lasha-nlp/CONDAQA huggingface dataset:
Passage: The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.

Question: Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece?
Answer: YES

Question: Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame?
Answer: NO

Question: If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries?
Answer: NO
Passage: The avant-garde art world has made note of the "Mona Lisa"s popularity, which would be impossible to deny. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.

Question: Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece?
Answer: YES

Question: Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame?
Answer: NO

Question: If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries?
Answer: NO
Passage: The avant-garde art world has made note of the "Mona Lisa"s popularity, though they make pains to point out that the artistic talent therein is far from undeniable. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.

Question: Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece?
Answer: NO

Question: Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame?
Answer: YES

Question: If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries?
Answer: YES
Passage: The avant-garde art world has made deliberate attempts to challenge the Mona Lisa's popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.

Question: Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece?
Answer: NO

Question: Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame?
Answer: YES

Question: If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries?
Answer: YES
Passage: The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s.

Question: Would a three month old bull have a black coat?
Answer: YES

Question: Would a one year old bull have a black coat?
Answer: YES

Question: After changing its coat color, would a young bull have more than one stripe on its back?
Answer: NO
Passage: The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at several months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s.

Question: Would a three month old bull have a black coat?
Answer: YES

Question: Would a one year old bull have a black coat?
Answer: YES

Question: After changing its coat color, would a young bull have more than one stripe on its back?
Answer: NO
Passage: The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour to black, with a few white eel stripes running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s.

Question: Would a three month old bull have a black coat?
Answer: DON'T KNOW

Question: Would a one year old bull have a black coat?
Answer: DON'T KNOW

Question: After changing its coat color, would a young bull have more than one stripe on its back?
Answer: YES
Passage: The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. As they reached puberty, young bulls changed their coat colour to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s.

Question: Would a three month old bull have a black coat?
Answer: NO

Question: Would a one year old bull have a black coat?
Answer: YES

Question: After changing its coat color, would a young bull have more than one stripe on its back?
Answer: NO
Passage: Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues.

Question: From this passage, can you gather that Evers was on the White House payroll for at least two different presidents?
Answer: NO

Question: Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents?
Answer: YES

Question: If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers?
Answer: NO
Passage: Evers befriended a range of people from sharecroppers to presidents. Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, despite their wide range of political beliefs, all utilized Evers in an unofficial advisory role. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues.

Question: From this passage, can you gather that Evers was on the White House payroll for at least two different presidents?
Answer: NO

Question: Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents?
Answer: YES

Question: If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers?
Answer: NO
Passage: Evers befriended a range of people from sharecroppers to presidents. He was an official, formal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, and even provided informal support to some members of Congress. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues.

Question: From this passage, can you gather that Evers was on the White House payroll for at least two different presidents?
Answer: YES

Question: Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents?
Answer: NO

Question: If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers?
Answer: YES
Passage: Evers befriended a range of people from sharecroppers to presidents. He served, in an official capacity as adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues.

Question: From this passage, can you gather that Evers was on the White House payroll for at least two different presidents?
Answer: YES

Question: Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents?
Answer: NO

Question: If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers?
Answer: YES
Passage: The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny.

Question: Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood?
Answer: NO

Question: Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires?
Answer: NO

Question: If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future?
Answer: NO
Passage: The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will be repulsed and leave him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny.

Question: Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood?
Answer: NO

Question: Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires?
Answer: NO

Question: If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future?
Answer: NO
Passage: The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject the poor fashion choices he has made. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny.

Question: Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood?
Answer: YES

Question: Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires?
Answer: YES

Question: If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future?
Answer: NO
Passage: The narrative explains that Glen is a transvestite, but not a homosexual. He decides to subtly hint at his cross-dressing around his fiancée, Barbara, fearing that she will leave him if she learns that he has kept a secret. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny.

Question: Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood?
Answer: YES

Question: Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires?
Answer: YES

Question: If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future?
Answer: NO
Passage: On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill.

Question: Would Hopkinson likely have felt that his work on the drawing of the pyramid was complete?
Answer: YES

Question: Would the image of the pyramid look nearly identical to pyramids found in real life?
Answer: NO

Question: If the pyramid in the image was real, would you likely be able to climb to the top of it?
Answer: NO
Passage: On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The partially complete pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill.

Question: Would Hopkinson likely have felt that his work on the drawing of the pyramid was complete?
Answer: YES

Question: Would the image of the pyramid look nearly identical to pyramids found in real life?
Answer: NO

Question: If the pyramid in the image was real, would you likely be able to climb to the top of it?
Answer: NO
Passage: On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains a pyramid below a radiant eye. The pyramid was an unfinished image used by Hopkinson when he designed the Continental $50 currency bill.

Question: Would Hopkinson likely have felt that his work on the drawing of the pyramid was complete?
Answer: NO

Question: Would the image of the pyramid look nearly identical to pyramids found in real life?
Answer: DON'T KNOW

Question: If the pyramid in the image was real, would you likely be able to climb to the top of it?
Answer: DON'T KNOW