intelligence (2001). which was produced by Kubrick's longtime producer (and brother-in-law) Jan Harlan. Sets, costumes, and art direction were based on the works of conceptual artist Chris Baker,
Stanley Kubrick

Context: Throughout the 1980s and early 1990s, Kubrick collaborated with Brian Aldiss on an expansion of his short story "Supertoys Last All Summer Long" into a three-act film. It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio. Kubrick approached Spielberg in 1995 with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Kubrick reportedly held long telephone discussions with Spielberg regarding the film, and, according to Spielberg, at one point stated that the subject matter was closer to Spielberg's sensibilities than his.  Following Kubrick's death in 1999, Spielberg took the various drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier 90-page story treatment by Ian Watson written under Kubrick's supervision and according to Kubrick's specifications. In association with what remained of Kubrick's production unit, he directed the movie A.I. Artificial Intelligence (2001). which was produced by Kubrick's longtime producer (and brother-in-law) Jan Harlan. Sets, costumes, and art direction were based on the works of conceptual artist Chris Baker, who had also done much of his work under Kubrick's supervision.  Although Spielberg was able to function autonomously in Kubrick's absence, he said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could, according to author Joseph McBride. Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost." The film was released in June 2001. It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end. John Williams's score contains many allusions to pieces heard in other Kubrick films. CANNOTANSWER

Question: did Stanley Kubrick win any awards?
Answer: CANNOTANSWER
Matthew Fontaine Maury

Context: Maury was a descendant of the Maury family, a prominent Virginia family of Huguenot ancestry that can be traced back to 15th-century France. His grandfather (the Reverend James Maury) was an inspiring teacher to a future US president, Thomas Jefferson. Maury also had Dutch-American ancestry from the "Minor" family of early Virginia.  He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg; his parents were Richard Maury and Diane Minor Maury. The family moved to Franklin, Tennessee, when he was five. He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury, who, however, caught yellow fever after fighting pirates as an officer in the US Navy. As a result of John's painful death, Matthew's father, Richard, forbade him from joining the Navy. Maury strongly considered attending West Point to get a better education than the Navy could offer at that time, but instead, he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend, in 1825, at the age of 19.  Maury joined the Navy as a midshipman on board the frigate Brandywine which was carrying the Marquis de La Fayette home to France, following La Fayette's famous visit to the United States. Almost immediately, Maury began to study the seas and to record methods of navigation. One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes, his assigned ship and the first US warship to travel around the world. CANNOTANSWER

Question: Where did Matthew Fontaine Maury grow up?
Answer: He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg;
Matthew Fontaine Maury

Context: Maury was a descendant of the Maury family, a prominent Virginia family of Huguenot ancestry that can be traced back to 15th-century France. His grandfather (the Reverend James Maury) was an inspiring teacher to a future US president, Thomas Jefferson. Maury also had Dutch-American ancestry from the "Minor" family of early Virginia.  He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg; his parents were Richard Maury and Diane Minor Maury. The family moved to Franklin, Tennessee, when he was five. He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury, who, however, caught yellow fever after fighting pirates as an officer in the US Navy. As a result of John's painful death, Matthew's father, Richard, forbade him from joining the Navy. Maury strongly considered attending West Point to get a better education than the Navy could offer at that time, but instead, he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend, in 1825, at the age of 19.  Maury joined the Navy as a midshipman on board the frigate Brandywine which was carrying the Marquis de La Fayette home to France, following La Fayette's famous visit to the United States. Almost immediately, Maury began to study the seas and to record methods of navigation. One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes, his assigned ship and the first US warship to travel around the world. CANNOTANSWER

Question: Did Matthew Fontaine Maury stay in Spotsylvania County, Virginia, near Fredericksburg;?
Answer: The family moved to Franklin, Tennessee, when he was five.
Matthew Fontaine Maury

Context: Maury was a descendant of the Maury family, a prominent Virginia family of Huguenot ancestry that can be traced back to 15th-century France. His grandfather (the Reverend James Maury) was an inspiring teacher to a future US president, Thomas Jefferson. Maury also had Dutch-American ancestry from the "Minor" family of early Virginia.  He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg; his parents were Richard Maury and Diane Minor Maury. The family moved to Franklin, Tennessee, when he was five. He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury, who, however, caught yellow fever after fighting pirates as an officer in the US Navy. As a result of John's painful death, Matthew's father, Richard, forbade him from joining the Navy. Maury strongly considered attending West Point to get a better education than the Navy could offer at that time, but instead, he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend, in 1825, at the age of 19.  Maury joined the Navy as a midshipman on board the frigate Brandywine which was carrying the Marquis de La Fayette home to France, following La Fayette's famous visit to the United States. Almost immediately, Maury began to study the seas and to record methods of navigation. One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes, his assigned ship and the first US warship to travel around the world. CANNOTANSWER

Question: How or when did Matthew Fontaine Maury become interested in astronomy or the ocean?
Answer: He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury,
Matthew Fontaine Maury

Context: Maury was a descendant of the Maury family, a prominent Virginia family of Huguenot ancestry that can be traced back to 15th-century France. His grandfather (the Reverend James Maury) was an inspiring teacher to a future US president, Thomas Jefferson. Maury also had Dutch-American ancestry from the "Minor" family of early Virginia.  He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg; his parents were Richard Maury and Diane Minor Maury. The family moved to Franklin, Tennessee, when he was five. He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury, who, however, caught yellow fever after fighting pirates as an officer in the US Navy. As a result of John's painful death, Matthew's father, Richard, forbade him from joining the Navy. Maury strongly considered attending West Point to get a better education than the Navy could offer at that time, but instead, he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend, in 1825, at the age of 19.  Maury joined the Navy as a midshipman on board the frigate Brandywine which was carrying the Marquis de La Fayette home to France, following La Fayette's famous visit to the United States. Almost immediately, Maury began to study the seas and to record methods of navigation. One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes, his assigned ship and the first US warship to travel around the world. CANNOTANSWER

Question: What made Matthew Fontaine Maury interested in astronomy?
Answer: Maury began to study the seas and to record methods of navigation.
Matthew Fontaine Maury

Context: Maury was a descendant of the Maury family, a prominent Virginia family of Huguenot ancestry that can be traced back to 15th-century France. His grandfather (the Reverend James Maury) was an inspiring teacher to a future US president, Thomas Jefferson. Maury also had Dutch-American ancestry from the "Minor" family of early Virginia.  He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg; his parents were Richard Maury and Diane Minor Maury. The family moved to Franklin, Tennessee, when he was five. He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury, who, however, caught yellow fever after fighting pirates as an officer in the US Navy. As a result of John's painful death, Matthew's father, Richard, forbade him from joining the Navy. Maury strongly considered attending West Point to get a better education than the Navy could offer at that time, but instead, he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend, in 1825, at the age of 19.  Maury joined the Navy as a midshipman on board the frigate Brandywine which was carrying the Marquis de La Fayette home to France, following La Fayette's famous visit to the United States. Almost immediately, Maury began to study the seas and to record methods of navigation. One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes, his assigned ship and the first US warship to travel around the world. CANNOTANSWER

Question: What were some methods of navigation that Matthew Fontaine Maury used?
Answer: One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes,
Matthew Fontaine Maury

Context: Maury was a descendant of the Maury family, a prominent Virginia family of Huguenot ancestry that can be traced back to 15th-century France. His grandfather (the Reverend James Maury) was an inspiring teacher to a future US president, Thomas Jefferson. Maury also had Dutch-American ancestry from the "Minor" family of early Virginia.  He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg; his parents were Richard Maury and Diane Minor Maury. The family moved to Franklin, Tennessee, when he was five. He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury, who, however, caught yellow fever after fighting pirates as an officer in the US Navy. As a result of John's painful death, Matthew's father, Richard, forbade him from joining the Navy. Maury strongly considered attending West Point to get a better education than the Navy could offer at that time, but instead, he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend, in 1825, at the age of 19.  Maury joined the Navy as a midshipman on board the frigate Brandywine which was carrying the Marquis de La Fayette home to France, following La Fayette's famous visit to the United States. Almost immediately, Maury began to study the seas and to record methods of navigation. One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes, his assigned ship and the first US warship to travel around the world. CANNOTANSWER

Question: How did Matthew Fontaine Maury start his career?
Answer: he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend,