lasha-nlp/CONDAQA huggingface dataset:
Passage: Lateral undulation is the sole mode of aquatic locomotion, and the most common mode of terrestrial locomotion. In this mode, the body of the snake alternately flexes to the left and right, resulting in a series of rearward-moving "waves". This movement appears rapid, snakes have been documented moving faster than two body-lengths per second, rarely much less. This mode of movement has the same net cost of transport (calories burned per meter moved) as running in lizards of the same mass.

Question: If a researcher is interested in the study of snakes, is there a possibility he will come across data indicating that snakes move faster than two body-lengths per second?
Answer: YES

Question: Is a snake moving faster than two body-lengths per second faster than a cheetah?
Answer: DON'T KNOW

Question: Can a student determine the speed of a viper from information obtained from library books?
Answer: YES
Passage: Lateral undulation is the sole mode of aquatic locomotion, and the most common mode of terrestrial locomotion. In this mode, the body of the snake alternately flexes to the left and right, resulting in a series of rearward-moving "waves". While this movement appears rapid, snakes have been documented moving faster than two body-lengths per second, hardly much less. This mode of movement has the same net cost of transport (calories burned per meter moved) as running in lizards of the same mass.

Question: If a researcher is interested in the study of snakes, is there a possibility he will come across data indicating that snakes move faster than two body-lengths per second?
Answer: YES

Question: Is a snake moving faster than two body-lengths per second faster than a cheetah?
Answer: DON'T KNOW

Question: Can a student determine the speed of a viper from information obtained from library books?
Answer: YES
Passage: Poirot is less active during the cases that take place at the end of his career. Beginning with "Three Act Tragedy" (1934), Christie had perfected during the inter-war years a subgenre of Poirot novel in which the detective himself spent much of the first third of the novel on the periphery of events. In novels such as "Taken at the Flood", "After the Funeral", and "Hickory Dickory Dock", he is even less in evidence, frequently passing the duties of main interviewing detective to a subsidiary character. In "Cat Among the Pigeons", Poirot's entrance is so late as to be almost an afterthought. Whether this was a reflection of his age or of Christie's distaste for him, is impossible to assess. "Crooked House" (1949) and "Ordeal by Innocence" (1957), which could easily have been Poirot novels, represent a logical endpoint of the general diminution of his presence in such works.

Question: Was Christie trying to show that Poirot had gotten old?
Answer: DON'T KNOW

Question: Is the exact reason Christie did this known?
Answer: NO

Question: Are there multiple possible reasons why Christie did this?
Answer: YES
Passage: Poirot is less active during the cases that take place at the end of his career. Beginning with "Three Act Tragedy" (1934), Christie had perfected during the inter-war years a subgenre of Poirot novel in which the detective himself spent much of the first third of the novel on the periphery of events. In novels such as "Taken at the Flood", "After the Funeral", and "Hickory Dickory Dock", he is even less in evidence, frequently passing the duties of main interviewing detective to a subsidiary character. In "Cat Among the Pigeons", Poirot's entrance is so late as to be almost an afterthought. Assessing whether this was a reflection of his age or of Christie's distaste for him, is out of the question. "Crooked House" (1949) and "Ordeal by Innocence" (1957), which could easily have been Poirot novels, represent a logical endpoint of the general diminution of his presence in such works.

Question: Was Christie trying to show that Poirot had gotten old?
Answer: DON'T KNOW

Question: Is the exact reason Christie did this known?
Answer: NO

Question: Are there multiple possible reasons why Christie did this?
Answer: YES
Passage: Poirot is less active during the cases that take place at the end of his career. Beginning with "Three Act Tragedy" (1934), Christie had perfected during the inter-war years a subgenre of Poirot novel in which the detective himself spent much of the first third of the novel on the periphery of events. In novels such as "Taken at the Flood", "After the Funeral", and "Hickory Dickory Dock", he is even less in evidence, frequently passing the duties of main interviewing detective to a subsidiary character. In "Cat Among the Pigeons", Poirot's entrance is so late as to be almost an afterthought. This was a reflection of his age, but whether it was also a reflection of Christie's distaste for him, is impossible to assess. "Crooked House" (1949) and "Ordeal by Innocence" (1957), which could easily have been Poirot novels, represent a logical endpoint of the general diminution of his presence in such works.

Question: Was Christie trying to show that Poirot had gotten old?
Answer: YES

Question: Is the exact reason Christie did this known?
Answer: DON'T KNOW

Question: Are there multiple possible reasons why Christie did this?
Answer: YES
Passage: Poirot is less active during the cases that take place at the end of his career. Beginning with "Three Act Tragedy" (1934), Christie had perfected during the inter-war years a subgenre of Poirot novel in which the detective himself spent much of the first third of the novel on the periphery of events. In novels such as "Taken at the Flood", "After the Funeral", and "Hickory Dickory Dock", he is even less in evidence, frequently passing the duties of main interviewing detective to a subsidiary character. In "Cat Among the Pigeons", Poirot's entrance is so late as to be almost an afterthought. This was a reflection of his age and of Christie's distaste for him. "Crooked House" (1949) and "Ordeal by Innocence" (1957), which could easily have been Poirot novels, represent a logical endpoint of the general diminution of his presence in such works.

Question: Was Christie trying to show that Poirot had gotten old?
Answer: YES

Question: Is the exact reason Christie did this known?
Answer: YES

Question: Are there multiple possible reasons why Christie did this?
Answer: YES
Passage: The genre was also a heavy influence on mainstream writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his own works, shifting them to a more modern period and an urban setting, for example in "Oliver Twist" (1837–1838), "Bleak House" (1854, Mighall 2003) and "Great Expectations" (1860–1861). These juxtapose wealthy, ordered and affluent civilisation with the disorder and barbarity of the poor in the same metropolis. "Bleak House" in particular is credited with seeing the introduction of urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). His most explicitly Gothic work is his last novel, "The Mystery of Edwin Drood," which he did not live to complete and was published unfinished upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general.

Question: Is it likely that other authors attempted to finish Dicken's unfinished work?
Answer: YES

Question: Is it likely that publishers still pushed to sell Dicken's work after his death?
Answer: YES

Question: Is it likely that Dickens had regrets about his last work before his death?
Answer: YES
Passage: The genre was also a heavy influence on mainstream writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his own works, shifting them to a more modern period and an urban setting, for example in "Oliver Twist" (1837–1838), "Bleak House" (1854, Mighall 2003) and "Great Expectations" (1860–1861). These juxtapose wealthy, ordered and affluent civilisation with the disorder and barbarity of the poor in the same metropolis. "Bleak House" in particular is credited with seeing the introduction of urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). His most explicitly Gothic work is his last novel, "The Mystery of Edwin Drood," which he did not live to complete and was published incomplete upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general.

Question: Is it likely that other authors attempted to finish Dicken's unfinished work?
Answer: YES

Question: Is it likely that publishers still pushed to sell Dicken's work after his death?
Answer: YES

Question: Is it likely that Dickens had regrets about his last work before his death?
Answer: YES
Passage: The genre was also a heavy influence on mainstream writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his own works, shifting them to a more modern period and an urban setting, for example in "Oliver Twist" (1837–1838), "Bleak House" (1854, Mighall 2003) and "Great Expectations" (1860–1861). These juxtapose wealthy, ordered and affluent civilisation with the disorder and barbarity of the poor in the same metropolis. "Bleak House" in particular is credited with seeing the introduction of urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). His most explicitly Gothic work is his last novel, "The Mystery of Edwin Drood," which he did live to complete and was published upon his death in 1870; however he left many other works and manuscripts unfinished. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general.

Question: Is it likely that other authors attempted to finish Dicken's unfinished work?
Answer: YES

Question: Is it likely that publishers still pushed to sell Dicken's work after his death?
Answer: YES

Question: Is it likely that Dickens had regrets about his last work before his death?
Answer: NO
Passage: The genre was also a heavy influence on mainstream writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his own works, shifting them to a more modern period and an urban setting, for example in "Oliver Twist" (1837–1838), "Bleak House" (1854, Mighall 2003) and "Great Expectations" (1860–1861). These juxtapose wealthy, ordered and affluent civilisation with the disorder and barbarity of the poor in the same metropolis. "Bleak House" in particular is credited with seeing the introduction of urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). His most explicitly Gothic work is his last novel, "The Mystery of Edwin Drood," which he lived to complete and was published upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general.

Question: Is it likely that other authors attempted to finish Dicken's unfinished work?
Answer: NO

Question: Is it likely that publishers still pushed to sell Dicken's work after his death?
Answer: YES

Question: Is it likely that Dickens had regrets about his last work before his death?
Answer: NO
Passage: "SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's unfaithful boyfriend. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007.

Question: With what little we know about the events of this series, is it possible that one of the other main characters has a fling with Francine's boyfriend?
Answer: YES

Question: Given the limited information about this series, is it possible that Francine herself was also having intimate relations with one of the other main characters?
Answer: NO

Question: Based on the brief description, would a reader consider Francine to have been victimized in her relationship with her boyfriend?
Answer: YES
Passage: "SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's philandering boyfriend. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007.

Question: With what little we know about the events of this series, is it possible that one of the other main characters has a fling with Francine's boyfriend?
Answer: YES

Question: Given the limited information about this series, is it possible that Francine herself was also having intimate relations with one of the other main characters?
Answer: NO

Question: Based on the brief description, would a reader consider Francine to have been victimized in her relationship with her boyfriend?
Answer: YES
Passage: "SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's devoted boyfriend, to whom she is nonetheless unfaithful. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007.

Question: With what little we know about the events of this series, is it possible that one of the other main characters has a fling with Francine's boyfriend?
Answer: NO

Question: Given the limited information about this series, is it possible that Francine herself was also having intimate relations with one of the other main characters?
Answer: YES

Question: Based on the brief description, would a reader consider Francine to have been victimized in her relationship with her boyfriend?
Answer: NO
Passage: "SiP", as it is commonly known, began as a three-issue mini-series published by Antarctic Press in 1993, which focused entirely on the relationship between the three main characters and Francine's boyfriend, with whom she remains loyal and faithful despite the many challenges. This is now known as "Volume 1.” Thirteen issues were published under Moore's own "Abstract Studio" imprint, and these make up "Volume 2.” This is where the "thriller" plot was introduced. The series moved to Image Comics' Homage imprint for the start of "Volume 3,” but after eight issues moved back to Abstract Studio, where it continued with the same numbering. Volume 3 concluded at issue #90, released June 6, 2007.

Question: With what little we know about the events of this series, is it possible that one of the other main characters has a fling with Francine's boyfriend?
Answer: NO

Question: Given the limited information about this series, is it possible that Francine herself was also having intimate relations with one of the other main characters?
Answer: NO

Question: Based on the brief description, would a reader consider Francine to have been victimized in her relationship with her boyfriend?
Answer: NO
Passage: Early in the Cenozoic, following the K-Pg event, the planet was dominated by relatively small fauna, including small mammals, birds, reptiles, and amphibians. From a geological perspective, it did not take long for mammals and birds to greatly diversify in the absence of the dinosaurs that had dominated during the Mesozoic. Some flightless birds grew larger than humans. These species are sometimes referred to as "terror birds," and were formidable predators. Mammals came to occupy almost every available niche (both marine and terrestrial), and some also grew very large, attaining sizes not seen in most of today's terrestrial mammals.

Question: Does the K-Pg event allow mammals to benefit, in that dinosaurs can't compete with them?
Answer: YES

Question: Do birds develop more diversity after the K-Pg event than Dinosaurs?
Answer: YES

Question: During the Cenozoic period which type of life seemed to adapt and thrive more universally; Birds or mammals?
Answer: Both thrived well.

Question: Did mammals survive the K-Pg event?
Answer: YES

Question: Do dinosaurs thrive after the K-Pg event?
Answer: NO

Question: Were Terror birds, during the Cenozoic period greater in size than today's non terrestrial birds?
Answer: YES

Question: Which would weigh more an Emu or a Terror bird from the Cenozoic period?
Answer: Terror bird
Passage: Early in the Cenozoic, following the K-Pg event, the planet was dominated by relatively small fauna, including small mammals, birds, reptiles, and amphibians. From a geological perspective, mammals and birds were able to greatly diversify because dinosaurs that had dominated during the Mesozoic had died off. Some flightless birds grew larger than humans. These species are sometimes referred to as "terror birds," and were formidable predators. Mammals came to occupy almost every available niche (both marine and terrestrial), and some also grew very large, attaining sizes not seen in most of today's terrestrial mammals.

Question: Does the K-Pg event allow mammals to benefit, in that dinosaurs can't compete with them?
Answer: YES

Question: Do birds develop more diversity after the K-Pg event than Dinosaurs?
Answer: YES

Question: During the Cenozoic period which type of life seemed to adapt and thrive more universally; Birds or mammals?
Answer: mammals

Question: Did mammals survive the K-Pg event?
Answer: YES

Question: Do dinosaurs thrive after the K-Pg event?
Answer: NO

Question: Were Terror birds, during the Cenozoic period greater in size than today's non terrestrial birds?
Answer: YES

Question: Which would weigh more an Emu or a Terror bird from the Cenozoic period?
Answer: Terror Bird
Passage: Early in the Cenozoic, following the K-Pg event, the planet was dominated by relatively small fauna, including birds, reptiles, and amphibians. From a geological perspective, it did not take long for birds to greatly diversify in the absence of the mammals that had dominated during the Mesozoic. Some flightless birds grew larger than dinosaurs. These species are sometimes referred to as "terror birds," and were formidable predators. birds came to occupy almost every available niche (both marine and terrestrial), and some also grew very large, attaining sizes not seen in most of today's terrestrial birds.

Question: Does the K-Pg event allow mammals to benefit, in that dinosaurs can't compete with them?
Answer: YES

Question: Do birds develop more diversity after the K-Pg event than Dinosaurs?
Answer: YES

Question: During the Cenozoic period which type of life seemed to adapt and thrive more universally; Birds or mammals?
Answer: Birds

Question: Did mammals survive the K-Pg event?
Answer: YES

Question: Do dinosaurs thrive after the K-Pg event?
Answer: NO

Question: Were Terror birds, during the Cenozoic period greater in size than today's non terrestrial birds?
Answer: YES

Question: Which would weigh more an Emu or a Terror bird from the Cenozoic period?
Answer: YES
Passage: Early in the Cenozoic, following the K-Pg event, the planet was dominated by relatively small fauna, including small mammals, birds, reptiles, and amphibians. From a geological perspective, it did not take long for mammals and birds to greatly diversify in the size of the dinosaurs that had dominated during the Mesozoic. Some flightless birds grew larger than humans. These species are sometimes referred to as "terror birds," and were formidable predators. Mammals came to occupy almost no niche (both marine and terrestrial), but some grew very large, attaining sizes not seen in most of today's terrestrial mammals.

Question: Does the K-Pg event allow mammals to benefit, in that dinosaurs can't compete with them?
Answer: YES

Question: Do birds develop more diversity after the K-Pg event than Dinosaurs?
Answer: YES

Question: During the Cenozoic period which type of life seemed to adapt and thrive more universally; Birds or mammals?
Answer: Birds

Question: Did mammals survive the K-Pg event?
Answer: YES

Question: Do dinosaurs thrive after the K-Pg event?
Answer: NO

Question: Were Terror birds, during the Cenozoic period greater in size than today's non terrestrial birds?
Answer: YES

Question: Which would weigh more an Emu or a Terror bird from the Cenozoic period?
Answer: Terror Bird
Passage: Leaving Albuquerque to the north, I-25 curves to the northeast as it approaches Santa Fe. Continuing 'northbound' at Santa Fe, I-25 heads southeast for approximately traveling through the Santa Fe National Forest and crossing Glorieta Pass (elevation). It turns north again at Blanchard toward Las Vegas. The highway maintains a north and northeast orientation as it leaves New Mexico traversing Raton Pass () and enters Colorado. From Santa Fe to Trinidad, Colorado, I-25 approximates part of the route of the Santa Fe Trail. For its entire length in the state, I-25 shares its alignment with US 85, although the latter is unsigned.

Question: Would it be possible for a driver to drive across New Mexico in the same direction that I-25 would take, yet not know which road they were on while inside of the state?
Answer: YES

Question: If you were in a window seat on a bus on US 85 in New Mexico, but didn't know which direction you were traveling in, would you need a compass or some other tool to figure it out?
Answer: YES

Question: If you were to travel across New Mexico using only US highway 85, would the only signs you saw on the side of the road be for advertising and/or other private purposes, and not related to the road itself?
Answer: YES
Passage: Leaving Albuquerque to the north, I-25 curves to the northeast as it approaches Santa Fe. Continuing 'northbound' at Santa Fe, I-25 heads southeast for approximately traveling through the Santa Fe National Forest and crossing Glorieta Pass (elevation). It turns north again at Blanchard toward Las Vegas. The highway maintains a north and northeast orientation as it leaves New Mexico traversing Raton Pass () and enters Colorado. From Santa Fe to Trinidad, Colorado, I-25 approximates part of the route of the Santa Fe Trail. Although US 85 lacks any signage, it is aligned with I-25 for its entire length within the state.

Question: Would it be possible for a driver to drive across New Mexico in the same direction that I-25 would take, yet not know which road they were on while inside of the state?
Answer: YES

Question: If you were in a window seat on a bus on US 85 in New Mexico, but didn't know which direction you were traveling in, would you need a compass or some other tool to figure it out?
Answer: YES

Question: If you were to travel across New Mexico using only US highway 85, would the only signs you saw on the side of the road be for advertising and/or other private purposes, and not related to the road itself?
Answer: YES