lasha-nlp/CONDAQA huggingface dataset:
Passage: A landslide during the evening rush hour on 25 January 2008 deposited of loosely bound soil and rocks from the mountain slope above onto the main road CG-3 (Avinguda del Través de la Massana) between La Massana and Ordino, blocking it for three days, as well as completely covering an open-air car park and several parked cars. There was extensive damage to property, and dozens were injured. The residents of a block of flats adjacent to the landslide were evacuated as the building was deemed unsafe and it remains vacant. The cause of the landslide was determined to be settlement of the earth due to inadequate ground reinforcement in the construction and excavation of the car park 30 ;years previously.

Question: Would it have been helpful to have sent medical personnel to the site of the landslide?
Answer: YES

Question: Is it likely that people will be willing to move back to the buildings near the site of the landslide?
Answer: NO

Question: Would the government need to send engineers to check the structural integrity of the buildings to ensure their safety?
Answer: YES
Passage: After multiple revisions, the show opened on Broadway on April 4, 1964, at the Majestic Theatre, where it closed after 9 performances and 12 previews, unable to overcome negative notices from major papers such as the "New York Times" and the "New York Herald Tribune". Scenic design was by William and Jean Eckart, costume design by Theoni V. Aldredge, and lighting design by Jules Fisher. Choreographer Herbert Ross received the show's sole Tony Award nomination.

Question: Would there have been more than 9 performances if the show received no negative notices in major newspapers?
Answer: YES

Question: Would there have been more Tony nominations from the show if there were no negative notices about the show?
Answer: DON'T KNOW

Question: Would the show have closed if it were able to overcome the bad press it was given.
Answer: NO
Passage: After multiple revisions, the show opened on Broadway on April 4, 1964, at the Majestic Theatre, where it closed after 9 performances and 12 previews, after too many negative notices from major papers such as the "New York Times" and the "New York Herald Tribune". Scenic design was by William and Jean Eckart, costume design by Theoni V. Aldredge, and lighting design by Jules Fisher. Choreographer Herbert Ross received the show's sole Tony Award nomination.

Question: Would there have been more than 9 performances if the show received no negative notices in major newspapers?
Answer: YES

Question: Would there have been more Tony nominations from the show if there were no negative notices about the show?
Answer: DON'T KNOW

Question: Would the show have closed if it were able to overcome the bad press it was given.
Answer: NO
Passage: After multiple revisions, the show opened on Broadway on April 4, 1964, at the Majestic Theatre, where it closed after 9 performances and 12 previews, after being unable to overcome negative notices from major papers such as the "New York Times" and only receiving a positive review from the "New York Herald Tribune". Scenic design was by William and Jean Eckart, costume design by Theoni V. Aldredge, and lighting design by Jules Fisher. Choreographer Herbert Ross received the show's sole Tony Award nomination.

Question: Would there have been more Tony nominations from the show if there were no negative notices about the show?
Answer: DON'T KNOW

Question: Would the show have closed if it were able to overcome the bad press it was given.
Answer: NO
Passage: Stephen's new Anglo-Norman kingdom had been shaped by the Norman conquest of England in 1066, followed by the Norman expansion into south Wales over the coming years. Both the kingdom and duchy were dominated by a small number of major barons who owned lands on both sides of the English Channel, with the lesser barons beneath them usually having more localised holdings. The extent to which lands and positions should be passed down through hereditary right or by the gift of the King was still uncertain, and tensions concerning this issue had grown during the reign of Henry I. Certainly lands in Normandy, passed by hereditary right, were usually considered more important to major barons than those in England, where their possession was less certain. Henry had increased the authority and capabilities of the central royal administration, often bringing in "new men" to fulfil key positions rather than using the established nobility. In the process he had been able to maximise revenues and contain expenditures, resulting in a healthy surplus and a famously large treasury, but also increasing political tensions.

Question: If the owner of a plot of land passed away during Henry I's reign, was it obvious who would inherit the land?
Answer: NO

Question: If a duke passed away during Henry I's reign, was it obvious who would inherit the dukedom?
Answer: NO

Question: During Henry I's reign, was there intense debate over the rules of inheritance?
Answer: YES
Passage: Stephen's new Anglo-Norman kingdom had been shaped by the Norman conquest of England in 1066, followed by the Norman expansion into south Wales over the coming years. Both the kingdom and duchy were dominated by a small number of major barons who owned lands on both sides of the English Channel, with the lesser barons beneath them usually having more localised holdings. The extent to which lands and positions should be passed down through hereditary right or by the gift of the King still needed to be settled, and tensions concerning this issue had grown during the reign of Henry I. Certainly lands in Normandy, passed by hereditary right, were usually considered more important to major barons than those in England, where their possession was less certain. Henry had increased the authority and capabilities of the central royal administration, often bringing in "new men" to fulfil key positions rather than using the established nobility. In the process he had been able to maximise revenues and contain expenditures, resulting in a healthy surplus and a famously large treasury, but also increasing political tensions.

Question: If the owner of a plot of land passed away during Henry I's reign, was it obvious who would inherit the land?
Answer: NO

Question: If a duke passed away during Henry I's reign, was it obvious who would inherit the dukedom?
Answer: NO

Question: During Henry I's reign, was there intense debate over the rules of inheritance?
Answer: YES
Passage: Stephen's new Anglo-Norman kingdom had been shaped by the Norman conquest of England in 1066, followed by the Norman expansion into south Wales over the coming years. Both the kingdom and duchy were dominated by a small number of major barons who owned lands on both sides of the English Channel, with the lesser barons beneath them usually having more localised holdings. The extent to which lands should be passed down through hereditary right or by the gift of the King was still uncertain (though the inheritance rules for positions had been settled), and tensions concerning this issue had grown during the reign of Henry I. Certainly lands in Normandy, passed by hereditary right, were usually considered more important to major barons than those in England, where their possession was less certain. Henry had increased the authority and capabilities of the central royal administration, often bringing in "new men" to fulfil key positions rather than using the established nobility. In the process he had been able to maximise revenues and contain expenditures, resulting in a healthy surplus and a famously large treasury, but also increasing political tensions.

Question: If the owner of a plot of land passed away during Henry I's reign, was it obvious who would inherit the land?
Answer: NO

Question: If a duke passed away during Henry I's reign, was it obvious who would inherit the dukedom?
Answer: YES

Question: During Henry I's reign, was there intense debate over the rules of inheritance?
Answer: YES
Passage: Stephen's new Anglo-Norman kingdom had been shaped by the Norman conquest of England in 1066, followed by the Norman expansion into south Wales over the coming years. Both the kingdom and duchy were dominated by a small number of major barons who owned lands on both sides of the English Channel, with the lesser barons beneath them usually having more localised holdings. The extent to which lands and positions should be passed down through hereditary right or by the gift of the King had been established, and tensions concerning this issue had eased during the reign of Henry I. Certainly lands in Normandy, passed by hereditary right, were usually considered more important to major barons than those in England, where their possession was less certain. Henry had increased the authority and capabilities of the central royal administration, often bringing in "new men" to fulfil key positions rather than using the established nobility. In the process he had been able to maximise revenues and contain expenditures, resulting in a healthy surplus and a famously large treasury, but also increasing political tensions.

Question: If the owner of a plot of land passed away during Henry I's reign, was it obvious who would inherit the land?
Answer: YES

Question: If a duke passed away during Henry I's reign, was it obvious who would inherit the dukedom?
Answer: YES

Question: During Henry I's reign, was there intense debate over the rules of inheritance?
Answer: NO
Passage: Sign languages generally do not have any linguistic relation to the spoken languages of the lands in which they arise. The correlation between sign and spoken languages is complex and varies depending on the country more than the spoken language. For example, Australia, Canada, New Zealand, the UK and the US all have English as their dominant language, but American Sign Language (ASL), used in the US and English-speaking Canada, is derived from French Sign Language whereas the other three countries use varieties of British, Australian and New Zealand Sign Language, which is unrelated to ASL. Similarly, the sign languages of Spain and Mexico are very different, despite Spanish being the national language in each country, and the sign language used in Bolivia is based on ASL rather than any sign language that is used in any other Spanish-speaking country. Variations also arise within a 'national' sign language which don't necessarily correspond to dialect differences in the national spoken language; rather, they can usually be correlated to the geographic location of residential schools for the deaf.

Question: Would the geographic spread of American Sign Language, as described in this passage, support the hypothesis that styles of signing are spread by person to person through close proximity?
Answer: YES

Question: Could you point to the common use of a certain style of sign language as being another instance of the fabled "Special Relationship" between the United States and Great Britain?
Answer: NO
Passage: Sign languages generally do not have any linguistic relation to the spoken languages of the lands in which they arise. The correlation between sign and spoken languages is complex and varies depending on the country more than the spoken language. As an example, consider the fact that the English-speaking nations of Australia, New Zealand, Canada, the United States, and the United Kingdom use different styles of sign language: American Sign Language, or ASL, derives from the French sign language and is used in the United States and Anglophone Canadian provinces, while the UK, Australia and New Zealand all use variations on their own sign languages, which are not related to ASL. Similarly, the sign languages of Spain and Mexico are very different, despite Spanish being the national language in each country, and the sign language used in Bolivia is based on ASL rather than any sign language that is used in any other Spanish-speaking country. Variations also arise within a 'national' sign language which don't necessarily correspond to dialect differences in the national spoken language; rather, they can usually be correlated to the geographic location of residential schools for the deaf.

Question: Would the geographic spread of American Sign Language, as described in this passage, support the hypothesis that styles of signing are spread by person to person through close proximity?
Answer: YES

Question: Could you point to the common use of a certain style of sign language as being another instance of the fabled "Special Relationship" between the United States and Great Britain?
Answer: NO
Passage: Sign languages generally do not have any linguistic relation to the spoken languages of the lands in which they arise. The correlation between sign and spoken languages is complex and varies depending on the country more than the spoken language. For example, Australia, Canada, New Zealand, the UK and the US all have English as their dominant language, but American Sign Language (ASL), used in the US, UK, and Quebec, is derived from French Sign Language whereas the southern countries and English-speaking Canada use varieties of an older British sign language, which is unrelated to ASL. Similarly, the sign languages of Spain and Mexico are very different, despite Spanish being the national language in each country, and the sign language used in Bolivia is based on ASL rather than any sign language that is used in any other Spanish-speaking country. Variations also arise within a 'national' sign language which don't necessarily correspond to dialect differences in the national spoken language; rather, they can usually be correlated to the geographic location of residential schools for the deaf.

Question: Would the geographic spread of American Sign Language, as described in this passage, support the hypothesis that styles of signing are spread by person to person through close proximity?
Answer: NO

Question: Could you point to the common use of a certain style of sign language as being another instance of the fabled "Special Relationship" between the United States and Great Britain?
Answer: YES

Question: It's interesting to note that neither the US nor England have English as an official language, yet Canada does (along with French).  That being said, does the passage suggest that someone who relies on signing to communicate find it necessary to learn two languages in order to be able to travel and work in both Ontario and Quebec?
Answer: YES
Passage: Sign languages generally do not have any linguistic relation to the spoken languages of the lands in which they arise. The correlation between sign and spoken languages is complex and varies depending on the country more than the spoken language. For example, Australia, Canada, New Zealand, the UK and the US all have English as their dominant language, but American Sign Language (ASL), used in the US, UK, and all of Canada (even Quebec), is derived from early British Sign Language whereas the other two countries use local variations of French sign language Similarly, the sign languages of Spain and Mexico are very different, despite Spanish being the national language in each country, and the sign language used in Bolivia is based on ASL rather than any sign language that is used in any other Spanish-speaking country. Variations also arise within a 'national' sign language which don't necessarily correspond to dialect differences in the national spoken language; rather, they can usually be correlated to the geographic location of residential schools for the deaf.

Question: Could you point to the common use of a certain style of sign language as being another instance of the fabled "Special Relationship" between the United States and Great Britain?
Answer: YES

Question: It's interesting to note that neither the US nor England have English as an official language, yet Canada does (along with French).  That being said, does the passage suggest that someone who relies on signing to communicate find it necessary to learn two languages in order to be able to travel and work in both Ontario and Quebec?
Answer: NO
Passage: Jon Pareles has named Springsteen among the "pantheon" of artists in the album era, in which the album format was the dominant form of recorded music expression and consumption. "Springsteen is the quintessential album-era rock star", writes Ann Powers, who argues that while other album-era acts like the Beatles, the Rolling Stones, and Marvin Gaye probably made better individual works, "none [had] used the long-player form itself more powerfully over the arc of a career, not only to establish a world through song, but to inhabit an enduring persona" and lyricize "America's slide from industrial-era swagger into service-economy anomie". In her mind, he needed the "track-by-track architecture of albums to flesh out characters, relate each to the other, extend metaphors and build a palpable, detail-strewn landscape through which they could travel", while progressing musically over time "both with his stalwart E Street Band (a metaphor itself for the family connections and community spirit his songs celebrate or lament) and in more minimalist projects."

Question: If one were making a list of of artists who used the long form of the album itself powerfully, would Springsteen likely be at the top?
Answer: YES

Question: If one were making a list of of artists who best used the long form of the album itself to create and maintain a persona, would there likely be others ahead of Springsteen?
Answer: NO

Question: If one were making a list of of artists who best used the long form of the album to establish their world through song, would Springsteen likely be at the top?
Answer: YES
Passage: Jon Pareles has named Springsteen among the "pantheon" of artists in the album era, in which the album format was the dominant form of recorded music expression and consumption. "Springsteen is the quintessential album-era rock star", writes Ann Powers, who argues that while other album-era acts like the Beatles, the Rolling Stones, and Marvin Gaye probably made better individual works, " Springsteen used the long-player form itself more powerfully over the arc of a career, not only to establish a world through song, but to inhabit an enduring persona" and lyricize "America's slide from industrial-era swagger into service-economy anomie". In her mind, he needed the "track-by-track architecture of albums to flesh out characters, relate each to the other, extend metaphors and build a palpable, detail-strewn landscape through which they could travel", while progressing musically over time "both with his stalwart E Street Band (a metaphor itself for the family connections and community spirit his songs celebrate or lament) and in more minimalist projects."

Question: If one were making a list of of artists who used the long form of the album itself powerfully, would Springsteen likely be at the top?
Answer: YES

Question: If one were making a list of of artists who best used the long form of the album itself to create and maintain a persona, would there likely be others ahead of Springsteen?
Answer: NO

Question: If one were making a list of of artists who best used the long form of the album to establish their world through song, would Springsteen likely be at the top?
Answer: YES
Passage: Jon Pareles has named Springsteen among the "pantheon" of artists in the album era, in which the album format was the dominant form of recorded music expression and consumption. "Springsteen is the quintessential album-era rock star", writes Ann Powers, who argues that while other album-era acts like the Beatles, the Rolling Stones, and Marvin Gaye probably made better individual works, " none [had] used the long-player form itself more powerfully over the arc of a career to establish a world through song, albeit he was not the only one to inhabit an enduring persona" and lyricize "America's slide from industrial-era swagger into service-economy anomie". In her mind, he needed the "track-by-track architecture of albums to flesh out characters, relate each to the other, extend metaphors and build a palpable, detail-strewn landscape through which they could travel", while progressing musically over time "both with his stalwart E Street Band (a metaphor itself for the family connections and community spirit his songs celebrate or lament) and in more minimalist projects."

Question: If one were making a list of of artists who used the long form of the album itself powerfully, would Springsteen likely be at the top?
Answer: YES

Question: If one were making a list of of artists who best used the long form of the album itself to create and maintain a persona, would there likely be others ahead of Springsteen?
Answer: DON'T KNOW

Question: If one were making a list of of artists who best used the long form of the album to establish their world through song, would Springsteen likely be at the top?
Answer: YES
Passage: Jon Pareles has named Springsteen among the "pantheon" of artists in the album era, in which the album format was the dominant form of recorded music expression and consumption. "Springsteen is one of the quintessential album-era rock stars", writes Ann Powers, who argues that while other album-era acts like the Beatles, the Rolling Stones, and Marvin Gaye probably made better individual works, " only a few [had] used the long-player form itself more powerfully over the arc of a career, not only to establish a world through song, but to inhabit an enduring persona" and lyricize "America's slide from industrial-era swagger into service-economy anomie". In her mind, he needed the "track-by-track architecture of albums to flesh out characters, relate each to the other, extend metaphors and build a palpable, detail-strewn landscape through which they could travel", while progressing musically over time "both with his stalwart E Street Band (a metaphor itself for the family connections and community spirit his songs celebrate or lament) and in more minimalist projects."

Question: If one were making a list of of artists who used the long form of the album itself powerfully, would Springsteen likely be at the top?
Answer: NO

Question: If one were making a list of of artists who best used the long form of the album itself to create and maintain a persona, would there likely be others ahead of Springsteen?
Answer: YES

Question: If one were making a list of of artists who best used the long form of the album to establish their world through song, would Springsteen likely be at the top?
Answer: NO
Passage: The original title, "Tex X", was rejected to avoid it being mistaken for an X-rated film, as were "Black Bart" – a reference to Black Bart, a white highwayman of the 19th century – and "Purple Sage". Brooks said he finally conceived "Blazing Saddles" one morning while taking a shower.

Question: Did Brooks want the film mistaken as an X-rated one?
Answer: NO

Question: Did the film-makers think they'd lose money if the film were to use the original title?
Answer: YES

Question: Might more people have avoided seeing Blazing Saddles if it were called Tex X?
Answer: YES
Passage: The original title, "Tex X", was rejected because it could be mistaken for an X-rated film, as were "Black Bart" – a reference to Black Bart, a white highwayman of the 19th century – and "Purple Sage". Brooks said he finally conceived "Blazing Saddles" one morning while taking a shower.

Question: Did Brooks want the film mistaken as an X-rated one?
Answer: NO

Question: Did the film-makers think they'd lose money if the film were to use the original title?
Answer: YES

Question: Might more people have avoided seeing Blazing Saddles if it were called Tex X?
Answer: YES