niryuu/sni-each-converted huggingface dataset:
Passage: Balch Creek begins in the Forest Park neighborhood in unincorporated Multnomah County near the intersection of Northwest Skyline Boulevard and Northwest Thompson Road at the crest of the West Hills. It flows generally east about 3.5 miles (5.6 km) to its confluence with the Willamette River, a major tributary of the Columbia River. The creek drops from 1,116 feet (340 m) above sea level at its source to 46 feet (14 m) at its mouth, a total of 1,070 feet (330 m). Most of this occurs in the first 2.5 miles (4.0 km). In the hills, the stream gradient (slope) generally ranges from 15 to 30 percent interspersed with sections of less than 15 percent along the middle reaches.From its source, the creek runs east on private property near Forest Park, a large municipal park in Portland, before turning briefly south about 3 miles (5 km) from the mouth. Soon thereafter, the stream receives an unnamed tributary on the right bank and turns southeast on private property along Northwest Cornell Road. It enters the city and the Audubon Society of Portland simultaneously about 2 miles (3 km) from the mouth, receives two more unnamed tributaries on the right, and flows northeast, entering the part of Forest Park known as Macleay Park.For about 0.25 miles (0.40 km) the creek parallels Wildwood Trail, the main hiking trail in Forest Park, until reaching a former public restroom known as the Stone House. From here Balch Creek runs beside the Lower Macleay Trail, another hiking trail, for about 0.8 miles (1.3 km). Near Northwest Thurman Street, roughly 1 mile (1.6 km) from the mouth, the creek flows through a trash rack into an 84-inch (210 cm) diameter storm sewer. City workers first diverted the creek into a pipe in the early 20th century. The water empties into the Willamette River in the city's Northwest Industrial neighborhood at Outfall 17. About 10 miles (16 km) below this outfall, the Willamette enters the Columbia River.
Output: Which body of water is 46 feet above sea level at its mouth?
Passage: Balch Creek begins in the Forest Park neighborhood in unincorporated Multnomah County near the intersection of Northwest Skyline Boulevard and Northwest Thompson Road at the crest of the West Hills. It flows generally east about 3.5 miles (5.6 km) to its confluence with the Willamette River, a major tributary of the Columbia River. The creek drops from 1,116 feet (340 m) above sea level at its source to 46 feet (14 m) at its mouth, a total of 1,070 feet (330 m). Most of this occurs in the first 2.5 miles (4.0 km). In the hills, the stream gradient (slope) generally ranges from 15 to 30 percent interspersed with sections of less than 15 percent along the middle reaches.From its source, the creek runs east on private property near Forest Park, a large municipal park in Portland, before turning briefly south about 3 miles (5 km) from the mouth. Soon thereafter, the stream receives an unnamed tributary on the right bank and turns southeast on private property along Northwest Cornell Road. It enters the city and the Audubon Society of Portland simultaneously about 2 miles (3 km) from the mouth, receives two more unnamed tributaries on the right, and flows northeast, entering the part of Forest Park known as Macleay Park.For about 0.25 miles (0.40 km) the creek parallels Wildwood Trail, the main hiking trail in Forest Park, until reaching a former public restroom known as the Stone House. From here Balch Creek runs beside the Lower Macleay Trail, another hiking trail, for about 0.8 miles (1.3 km). Near Northwest Thurman Street, roughly 1 mile (1.6 km) from the mouth, the creek flows through a trash rack into an 84-inch (210 cm) diameter storm sewer. City workers first diverted the creek into a pipe in the early 20th century. The water empties into the Willamette River in the city's Northwest Industrial neighborhood at Outfall 17. About 10 miles (16 km) below this outfall, the Willamette enters the Columbia River.
Output: Which body of water is 1,116 feet above sea level at its source?
Passage: Balch Creek begins in the Forest Park neighborhood in unincorporated Multnomah County near the intersection of Northwest Skyline Boulevard and Northwest Thompson Road at the crest of the West Hills. It flows generally east about 3.5 miles (5.6 km) to its confluence with the Willamette River, a major tributary of the Columbia River. The creek drops from 1,116 feet (340 m) above sea level at its source to 46 feet (14 m) at its mouth, a total of 1,070 feet (330 m). Most of this occurs in the first 2.5 miles (4.0 km). In the hills, the stream gradient (slope) generally ranges from 15 to 30 percent interspersed with sections of less than 15 percent along the middle reaches.From its source, the creek runs east on private property near Forest Park, a large municipal park in Portland, before turning briefly south about 3 miles (5 km) from the mouth. Soon thereafter, the stream receives an unnamed tributary on the right bank and turns southeast on private property along Northwest Cornell Road. It enters the city and the Audubon Society of Portland simultaneously about 2 miles (3 km) from the mouth, receives two more unnamed tributaries on the right, and flows northeast, entering the part of Forest Park known as Macleay Park.For about 0.25 miles (0.40 km) the creek parallels Wildwood Trail, the main hiking trail in Forest Park, until reaching a former public restroom known as the Stone House. From here Balch Creek runs beside the Lower Macleay Trail, another hiking trail, for about 0.8 miles (1.3 km). Near Northwest Thurman Street, roughly 1 mile (1.6 km) from the mouth, the creek flows through a trash rack into an 84-inch (210 cm) diameter storm sewer. City workers first diverted the creek into a pipe in the early 20th century. The water empties into the Willamette River in the city's Northwest Industrial neighborhood at Outfall 17. About 10 miles (16 km) below this outfall, the Willamette enters the Columbia River.
Output: Which body of water flows past the Stone House?
Passage: Television coverage of Brice Randolph, the first astronaut on the surface of Mars, is interrupted, indicating the signal has been lost.  Shortly afterward, Eddie Reese is recruited, and shown what happened after the TV signal was interrupted: Brice reported something penetrating his EVA suit, and soon expired. The other astronaut lifted off alone.  NASA (who fear their project will be canceled) needs to keep it secret until they have answers about what exactly happened.
Reese is surgically altered, and begins learning his role as Brice.  At the arrival of the spacecraft back on Earth, the splashdown site is altered so that the press is unaware of Reese being brought to join the returning space crew, and Reese, maintaining the cover, is now having to act his role with the dead man's wife Gail.  Uneasy about being intimate with another man's wife, Reese unwittingly betrays himself to her, and her suspicions are raised.
Eventually, NASA determines what happened on Mars, and is ready to let Reese out of the masquerade, but Reese and Gail are willing to carry on as if he is Brice Randolph.  Reese then hears from a boy, who asked for an autograph, that the Soviets have just launched their own mission to land on Mars.
Output: What is the first name of the person whose suspicions have been raised?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: What museums did the man who the Leeds School of Art set up a sculpture studio for study at in London?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: What was the method that Moore used that caused him to be in conflict with academic tutors who scorned the modern approach to sculpture?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: What did Moore do instead of using a machine when asked to reproduce The Virgin and Child?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: Where did Moore visit during his six-month traveling scholarship?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: What form became the primary motif of Moore's sculpture?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: At what college did Moore see the works in Sir Michael Sadler's collection?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: What's the first name of the woman who, along with her college friend and professional rival, followed the Victorian style while a student?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: Whose work was Moore copying when he marked the surface of a relief to simulate a pointing machine?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: Who assigned the man who would later use the Chac Mool as a motif the pointing machine assignment?
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Output: Where was Moore when he took timed-sketching classes and saw a cast of the Chac Mool?
Passage: Initially called "the bridge to nowhere", the Admiral Clarey Bridge was instrumental in Senator Daniel Inouye's "rebirth" of Ford Island and enabled over $500 million in development with special legislation (2814 US Code). It connected 45 families and 3,000 civilian workers to Kamehameha Highway, and visitor access enabled construction of the $50 million 16-acre (6.5 ha) Pacific Aviation Museum. Plans included 500 homes for Navy personnel, a child-development center and a Navy lodge.In planning the island's development, the Navy considered its operational needs and the island's historic value. However, the National Trust for Historic Preservation considered the Navy's communication style more directive rather than collaborative, restricting the NTHP's ability to share their concerns, and in 2001 designated Ford Island one of its 11 most-endangered sites. Although the Navy's plans included preserving important hangars, the control tower and seaplane ramps, they failed to protect the existing runway and 1920s housing and did not address preserving bullet holes on the seaplane ramps.  As hoped by the Trust, after the designation the Navy agreed to delay development of some of these items until an agreement could be reached.To accommodate additional facilities and housing, the Navy needed to upgrade the island's infrastructure. Its sewage system was upgraded with the 2001 installation of a 6,000-foot (1,800 m), 20-inch (510 mm) sewage main from the island to Pearl Harbor and improvements to the sewage-pumping station. Due to the bridge's unique design, which includes a floating section, it was impossible to use it to transit cable across the loch. In 2005, the Navy contracted drilling for primary and auxiliary conduits 20 feet (6.1 m) apart and parallel to the bridge from Halawa Landing to the Ford Island golf course. The contractor installed 5,045-foot (1,538 m)-long, 24-inch (610 mm)-thick carbon-steel high-magnetic casing conduits, and fiber-optic communications cables and 46kV power lines were fed through them.
In June 2013 the Navy planned to install 60,000 photovoltaic panels over 28 acres (11 ha) on the Ford Island runway, to comply with Congressional and Defense Department mandates to reduce dependence on fossil fuels and offset the cost of Hawaiian energy (the highest in the United States). This plan deviated from a 2009 proposal (using the panels to define the runway) in favor of panels producing twice the power. The Navy offered the Pacific Aviation Museum Pearl Harbor $250,000 toward renovation of the control tower's elevator in exchange for its support of the plan. The museum declined, organizing an internet campaign opposing the plan based on the runway's historic significance and highlighting Ford Island's role in the attack on Pearl Harbor and Amelia Earhart's visit. In response, the Navy decided to install the panels on existing structures around Pearl Harbor.
Output: What did the Navy need to do before they could build 500 homes on Ford Island?
Passage: Initially called "the bridge to nowhere", the Admiral Clarey Bridge was instrumental in Senator Daniel Inouye's "rebirth" of Ford Island and enabled over $500 million in development with special legislation (2814 US Code). It connected 45 families and 3,000 civilian workers to Kamehameha Highway, and visitor access enabled construction of the $50 million 16-acre (6.5 ha) Pacific Aviation Museum. Plans included 500 homes for Navy personnel, a child-development center and a Navy lodge.In planning the island's development, the Navy considered its operational needs and the island's historic value. However, the National Trust for Historic Preservation considered the Navy's communication style more directive rather than collaborative, restricting the NTHP's ability to share their concerns, and in 2001 designated Ford Island one of its 11 most-endangered sites. Although the Navy's plans included preserving important hangars, the control tower and seaplane ramps, they failed to protect the existing runway and 1920s housing and did not address preserving bullet holes on the seaplane ramps.  As hoped by the Trust, after the designation the Navy agreed to delay development of some of these items until an agreement could be reached.To accommodate additional facilities and housing, the Navy needed to upgrade the island's infrastructure. Its sewage system was upgraded with the 2001 installation of a 6,000-foot (1,800 m), 20-inch (510 mm) sewage main from the island to Pearl Harbor and improvements to the sewage-pumping station. Due to the bridge's unique design, which includes a floating section, it was impossible to use it to transit cable across the loch. In 2005, the Navy contracted drilling for primary and auxiliary conduits 20 feet (6.1 m) apart and parallel to the bridge from Halawa Landing to the Ford Island golf course. The contractor installed 5,045-foot (1,538 m)-long, 24-inch (610 mm)-thick carbon-steel high-magnetic casing conduits, and fiber-optic communications cables and 46kV power lines were fed through them.
In June 2013 the Navy planned to install 60,000 photovoltaic panels over 28 acres (11 ha) on the Ford Island runway, to comply with Congressional and Defense Department mandates to reduce dependence on fossil fuels and offset the cost of Hawaiian energy (the highest in the United States). This plan deviated from a 2009 proposal (using the panels to define the runway) in favor of panels producing twice the power. The Navy offered the Pacific Aviation Museum Pearl Harbor $250,000 toward renovation of the control tower's elevator in exchange for its support of the plan. The museum declined, organizing an internet campaign opposing the plan based on the runway's historic significance and highlighting Ford Island's role in the attack on Pearl Harbor and Amelia Earhart's visit. In response, the Navy decided to install the panels on existing structures around Pearl Harbor.
Output: What state had the highest energy cost?
Passage: Initially called "the bridge to nowhere", the Admiral Clarey Bridge was instrumental in Senator Daniel Inouye's "rebirth" of Ford Island and enabled over $500 million in development with special legislation (2814 US Code). It connected 45 families and 3,000 civilian workers to Kamehameha Highway, and visitor access enabled construction of the $50 million 16-acre (6.5 ha) Pacific Aviation Museum. Plans included 500 homes for Navy personnel, a child-development center and a Navy lodge.In planning the island's development, the Navy considered its operational needs and the island's historic value. However, the National Trust for Historic Preservation considered the Navy's communication style more directive rather than collaborative, restricting the NTHP's ability to share their concerns, and in 2001 designated Ford Island one of its 11 most-endangered sites. Although the Navy's plans included preserving important hangars, the control tower and seaplane ramps, they failed to protect the existing runway and 1920s housing and did not address preserving bullet holes on the seaplane ramps.  As hoped by the Trust, after the designation the Navy agreed to delay development of some of these items until an agreement could be reached.To accommodate additional facilities and housing, the Navy needed to upgrade the island's infrastructure. Its sewage system was upgraded with the 2001 installation of a 6,000-foot (1,800 m), 20-inch (510 mm) sewage main from the island to Pearl Harbor and improvements to the sewage-pumping station. Due to the bridge's unique design, which includes a floating section, it was impossible to use it to transit cable across the loch. In 2005, the Navy contracted drilling for primary and auxiliary conduits 20 feet (6.1 m) apart and parallel to the bridge from Halawa Landing to the Ford Island golf course. The contractor installed 5,045-foot (1,538 m)-long, 24-inch (610 mm)-thick carbon-steel high-magnetic casing conduits, and fiber-optic communications cables and 46kV power lines were fed through them.
In June 2013 the Navy planned to install 60,000 photovoltaic panels over 28 acres (11 ha) on the Ford Island runway, to comply with Congressional and Defense Department mandates to reduce dependence on fossil fuels and offset the cost of Hawaiian energy (the highest in the United States). This plan deviated from a 2009 proposal (using the panels to define the runway) in favor of panels producing twice the power. The Navy offered the Pacific Aviation Museum Pearl Harbor $250,000 toward renovation of the control tower's elevator in exchange for its support of the plan. The museum declined, organizing an internet campaign opposing the plan based on the runway's historic significance and highlighting Ford Island's role in the attack on Pearl Harbor and Amelia Earhart's visit. In response, the Navy decided to install the panels on existing structures around Pearl Harbor.
Output: Who organized an internet campaign opposing the Navy's plan?
Passage: Initially called "the bridge to nowhere", the Admiral Clarey Bridge was instrumental in Senator Daniel Inouye's "rebirth" of Ford Island and enabled over $500 million in development with special legislation (2814 US Code). It connected 45 families and 3,000 civilian workers to Kamehameha Highway, and visitor access enabled construction of the $50 million 16-acre (6.5 ha) Pacific Aviation Museum. Plans included 500 homes for Navy personnel, a child-development center and a Navy lodge.In planning the island's development, the Navy considered its operational needs and the island's historic value. However, the National Trust for Historic Preservation considered the Navy's communication style more directive rather than collaborative, restricting the NTHP's ability to share their concerns, and in 2001 designated Ford Island one of its 11 most-endangered sites. Although the Navy's plans included preserving important hangars, the control tower and seaplane ramps, they failed to protect the existing runway and 1920s housing and did not address preserving bullet holes on the seaplane ramps.  As hoped by the Trust, after the designation the Navy agreed to delay development of some of these items until an agreement could be reached.To accommodate additional facilities and housing, the Navy needed to upgrade the island's infrastructure. Its sewage system was upgraded with the 2001 installation of a 6,000-foot (1,800 m), 20-inch (510 mm) sewage main from the island to Pearl Harbor and improvements to the sewage-pumping station. Due to the bridge's unique design, which includes a floating section, it was impossible to use it to transit cable across the loch. In 2005, the Navy contracted drilling for primary and auxiliary conduits 20 feet (6.1 m) apart and parallel to the bridge from Halawa Landing to the Ford Island golf course. The contractor installed 5,045-foot (1,538 m)-long, 24-inch (610 mm)-thick carbon-steel high-magnetic casing conduits, and fiber-optic communications cables and 46kV power lines were fed through them.
In June 2013 the Navy planned to install 60,000 photovoltaic panels over 28 acres (11 ha) on the Ford Island runway, to comply with Congressional and Defense Department mandates to reduce dependence on fossil fuels and offset the cost of Hawaiian energy (the highest in the United States). This plan deviated from a 2009 proposal (using the panels to define the runway) in favor of panels producing twice the power. The Navy offered the Pacific Aviation Museum Pearl Harbor $250,000 toward renovation of the control tower's elevator in exchange for its support of the plan. The museum declined, organizing an internet campaign opposing the plan based on the runway's historic significance and highlighting Ford Island's role in the attack on Pearl Harbor and Amelia Earhart's visit. In response, the Navy decided to install the panels on existing structures around Pearl Harbor.
Output: How many panels did the Navy plan to install on existing structures around Pearl Harbor?