lasha-nlp/CONDAQA huggingface dataset:
Passage: The modern "Pax Americana" era is cited by both supporters and critics of U.S. foreign policy after World War II. However, from 1946 to 1992 "Pax Americana" is considered a partial international order, as it applied only to capitalist bloc countries, being preferable for some authors to speak about a "Pax Americana et Sovietica". Many commentators and critics focus on American policies from 1992 to the present, and as such, it carries different connotations depending on the context. For example, it appears three times in the 90 page document, "Rebuilding America's Defenses," by the Project for the New American Century, but is also used by critics to characterize American dominance and hyperpower as imperialist in function and basis. From about the mid-1940s until 1991, U.S. foreign policy was dominated by the Cold War, and characterized by its significant international military presence and greater diplomatic involvement. Seeking an alternative to the isolationist policies pursued after World War I, the United States defined a new policy called containment to support the spread of communism.

Question: Was the policy of containment meant to be beneficial for communism?
Answer: YES

Question: Was the policy of isolationism meant to be beneficial for communism?
Answer: DON'T KNOW

Question: Was the policy of containment pursued in the 1920s?
Answer: NO
Passage: In his later years, his mythological paintings became more somber, and often introduced the symbols of mortality and death. The last painting he was working on before his death was "Apollo in love with Daphne", which he presented to his patron, the future Cardinal Massimi, in 1665. The figures on the left of the canvas, around Apollo, largely represented vitality and life, while those on the right, around Daphne, were symbols of sterility and death. He was unable to complete the painting because of the trembling of his hand, and the figures on the right are unfinished.

Question: If someone were to look at this work in its frame, even from far away, would they be able to see exactly what color canvas the artist had used?
Answer: YES

Question: Would it be proper for the corner of the painting to have two signatures, given the circumstances of its production?
Answer: NO

Question: Would a trained art historian, knowing nothing of the history of the work, be able to notice anything unusual about the left versus the right side of the painting?
Answer: YES
Passage: In his later years, his mythological paintings became more somber, and often introduced the symbols of mortality and death. The last painting he was working on before his death was "Apollo in love with Daphne", which he presented to his patron, the future Cardinal Massimi, in 1665. The figures on the left of the canvas, around Apollo, largely represented vitality and life, while those on the right, around Daphne, were symbols of sterility and death. An affliction which caused trembling in the artist's hand prevented him from completing the work, and he could not finish painting the figures on the right-hand side.

Question: If someone were to look at this work in its frame, even from far away, would they be able to see exactly what color canvas the artist had used?
Answer: YES

Question: Would it be proper for the corner of the painting to have two signatures, given the circumstances of its production?
Answer: NO

Question: Would a trained art historian, knowing nothing of the history of the work, be able to notice anything unusual about the left versus the right side of the painting?
Answer: YES
Passage: In his later years, his mythological paintings became more somber, and often introduced the symbols of mortality and death. The last painting he was working on before his death was "Apollo in love with Daphne", which he presented to his patron, the future Cardinal Massimi, in 1665. The figures on the left of the canvas, around Apollo, largely represented vitality and life, while those on the right, around Daphne, were symbols of sterility and death. He was unable to complete the painting because of the trembling of his hand, and the figures on the right were finished by his apprentice.

Question: If someone were to look at this work in its frame, even from far away, would they be able to see exactly what color canvas the artist had used?
Answer: NO

Question: Would it be proper for the corner of the painting to have two signatures, given the circumstances of its production?
Answer: YES
Passage: In his later years, his mythological paintings became more somber, and often introduced the symbols of mortality and death. The last painting he was working on before his death was "Apollo in love with Daphne", which he presented to his patron, the future Cardinal Massimi, in 1665. The figures on the left of the canvas, around Apollo, largely represented vitality and life, while those on the right, around Daphne, were symbols of sterility and death. He was unable to complete the painting easily because of the trembling of his hand, and the figures on the right were finished at a much slower pace than the rest of the work.

Question: If someone were to look at this work in its frame, even from far away, would they be able to see exactly what color canvas the artist had used?
Answer: NO

Question: Would it be proper for the corner of the painting to have two signatures, given the circumstances of its production?
Answer: NO

Question: Would a trained art historian, knowing nothing of the history of the work, be able to notice anything unusual about the left versus the right side of the painting?
Answer: NO
Passage: In order to compete with NBC, which produced the televised version of the Mary Martin Broadway production of "Peter Pan", CBS responded with a musical production of "Cinderella", with music by Richard Rodgers and lyrics by Oscar Hammerstein II. Based upon the classic Charles Perrault fairy tale, it is the only Rodgers and Hammerstein musical to have been written for television. It was originally broadcast live in color on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role; that broadcast was seen by over 100 million people. It was subsequently remade by CBS in 1965, with Lesley Ann Warren, Stuart Damon, Ginger Rogers, and Walter Pidgeon among its stars; the remake also included the new song "Loneliness of Evening", which was originally composed in 1949 for "South Pacific" but was not performed in that musical. This version was rebroadcast several times on CBS into the early 1970s, and is occasionally broadcast on various cable networks to this day; both versions are available on DVD.

Question: Could someone who had little familiarity with twentieth century musicals read this passage and conclude that it was not uncommon for the same song to be performed as an integral part of two or more unrelated shows?
Answer: NO

Question: Is it possible that the 1965 CBS remake was the first chance for the composers of "Loneliness of Evening" to receive performance royalties for their song?
Answer: YES

Question: If someone had an extensive collection of musical soundtracks, would they own copies of the same song on both their Cinderella and their South Pacific soundtracks?
Answer: NO
Passage: In order to compete with NBC, which produced the televised version of the Mary Martin Broadway production of "Peter Pan", CBS responded with a musical production of "Cinderella", with music by Richard Rodgers and lyrics by Oscar Hammerstein II. Based upon the classic Charles Perrault fairy tale, it is the only Rodgers and Hammerstein musical to have been written for television. It was originally broadcast live in color on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role; that broadcast was seen by over 100 ;million people. In 1965, CBS remade the show with a cast that featured Lesley Ann Warren, Stuart Damon, Ginger Rogers, and Walter Pidgeon; the new song "Loneliness of Evening" was also included in the show, having been composed in 1949 for the show "South Pacific," in which it was not actually performed. This version was rebroadcast several times on CBS into the early 1970s, and is occasionally broadcast on various cable networks to this day; both versions are available on DVD.

Question: Could someone who had little familiarity with twentieth century musicals read this passage and conclude that it was not uncommon for the same song to be performed as an integral part of two or more unrelated shows?
Answer: NO

Question: Is it possible that the 1965 CBS remake was the first chance for the composers of "Loneliness of Evening" to receive performance royalties for their song?
Answer: YES

Question: If someone had an extensive collection of musical soundtracks, would they own copies of the same song on both their Cinderella and their South Pacific soundtracks?
Answer: NO
Passage: In order to compete with NBC, which produced the televised version of the Mary Martin Broadway production of "Peter Pan", CBS responded with a musical production of "Cinderella", with music by Richard Rodgers and lyrics by Oscar Hammerstein II. Based upon the classic Charles Perrault fairy tale, it is the only Rodgers and Hammerstein musical to have been written for television. It was originally broadcast live in color on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role; that broadcast was seen by over 100 ;million people. It was subsequently remade by CBS in 1965, with Lesley Ann Warren, Stuart Damon, Ginger Rogers, and Walter Pidgeon among its stars; this particular remake did not include the song "Loneliness of Evening", which was originally composed in 1949 for "South Pacific" and had been performed in both that musical and earlier renditions of "Cinderella". This version was rebroadcast several times on CBS into the early 1970s, and is occasionally broadcast on various cable networks to this day; both versions are available on DVD.

Question: Could someone who had little familiarity with twentieth century musicals read this passage and conclude that it was not uncommon for the same song to be performed as an integral part of two or more unrelated shows?
Answer: YES

Question: Is it possible that the 1965 CBS remake was the first chance for the composers of "Loneliness of Evening" to receive performance royalties for their song?
Answer: NO

Question: If someone had an extensive collection of musical soundtracks, would they own copies of the same song on both their Cinderella and their South Pacific soundtracks?
Answer: YES
Passage: In order to compete with NBC, which produced the televised version of the Mary Martin Broadway production of "Peter Pan", CBS responded with a musical production of "Cinderella", with music by Richard Rodgers and lyrics by Oscar Hammerstein II. Based upon the classic Charles Perrault fairy tale, it is the only Rodgers and Hammerstein musical to have been written for television. It was originally broadcast live in color on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role; that broadcast was seen by over 100 ;million people. It was subsequently remade by CBS in 1965, with Lesley Ann Warren, Stuart Damon, Ginger Rogers, and Walter Pidgeon among its stars; the remake also included the new song "Loneliness of Evening", which was originally composed for and performed in 1949 for "South Pacific". This version was rebroadcast several times on CBS into the early 1970s, and is occasionally broadcast on various cable networks to this day; both versions are available on DVD.

Question: Could someone who had little familiarity with twentieth century musicals read this passage and conclude that it was not uncommon for the same song to be performed as an integral part of two or more unrelated shows?
Answer: YES

Question: Is it possible that the 1965 CBS remake was the first chance for the composers of "Loneliness of Evening" to receive performance royalties for their song?
Answer: NO

Question: If someone had an extensive collection of musical soundtracks, would they own copies of the same song on both their Cinderella and their South Pacific soundtracks?
Answer: YES
Passage: The first quartz watch to enter production was the Seiko 35 SQ Astron, which hit the shelves on 25 December 1969, swiftly followed by the Swiss Beta 21, and then a year later the prototype of one of the world's most accurate wristwatches to date: the Omega Marine Chronometer. Since the technology having been developed by contributions from Japanese, American and Swiss, nobody could patent the whole movement of the quartz wristwatch, thus allowing other manufacturers to participate in the rapid growth and development of the quartz watch market. This ended—in less than a decade—almost 100 years of dominance by the mechanical wristwatch legacy. Modern quartz movements are produced in very large quantities, and even the cheapest wristwatches typically have quartz movements. Whereas mechanical movements can typically be off by several seconds a day, an inexpensive quartz movement in a child's wristwatch may still be accurate to within half a second per day—ten times more accurate than a mechanical movement.

Question: Could any one company own the idea of a quartz wristwatch?
Answer: NO

Question: Would companies outside of Japan, America, or Switzerland be able to produce a quartz wristwatch movement without having to procure a license from a patent holder?
Answer: YES

Question: Did companies in Japan, America, or Switzerland make a lot of money licensing out their patents for whole quartz wristwatch movements?
Answer: NO
Passage: The first quartz watch to enter production was the Seiko 35 SQ Astron, which hit the shelves on 25 December 1969, swiftly followed by the Swiss Beta 21, and then a year later the prototype of one of the world's most accurate wristwatches to date: the Omega Marine Chronometer. Since the technology having been developed by contributions from Japanese, American and Swiss, the whole movement of the quartz wristwatch would fall outside patent protection, thus allowing other manufacturers to participate in the rapid growth and development of the quartz watch market. This ended—in less than a decade—almost 100 years of dominance by the mechanical wristwatch legacy. Modern quartz movements are produced in very large quantities, and even the cheapest wristwatches typically have quartz movements. Whereas mechanical movements can typically be off by several seconds a day, an inexpensive quartz movement in a child's wristwatch may still be accurate to within half a second per day—ten times more accurate than a mechanical movement.

Question: Could any one company own the idea of a quartz wristwatch?
Answer: NO

Question: Would companies outside of Japan, America, or Switzerland be able to produce a quartz wristwatch movement without having to procure a license from a patent holder?
Answer: YES

Question: Did companies in Japan, America, or Switzerland make a lot of money licensing out their patents for whole quartz wristwatch movements?
Answer: NO
Passage: The first quartz watch to enter production was the Seiko 35 SQ Astron, which hit the shelves on 25 December 1969, swiftly followed by the Swiss Beta 21, and then a year later the prototype of one of the world's most accurate wristwatches to date: the Omega Marine Chronometer. Since the technology having been developed by contributions from Japanese, American and Swiss, who could patent the whole movement of the quartz wristwatch, nobody else could participate in the rapid growth and development of the quartz watch market. Still, this ended—in less than a decade—almost 100 years of dominance by the mechanical wristwatch legacy. Modern quartz movements are produced in very large quantities, and even the cheapest wristwatches typically have quartz movements. Whereas mechanical movements can typically be off by several seconds a day, an inexpensive quartz movement in a child's wristwatch may still be accurate to within half a second per day—ten times more accurate than a mechanical movement.

Question: Would companies outside of Japan, America, or Switzerland be able to produce a quartz wristwatch movement without having to procure a license from a patent holder?
Answer: NO

Question: Did companies in Japan, America, or Switzerland make a lot of money licensing out their patents for whole quartz wristwatch movements?
Answer: YES
Passage: The first quartz watch to enter production was the Seiko 35 SQ Astron, which hit the shelves on 25 December 1969, swiftly followed by the Swiss Beta 21, and then a year later the prototype of one of the world's most accurate wristwatches to date: the Omega Marine Chronometer. Since the technology having been developed by contributions from Japanese, American and Swiss, they could patent the whole movement of the quartz wristwatch, thus restricting other manufacturers' ability to participate in the rapid growth and development of the quartz watch market. Still, this ended—in less than a decade—almost 100 years of dominance by the mechanical wristwatch legacy. Modern quartz movements are produced in very large quantities, and even the cheapest wristwatches typically have quartz movements. Whereas mechanical movements can typically be off by several seconds a day, an inexpensive quartz movement in a child's wristwatch may still be accurate to within half a second per day—ten times more accurate than a mechanical movement.

Question: Could any one company own the idea of a quartz wristwatch?
Answer: NO

Question: Would companies outside of Japan, America, or Switzerland be able to produce a quartz wristwatch movement without having to procure a license from a patent holder?
Answer: NO

Question: Did companies in Japan, America, or Switzerland make a lot of money licensing out their patents for whole quartz wristwatch movements?
Answer: YES
Passage: Houston was reunited with Ahuludegi's group of Cherokee in mid-1829. Because of Houston's experience in government and his connections with President Jackson, several local Native American tribes asked Houston to mediate disputes and communicate their needs to the Jackson administration. In late 1829, the Cherokee accorded Houston tribal membership and dispatched him to Washington to negotiate several issues. In anticipation of the removal of the remaining Cherokee east of the Mississippi River, Houston made an unsuccessful bid to supply rations to the Native Americans during their journey. When Houston returned to Washington in 1832, Congressman William Stanbery alleged that Houston had placed a fraudulent bid in 1830 in collusion with the Jackson administration. On April 13, 1832, after Stanbery refused to answer Houston's letters regarding the incident, Houston beat Stanbery with a cane. After the beating, the House of Representatives brought Houston to trial. By a vote of 106 to 89, the House convicted Houston, and Speaker of the House Andrew Stevenson formally reprimanded Houston. A federal court also required Houston to pay $500 in damages.

Question: Is it likely that Houston's bid helped the Cherokee during their forced relocation?
Answer: NO

Question: Is it likely that Houston has a good reputation among the Cherokee?
Answer: DON'T KNOW

Question: Is it likely that Houston is remembered fondly by the Cherokee?
Answer: DON'T KNOW
Passage: Houston was reunited with Ahuludegi's group of Cherokee in mid-1829. Because of Houston's experience in government and his connections with President Jackson, several local Native American tribes asked Houston to mediate disputes and communicate their needs to the Jackson administration. In late 1829, the Cherokee accorded Houston tribal membership and dispatched him to Washington to negotiate several issues. In anticipation of the removal of the remaining Cherokee east of the Mississippi River, Houston made an ineffective bid to supply rations to the Native Americans during their journey. When Houston returned to Washington in 1832, Congressman William Stanbery alleged that Houston had placed a fraudulent bid in 1830 in collusion with the Jackson administration. On April 13, 1832, after Stanbery refused to answer Houston's letters regarding the incident, Houston beat Stanbery with a cane. After the beating, the House of Representatives brought Houston to trial. By a vote of 106 to 89, the House convicted Houston, and Speaker of the House Andrew Stevenson formally reprimanded Houston. A federal court also required Houston to pay $500 in damages.

Question: Is it likely that Houston's bid helped the Cherokee during their forced relocation?
Answer: NO
Passage: Houston was reunited with Ahuludegi's group of Cherokee in mid-1829. Because of Houston's experience in government and his connections with President Jackson, several local Native American tribes asked Houston to mediate disputes and communicate their needs to the Jackson administration. In late 1829, the Cherokee accorded Houston tribal membership and dispatched him to Washington to negotiate several issues. In anticipation of the removal of the remaining Cherokee east of the Mississippi River, Houston made a bid to supply rations to the Native Americans during what turned out to be an unsuccessful journey. When Houston returned to Washington in 1832, Congressman William Stanbery alleged that Houston had placed a fraudulent bid in 1830 in collusion with the Jackson administration. On April 13, 1832, after Stanbery refused to answer Houston's letters regarding the incident, Houston beat Stanbery with a cane. After the beating, the House of Representatives brought Houston to trial. By a vote of 106 to 89, the House convicted Houston, and Speaker of the House Andrew Stevenson formally reprimanded Houston. A federal court also required Houston to pay $500 in damages.

Question: Is it likely that Houston's bid helped the Cherokee during their forced relocation?
Answer: NO
Passage: Houston was reunited with Ahuludegi's group of Cherokee in mid-1829. Because of Houston's experience in government and his connections with President Jackson, several local Native American tribes asked Houston to mediate disputes and communicate their needs to the Jackson administration. In late 1829, the Cherokee accorded Houston tribal membership and dispatched him to Washington to negotiate several issues. In anticipation of the removal of the remaining Cherokee east of the Mississippi River, Houston made a successful bid to supply rations to the Native Americans during their journey. When Houston returned to Washington in 1832, Congressman William Stanbery alleged that Houston had placed a fraudulent bid in 1830 in collusion with the Jackson administration. On April 13, 1832, after Stanbery refused to answer Houston's letters regarding the incident, Houston beat Stanbery with a cane. After the beating, the House of Representatives brought Houston to trial. By a vote of 106 to 89, the House convicted Houston, and Speaker of the House Andrew Stevenson formally reprimanded Houston. A federal court also required Houston to pay $500 in damages.

Question: Is it likely that Houston's bid helped the Cherokee during their forced relocation?
Answer: YES

Question: Is it likely that Houston has a good reputation among the Cherokee?
Answer: YES

Question: Is it likely that Houston is remembered fondly by the Cherokee?
Answer: YES