lasha-nlp/CONDAQA huggingface dataset:
Passage: Despite having invented much of the technology of software, he eschewed the use of computers in his own work for many decades. Even after he succumbed to his UT colleagues' encouragement and acquired a Macintosh computer, he used it only for e-mail and for browsing the World Wide Web. Dijkstra never wrote his articles using a computer. He preferred to rely on his typewriter and later on his Montblanc pen. Dijkstra's favorite writing instrument was the Montblanc Meisterstück fountain pen. He repeatedly tried other pens, but none ever displaced the Montblanc.

Question: Would someone who considered Dijkstra to be an expert in writing implements and an influencer on the topic conclude that the Montblanc Meisterstück indeed remained the optimal pen?
Answer: YES

Question: If someone had dug up a newspaper crossword, or some unimportant scrap of paper in Dijkstra's handwriting that had been tossed into the trash during his later years, would they be likely to find it written in the distinctive ink of a Montblanc fountain pen?
Answer: YES

Question: Could someone cynically conclude that Dijkstra had a financial interest in Montblanc, given the way he conspicuously advertised the pen which he didn't seem to truly favor for all occasions?
Answer: NO
Passage: Despite having invented much of the technology of software, he eschewed the use of computers in his own work for many decades. Even after he succumbed to his UT colleagues' encouragement and acquired a Macintosh computer, he used it only for e-mail and for browsing the World Wide Web. Dijkstra never wrote his articles using a computer. He preferred to rely on his typewriter and later on his Montblanc pen. Dijkstra's favorite writing instrument was the Montblanc Meisterstück fountain pen. He had tried to use other pens on repeated occasions, but he never replaced his Montblanc.

Question: Would someone who considered Dijkstra to be an expert in writing implements and an influencer on the topic conclude that the Montblanc Meisterstück indeed remained the optimal pen?
Answer: YES

Question: If someone had dug up a newspaper crossword, or some unimportant scrap of paper in Dijkstra's handwriting that had been tossed into the trash during his later years, would they be likely to find it written in the distinctive ink of a Montblanc fountain pen?
Answer: YES

Question: Could someone cynically conclude that Dijkstra had a financial interest in Montblanc, given the way he conspicuously advertised the pen which he didn't seem to truly favor for all occasions?
Answer: NO
Passage: Despite having invented much of the technology of software, he eschewed the use of computers in his own work for many decades. Even after he succumbed to his UT colleagues' encouragement and acquired a Macintosh computer, he used it only for e-mail and for browsing the World Wide Web. Dijkstra never wrote his articles using a computer. He preferred to rely on his typewriter and later on his Montblanc pen. Dijkstra's favorite writing instrument was said to be the Montblanc Meisterstück fountain pen. He then began to try other pens, and in none of his future appearances was he ever seen conspicuously using the Montblanc.

Question: If someone had dug up a newspaper crossword, or some unimportant scrap of paper in Dijkstra's handwriting that had been tossed into the trash during his later years, would they be likely to find it written in the distinctive ink of a Montblanc fountain pen?
Answer: NO

Question: Could someone cynically conclude that Dijkstra had a financial interest in Montblanc, given the way he conspicuously advertised the pen which he didn't seem to truly favor for all occasions?
Answer: NO
Passage: Despite having invented much of the technology of software, he eschewed the use of computers in his own work for many decades. Even after he succumbed to his UT colleagues' encouragement and acquired a Macintosh computer, he used it only for e-mail and for browsing the World Wide Web. Dijkstra never wrote his articles using a computer. He preferred to rely on his typewriter and later on his Montblanc pen. Dijkstra said that his favorite writing instrument was the Montblanc Meisterstück fountain pen. He repeatedly used other pens, in public and private, but none ever displaced the Montblanc for events such as contract or autograph signings.

Question: If someone had dug up a newspaper crossword, or some unimportant scrap of paper in Dijkstra's handwriting that had been tossed into the trash during his later years, would they be likely to find it written in the distinctive ink of a Montblanc fountain pen?
Answer: NO

Question: Could someone cynically conclude that Dijkstra had a financial interest in Montblanc, given the way he conspicuously advertised the pen which he didn't seem to truly favor for all occasions?
Answer: YES
Passage: In July and August 1977, he recorded his fourth studio album, "Foreign Affairs"; Bob Alcivar had been employed as its arranger. The album included "I Never Talk to Strangers", a duet with Midler, with whom he was still in an intermittent relationship. She appeared with him at the Troubadour to sing the song; the next day he repaid the favor by performing at a gay rights benefit at the Hollywood Bowl that Midler was involved with. "Foreign Affairs" was not as well received by critics as its predecessor, and unlike "Small Change" failed to make the Billboard Top 100 album chart. That year, he began a relationship with the singer-songwriter Rickie Lee Jones; their work and styles influenced each other. In October 1977, he returned to touring with the Nocturnal Emissions; it was on this tour that he first began using props onstage, in this case a street lamp. Again, he found the tour exhausting. In March 1978, he embarked on his second tour of Japan.

Question: Regardless of how critics reacted, would a reader of the Billboard archives be able to recognize "Foreign Affairs" as being a crowd pleaser in its time?
Answer: NO

Question: Looking strictly at the numbers, would this artist's accountant be able to notice a significant difference in how "Foreign Affairs" performed compared to "Small Change"?
Answer: YES

Question: Is there a tinge of appropriateness to the title "Small Change", given the relatively low album sales of that album compared to its successor?
Answer: NO
Passage: In July and August 1977, he recorded his fourth studio album, "Foreign Affairs"; Bob Alcivar had been employed as its arranger. The album included "I Never Talk to Strangers", a duet with Midler, with whom he was still in an intermittent relationship. She appeared with him at the Troubadour to sing the song; the next day he repaid the favor by performing at a gay rights benefit at the Hollywood Bowl that Midler was involved with. The album foreign affairs did not gain as much praise from critics as the preceeding "Small Change", and unlike the previous album, "Foreign Affairs" did not make it into Billboard's Top 100 albums. That year, he began a relationship with the singer-songwriter Rickie Lee Jones; their work and styles influenced each other. In October 1977, he returned to touring with the Nocturnal Emissions; it was on this tour that he first began using props onstage, in this case a street lamp. Again, he found the tour exhausting. In March 1978, he embarked on his second tour of Japan.

Question: Regardless of how critics reacted, would a reader of the Billboard archives be able to recognize "Foreign Affairs" as being a crowd pleaser in its time?
Answer: NO

Question: Looking strictly at the numbers, would this artist's accountant be able to notice a significant difference in how "Foreign Affairs" performed compared to "Small Change"?
Answer: YES

Question: Is there a tinge of appropriateness to the title "Small Change", given the relatively low album sales of that album compared to its successor?
Answer: NO
Passage: In July and August 1977, he recorded his fourth studio album, "Foreign Affairs"; Bob Alcivar had been employed as its arranger. The album included "I Never Talk to Strangers", a duet with Midler, with whom he was still in an intermittent relationship. She appeared with him at the Troubadour to sing the song; the next day he repaid the favor by performing at a gay rights benefit at the Hollywood Bowl that Midler was involved with. "Foreign Affairs" was not as well received by critics as its predecessor, but unlike "Small Change," it did make the Billboard Top 100 album chart. That year, he began a relationship with the singer-songwriter Rickie Lee Jones; their work and styles influenced each other. In October 1977, he returned to touring with the Nocturnal Emissions; it was on this tour that he first began using props onstage, in this case a street lamp. Again, he found the tour exhausting. In March 1978, he embarked on his second tour of Japan.

Question: Regardless of how critics reacted, would a reader of the Billboard archives be able to recognize "Foreign Affairs" as being a crowd pleaser in its time?
Answer: YES

Question: Looking strictly at the numbers, would this artist's accountant be able to notice a significant difference in how "Foreign Affairs" performed compared to "Small Change"?
Answer: YES

Question: Is there a tinge of appropriateness to the title "Small Change", given the relatively low album sales of that album compared to its successor?
Answer: YES
Passage: In July and August 1977, he recorded his fourth studio album, "Foreign Affairs"; Bob Alcivar had been employed as its arranger. The album included "I Never Talk to Strangers", a duet with Midler, with whom he was still in an intermittent relationship. She appeared with him at the Troubadour to sing the song; the next day he repaid the favor by performing at a gay rights benefit at the Hollywood Bowl that Midler was involved with. "Foreign Affairs" was as well received by critics as its predecessor, and just like "Small Change" it managed to make the Billboard Top 100 album chart. That year, he began a relationship with the singer-songwriter Rickie Lee Jones; their work and styles influenced each other. In October 1977, he returned to touring with the Nocturnal Emissions; it was on this tour that he first began using props onstage, in this case a street lamp. Again, he found the tour exhausting. In March 1978, he embarked on his second tour of Japan.

Question: Regardless of how critics reacted, would a reader of the Billboard archives be able to recognize "Foreign Affairs" as being a crowd pleaser in its time?
Answer: YES

Question: Looking strictly at the numbers, would this artist's accountant be able to notice a significant difference in how "Foreign Affairs" performed compared to "Small Change"?
Answer: NO

Question: Is there a tinge of appropriateness to the title "Small Change", given the relatively low album sales of that album compared to its successor?
Answer: NO
Passage: A book about Joplin by her publicist Myra Friedman, titled "Buried Alive: The Biography of Janis Joplin" (1973), was excerpted in many newspapers. At the same time, Peggy Caserta's memoir, "Going Down With Janis" (1973), attracted a lot of attention, with its provocative title referring to her performing oral sex with Joplin while they were high on heroin, in September 1970. The first sentence in the book goes into more detail about that particular encounter. Caserta's language and description repelled many people at a time when few books or filmed interviews of Joplin or her loved ones were accessible to the public. Peggy Caserta was described as "halfway between a groupie and a friend" in an interview that writer Ellis Amburn did with Joplin's bandmate Sam Andrew circa 1990 and published in 1992. Soon after the 1973 publication of "Going Down With Janis", Joplin's friends learned that graphic descriptions of sexual acts and intravenous drug use were not the only portions of the book that would haunt them.

Question: Would friends of Janis Joplin consider this book to be a shocking exposé, based on what they saw and learned within its pages?
Answer: YES

Question: Even if someone reading this passage disagreed with many of Janis Joplin's lifestyle choices, could they at least agree that she was open and honest with those closest to her?
Answer: NO

Question: Is it possible that people who knew Joplin in her life could claim that some of the events in this book were fabricated to sell copies, since they had never heard Janis herself ever make reference to them?
Answer: YES
Passage: A book about Joplin by her publicist Myra Friedman, titled "Buried Alive: The Biography of Janis Joplin" (1973), was excerpted in many newspapers. At the same time, Peggy Caserta's memoir, "Going Down With Janis" (1973), attracted a lot of attention, with its provocative title referring to her performing oral sex with Joplin while they were high on heroin, in September 1970. The first sentence in the book goes into more detail about that particular encounter. Caserta's language and description repelled many people at a time when few books or filmed interviews of Joplin or her loved ones were accessible to the public. Peggy Caserta was described as "halfway between a groupie and a friend" in an interview that writer Ellis Amburn did with Joplin's bandmate Sam Andrew circa 1990 and published in 1992. Friends of Joplin learned new things after the publication of "Going Down With Janis" in 1973 that were just as haunting to them as the book's depictions of intravenous drug usage and graphic sexual acts.

Question: Would friends of Janis Joplin consider this book to be a shocking exposé, based on what they saw and learned within its pages?
Answer: YES

Question: Even if someone reading this passage disagreed with many of Janis Joplin's lifestyle choices, could they at least agree that she was open and honest with those closest to her?
Answer: NO

Question: Is it possible that people who knew Joplin in her life could claim that some of the events in this book were fabricated to sell copies, since they had never heard Janis herself ever make reference to them?
Answer: YES
Passage: A book about Joplin by her publicist Myra Friedman, titled "Buried Alive: The Biography of Janis Joplin" (1973), was excerpted in many newspapers. At the same time, Peggy Caserta's memoir, "Going Down With Janis" (1973), attracted a lot of attention, with its provocative title referring to her performing oral sex with Joplin while they were high on heroin, in September 1970. The first sentence in the book goes into more detail about that particular encounter. Caserta's language and description repelled many people at a time when few books or filmed interviews of Joplin or her loved ones were accessible to the public. Peggy Caserta was described as "halfway between a groupie and a friend" in an interview that writer Ellis Amburn did with Joplin's bandmate Sam Andrew circa 1990 and published in 1992. Soon after the 1973 publication of "Going Down With Janis", Joplin's friends realized that graphic descriptions of sexual acts and intravenous drug use were the only portions of the book that would shock them, and that the book did not publish anything that they did not already know.

Question: Would friends of Janis Joplin consider this book to be a shocking exposé, based on what they saw and learned within its pages?
Answer: NO

Question: Even if someone reading this passage disagreed with many of Janis Joplin's lifestyle choices, could they at least agree that she was open and honest with those closest to her?
Answer: YES

Question: Is it possible that people who knew Joplin in her life could claim that some of the events in this book were fabricated to sell copies, since they had never heard Janis herself ever make reference to them?
Answer: NO
Passage: A book about Joplin by her publicist Myra Friedman, titled "Buried Alive: The Biography of Janis Joplin" (1973), was excerpted in many newspapers. At the same time, Peggy Caserta's memoir, "Going Down With Janis" (1973), attracted a lot of attention, with its provocative title referring to her performing oral sex with Joplin while they were high on heroin, in September 1970. The first sentence in the book goes into more detail about that particular encounter. Caserta's language and description repelled many people at a time when few books or filmed interviews of Joplin or her loved ones were accessible to the public. Peggy Caserta was described as "halfway between a groupie and a friend" in an interview that writer Ellis Amburn did with Joplin's bandmate Sam Andrew circa 1990 and published in 1992. Soon after the 1973 publication of "Going Down With Janis", Joplin's friends realized that the graphic descriptions of the same sexual acts and intravenous drug use that they were already aware of were the only portions of the book that would shock them.

Question: Even if someone reading this passage disagreed with many of Janis Joplin's lifestyle choices, could they at least agree that she was open and honest with those closest to her?
Answer: YES

Question: Is it possible that people who knew Joplin in her life could claim that some of the events in this book were fabricated to sell copies, since they had never heard Janis herself ever make reference to them?
Answer: NO
Passage: In Poland, cinema releases for general audiences are almost exclusively subtitled, with the exception of children's movies, and television screenings of movies, as well as made-for-TV shows. These are usually shown with voice-over, where a voice talent reads a translation over the original soundtrack. This method, called "juxtareading," is similar to the so-called Gavrilov translation in Russia, with one difference—all dialogues are voiced by one off-screen reader (), preferably with a deep and neutral voice which does not interfere with the pitch of voice of the original speakers in the background. To some extent, it resembles live translation. Certain highly qualified voice talents are traditionally assigned to particular kinds of production, such as action or drama. Standard dubbing is not widely popular with most audiences, with the exception of cartoons and children's shows, which are dubbed also for TV releases.

Question: If a Disney movie targeted for an under-12 audience played in a Polish theater, would there be subtitles?
Answer: NO
Passage: In Poland, cinema releases for general audiences are almost exclusively subtitled; children's movies, television screenings of movies, as well as made-for-TV shows appear in their original language. These are usually shown with voice-over, where a voice talent reads a translation over the original soundtrack. This method, called "juxtareading," is similar to the so-called Gavrilov translation in Russia, with one difference—all dialogues are voiced by one off-screen reader (), preferably with a deep and neutral voice which does not interfere with the pitch of voice of the original speakers in the background. To some extent, it resembles live translation. Certain highly qualified voice talents are traditionally assigned to particular kinds of production, such as action or drama. Standard dubbing is not widely popular with most audiences, with the exception of cartoons and children's shows, which are dubbed also for TV releases.

Question: If a Disney movie targeted for an under-12 audience played in a Polish theater, would there be subtitles?
Answer: NO

Question: If a steamy Russian soap opera was presented in a Polish theater, would the audience hear Russian?
Answer: YES
Passage: In Poland, cinema releases for general audiences are almost exclusively subtitled, with the except ion of movies and TV shows made in the countries of the former U.S.S.R. These are usually shown with voice-over, where a voice talent reads a translation over the original soundtrack. This method, called "juxtareading," is similar to the so-called Gavrilov translation in Russia, with one difference—all dialogues are voiced by one off-screen reader (), preferably with a deep and neutral voice which does not interfere with the pitch of voice of the original speakers in the background. To some extent, it resembles live translation. Certain highly qualified voice talents are traditionally assigned to particular kinds of production, such as action or drama. Standard dubbing is not widely popular with most audiences, with the exception of cartoons and children's shows, which are dubbed also for TV releases.

Question: If a Disney movie targeted for an under-12 audience played in a Polish theater, would there be subtitles?
Answer: YES

Question: If a steamy Russian soap opera was presented in a Polish theater, would the audience hear Russian?
Answer: YES
Passage: In Poland, cinema releases for general audiences are almost exclusively subtitled, with the subtitles appearing in addition to a Polish audio track in children's movies, and television screenings of movies, as well as made-for-TV shows. These are usually shown with voice-over, where a voice talent reads a translation over the original soundtrack. This method, called "juxtareading," is similar to the so-called Gavrilov translation in Russia, with one difference—all dialogues are voiced by one off-screen reader (), preferably with a deep and neutral voice which does not interfere with the pitch of voice of the original speakers in the background. To some extent, it resembles live translation. Certain highly qualified voice talents are traditionally assigned to particular kinds of production, such as action or drama. Standard dubbing is not widely popular with most audiences, with the exception of cartoons and children's shows, which are dubbed also for TV releases.

Question: If a Disney movie targeted for an under-12 audience played in a Polish theater, would there be subtitles?
Answer: YES

Question: If a Disney movie targeted for an under-12 audience played in a Polish theater, would the audience hear English?
Answer: NO

Question: If a steamy Russian soap opera was presented in a Polish theater, would the audience hear Russian?
Answer: NO
Passage: On 11 September 2008, a fire occurred in the Channel Tunnel at 13:57 GMT. The incident started on an HGV shuttle train travelling towards France. The event occurred from the French entrance to the tunnel. No one was killed but several people were taken to hospitals suffering from smoke inhalation, and minor cuts and bruises. The tunnel was closed to all traffic, with the undamaged South Tunnel reopening for limited services two days later. Full service resumed on 9 February 2009 after repairs costing €60 million.

Question: Is it reasonable to conclude that the French entrance to the Channel Tunnel and the South Tunnel were physically unconnected?
Answer: YES
Passage: On 11 September 2008, a fire occurred in the Channel Tunnel at 13:57 GMT. The incident started on an HGV shuttle train travelling towards France. The event occurred from the French entrance to the tunnel. No one was killed but several people were taken to hospitals suffering from smoke inhalation, and minor cuts and bruises. No traffic was allowed inside the tunnel, and the South Tunnel, which was undamaged, was opened again for limited use after two days. Full service resumed on 9 February 2009 after repairs costing €60 ;million.

Question: Is it reasonable to conclude that the French entrance to the Channel Tunnel and the South Tunnel were physically unconnected?
Answer: YES
Passage: On 11 September 2008, a fire occurred in the Channel Tunnel at 13:57 GMT. The incident started on an HGV shuttle train travelling towards France. The event occurred from the French entrance to the tunnel. No one was killed but several people were taken to hospitals suffering from smoke inhalation, and minor cuts and bruises. The tunnel was closed to all traffic, and the South Tunnel, which was relatively undamaged, reopened for limited services two days later. Full service resumed on 9 February 2009 after repairs costing €60 ;million.

Question: Would one assume, from this passage, that repairs were taking place on the South Tunnel on September 12, 2008?
Answer: YES