romikgosai/squad_modified huggingface dataset:
However, this was not always the case; in the early 20th century, once it became apparent that the "sport" was worked, pro wrestling was looked down on as a cheap entertainment for the uneducated working class — an attitude that still exists to varying degrees today. The French theorist Roland Barthes was among the first to propose that wrestling was worthy of deeper analysis, in his essay "The World of Wrestling" from his book Mythologies, first published in 1957. Barthes argued that it should be looked at not as a scamming of the ignorant, but as spectacle; a mode of theatric performance for a willing, if bloodthirsty, audience. Wrestling is described as performed art which demands an immediate reading of the juxtaposed meanings. The logical conclusion is given least importance over the theatrical performers of the wrestlers and the referee. According to Barthes, the function of a wrestler is not to win: it is to go exactly through the motions which are expected of them and to give the audience a theatrical spectacle. This work is considered a foundation of all later study.

Questions and answers:
['
Q: What impact did the revelation of wrestling being "fixed" have?
A: looked down on as a cheap entertainment for the uneducated working class', '
Q: When was Roland Barthes book published?
A: 1957', '
Q: What did Barthes believe a wrestler give the audience?
A: a theatrical spectacle', '
Q: What was the name of Roland Barthes\' essay?
A: "The World of Wrestling"']
While pro wrestling is often described simplistically as a "soap opera for males", it has also been cited as filling the role of past forms of literature and theatre; a synthesis of classical heroics, commedia dell'arte, revenge tragedies, morality plays, and burlesque. The characters and storylines portrayed by a successful promotion are seen to reflect the current mood, attitudes, and concerns of that promotion's society (and can, in turn, influence those same things). Wrestling's high levels of violence and masculinity make it a vicarious outlet for aggression during peacetime.

Questions and answers:
['
Q: What is wrestling sometimes called?
A: "soap opera for males"', '
Q: What is wrestling to people during a peaceful time?
A: vicarious outlet for aggression', '
Q: What role does wrestling fill?
A: past forms of literature and theatre;']
Documentary filmmakers have studied the lives of wrestlers and the effects the profession has on them and their families. The 1999 theatrical documentary Beyond the Mat focused on Terry Funk, a wrestler nearing retirement; Mick Foley, a wrestler within his prime; Jake Roberts, a former star fallen from grace; and a school of wrestling student trying to break into the business. The 2005 release Lipstick and Dynamite, Piss and Vinegar: The First Ladies of Wrestling chronicled the development of women's wrestling throughout the 20th century. Pro wrestling has been featured several times on HBO's Real Sports with Bryant Gumbel. MTV's documentary series True Life featured two episodes titled "I'm a Professional Wrestler" and "I Want to Be a Professional Wrestler". Other documentaries have been produced by The Learning Channel (The Secret World of Professional Wrestling) and A&E (Hitman Hart: Wrestling with Shadows). Bloodstained Memoirs explored the careers of several pro wrestlers, including Chris Jericho, Rob Van Dam and Roddy Piper.

Questions and answers:
['
Q: Who has studied the lives of wrestlers?
A: Documentary filmmakers', '
Q: When did Beyond the Mat come out? 
A: 1999', '
Q: Who hosts Real Sports?
A: Bryant Gumbel', '
Q: Who are a few wrestlers who have had memoirs written about them?
A: Chris Jericho, Rob Van Dam and Roddy Piper']
Although professional wrestling is worked, there is a high chance of injury, and even death. Strikes are often stiff, especially in Japan and in independent wrestling promotions such as Combat Zone Wrestling (CZW) and Ring of Honor (ROH). The ring is often made out of 2 by 8 timber planks. Many of the injuries that occur in pro wrestling are shoulders, knee, back, neck, and rib injuries. Chronic traumatic encephalopathy and traumatic brain injuries have also been linked to pro wrestling, including in the double-murder suicide case involving Chris Benoit. Professional wrestler Davey Richards said in 2015, "We train to take damage, we know we are going to take damage and we accept that".

Questions and answers:
['
Q: What are the risks of wrestling?
A: high chance of injury, and even death', '
Q: What is the ring commonly made of?
A: 2 by 8 timber planks', '
Q: What are common injuries in wrestling?
A: shoulders, knee, back, neck, and rib injuries', '
Q: What other injuries have been connected with wrestling?
A: Chronic traumatic encephalopathy and traumatic brain injuries', '
Q: Chris Benoit was involved in what tragic event? 
A: double-murder suicide case']
Relatively insensitive film, with a correspondingly lower speed index, requires more exposure to light to produce the same image density as a more sensitive film, and is thus commonly termed a slow film. Highly sensitive films are correspondingly termed fast films. In both digital and film photography, the reduction of exposure corresponding to use of higher sensitivities generally leads to reduced image quality (via coarser film grain or higher image noise of other types). In short, the higher the sensitivity, the grainier the image will be. Ultimately sensitivity is limited by the quantum efficiency of the film or sensor.

Questions and answers:
["
Q: What does the film's quantum efficiency limit? 
A: sensitivity", '
Q: What speed of film is produced by insensitive film? 
A: slow film', '
Q: What leads to lower quality images?
A: reduction of exposure', '
Q: What types of film are considered fast films?
A: Highly sensitive films', '
Q: What effect does highly sensitive film have on images?
A: reduced image quality']
The Warnerke Standard Sensitometer consisted of a frame holding an opaque screen with an array of typically 25 numbered, gradually pigmented squares brought into contact with the photographic plate during a timed test exposure under a phosphorescent tablet excited before by the light of a burning Magnesium ribbon. The speed of the emulsion was then expressed in 'degrees' Warnerke (sometimes seen as Warn. or °W.) corresponding with the last number visible on the exposed plate after development and fixation. Each number represented an increase of 1/3 in speed, typical plate speeds were between 10° and 25° Warnerke at the time.

Questions and answers:
['
Q: What consists of 25 pigmented squares touching a plate below a phosphorescent tablet under the light of a burning Magnesium ribbon?
A: The Warnerke Standard Sensitometer', '
Q: What do degrees Warnerke measure?
A: The speed of the emulsion', '
Q: How much speed is associated with each degree Warnerke?
A: an increase of 1/3 in speed', '
Q: What were usual ranges of Warnerke speeds? 
A: between 10° and 25° Warnerke', "
Q: What does the last exposed number on the plate represent? 
A: 'degrees' Warnerke"]
The Scheinergrade (Sch.) system was devised by the German astronomer Julius Scheiner (1858–1913) in 1894 originally as a method of comparing the speeds of plates used for astronomical photography. Scheiner's system rated the speed of a plate by the least exposure to produce a visible darkening upon development. Speed was expressed in degrees Scheiner, originally ranging from 1° Sch. to 20° Sch., where an increment of 19° Sch. corresponded to a hundredfold increase in sensitivity, which meant that an increment of 3° Sch. came close to a doubling of sensitivity.

Questions and answers:
['
Q: Who created the Scheinergrade system? 
A: the German astronomer Julius Scheiner', '
Q: What is the Scheinergrade system used for?
A: comparing the speeds of plates used for astronomical photography', '
Q: What do degrees Scheiner indicate?
A: the speed of a plate', '
Q: What is the range of Scheiner speeds?
A: from 1° Sch. to 20° Sch', '
Q: Approximately how many degrees indicate double the sensitivity? 
A: an increment of 3° Sch']
The system was later extended to cover larger ranges and some of its practical shortcomings were addressed by the Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de) (1896–1960), (who, in 1919/1920, jointly developed their Eder–Hecht neutral wedge sensitometer measuring emulsion speeds in Eder–Hecht grades). Still, it remained difficult for manufactures to reliably determine film speeds, often only by comparing with competing products, so that an increasing number of modified semi-Scheiner-based systems started to spread, which no longer followed Scheiner's original procedures and thereby defeated the idea of comparability.

Questions and answers:
["
Q: Who developed a device that improved on the shortcomings of Scheiner's invention?
A: Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de)", '
Q: What did the Eder-Hecht device measure?
A: emulsion speeds', '
Q: What method did manufacturers use much of the time to compare film speeds?
A: comparing with competing products', '
Q: What type of measurement methods began to proliferate?
A: modified semi-Scheiner-based systems', '
Q: What eliminated comparability?
A: modified semi-Scheiner-based systems']
The DIN system, officially DIN standard 4512 by Deutsches Institut für Normung (but still named Deutscher Normenausschuß (DNA) at this time), was published in January 1934. It grew out of drafts for a standardized method of sensitometry put forward by Deutscher Normenausschuß für Phototechnik as proposed by the committee for sensitometry of the Deutsche Gesellschaft für photographische Forschung since 1930 and presented by Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970) at the influential VIII. International Congress of Photography (German: Internationaler Kongreß für wissenschaftliche und angewandte Photographie) held in Dresden from August 3 to 8, 1931.

Questions and answers:
['
Q: When was the DIN system established? 
A: January 1934', '
Q: Who created the DIN system?
A: Deutsches Institut für Normung', '
Q: What was proposed at the VIII International Congress of Photography?
A: a standardized method of sensitometry', '
Q: Who presented the idea that grew into the DIN?
A: Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970)', '
Q: Where was the VIII International Congress of Photography held?
A: Dresden']
As in the Scheiner system, speeds were expressed in 'degrees'. Originally the sensitivity was written as a fraction with 'tenths' (for example "18/10° DIN"), where the resultant value 1.8 represented the relative base 10 logarithm of the speed. 'Tenths' were later abandoned with DIN 4512:1957-11, and the example above would be written as "18° DIN". The degree symbol was finally dropped with DIN 4512:1961-10. This revision also saw significant changes in the definition of film speeds in order to accommodate then-recent changes in the American ASA PH2.5-1960 standard, so that film speeds of black-and-white negative film effectively would become doubled, that is, a film previously marked as "18° DIN" would now be labeled as "21 DIN" without emulsion changes.

Questions and answers:
['
Q: What unit was used in the DIN to express speeds? 
A: degrees', '
Q: How was sensitivity expressed at first in the DIN system?
A: as a fraction with \'tenths\' (for example "18/10° DIN")', '
Q: When did the degree symbol fall out of use in the DIN system?
A: with DIN 4512:1961-10', '
Q: Why did the definition of film speeds change considerably?
A: to accommodate then-recent changes in the American ASA PH2.5-1960 standard', '
Q: What happened to film speeds of black-and-white negative film?
A: would become doubled']
On an international level the German DIN 4512 system has been effectively superseded in the 1980s by ISO 6:1974, ISO 2240:1982, and ISO 5800:1979 where the same sensitivity is written in linear and logarithmic form as "ISO 100/21°" (now again with degree symbol). These ISO standards were subsequently adopted by DIN as well. Finally, the latest DIN 4512 revisions were replaced by corresponding ISO standards, DIN 4512-1:1993-05 by DIN ISO 6:1996-02 in September 2000, DIN 4512-4:1985-08 by DIN ISO 2240:1998-06 and DIN 4512-5:1990-11 by DIN ISO 5800:1998-06 both in July 2002.

Questions and answers:
['
Q: What took the place of the German DIN 4512 system?
A: ISO 6:1974, ISO 2240:1982, and ISO 5800:1979', '
Q: How is sensitivity shown in the ISO systems?
A: in linear and logarithmic form as "ISO 100/21°"', '
Q: What standards did the DIN begin to use?
A: ISO standards', '
Q: When were the ISO standards first adopted?
A: in the 1980s', '
Q: When were the last ISO standards adopted? 
A: July 2002']
Before the advent of the ASA system, the system of Weston film speed ratings was introduced by Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936), a British-born electrical engineer, industrialist and founder of the US-based Weston Electrical Instrument Corporation, with the Weston model 617, one of the earliest photo-electric exposure meters, in August 1932. The meter and film rating system were invented by William Nelson Goodwin, Jr., who worked for them and later received a Howard N. Potts Medal for his contributions to engineering.

Questions and answers:
['
Q: What system was used previous to the ASA system?
A: the system of Weston film speed ratings', '
Q: Who devised the Weston film speed ratings? 
A: Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936)', '
Q: What company did Dr. Edward Weston start? 
A: the US-based Weston Electrical Instrument Corporation', '
Q: When was the Weston model 617 created?
A: August 1932', '
Q: Who is credited with creating the film and meter system?
A: William Nelson Goodwin, Jr.']
The Weston Cadet (model 852 introduced in 1949), Direct Reading (model 853 introduced 1954) and Master III (models 737 and S141.3 introduced in 1956) were the first in their line of exposure meters to switch and utilize the meanwhile established ASA scale instead. Other models used the original Weston scale up until ca. 1955. The company continued to publish Weston film ratings after 1955, but while their recommended values often differed slightly from the ASA film speeds found on film boxes, these newer Weston values were based on the ASA system and had to be converted for use with older Weston meters by subtracting 1/3 exposure stop as per Weston's recommendation. Vice versa, "old" Weston film speed ratings could be converted into "new" Westons and the ASA scale by adding the same amount, that is, a film rating of 100 Weston (up to 1955) corresponded with 125 ASA (as per ASA PH2.5-1954 and before). This conversion was not necessary on Weston meters manufactured and Weston film ratings published since 1956 due to their inherent use of the ASA system; however the changes of the ASA PH2.5-1960 revision may be taken into account when comparing with newer ASA or ISO values.

Questions and answers:
['
Q: Which cameras were first of their type to adopt the ASA scale?
A: The Weston Cadet (model 852 introduced in 1949), Direct Reading (model 853 introduced 1954) and Master III (models 737 and S141.3 introduced in 1956)', '
Q: What were updated Weston values based on?
A: the ASA system', '
Q: How were Weston values changed to ASA values?
A: by subtracting 1/3 exposure stop', '
Q: Beginning with which year was the Weston to ASA conversion not necessary?
A: 1956', '
Q: Until what year did other models use the original Weston scale?
A: 1955']
General Electric switched to use the ASA scale in 1946. Meters manufactured since February 1946 were equipped with the ASA scale (labeled "Exposure Index") already. For some of the older meters with scales in "Film Speed" or "Film Value" (e.g. models DW-48, DW-49 as well as early DW-58 and GW-68 variants), replaceable hoods with ASA scales were available from the manufacturer. The company continued to publish recommended film values after that date, however, they were now aligned to the ASA scale.

Questions and answers:
['
Q: Which company adopted the ASA scale in 1946?
A: General Electric', '
Q: Beginning what year were cameras built with the ASA meter?
A: 1946', '
Q: How did older models convert to ASA scale?
A: replaceable hoods with ASA scales', '
Q: How was the ASA scale shown on models built after 1946?
A: labeled "Exposure Index"', '
Q: What were recommended film values lined up with after 1946?
A: they were now aligned to the ASA scale']
Based on earlier research work by Loyd Ancile Jones (1884–1954) of Kodak and inspired by the systems of Weston film speed ratings and General Electric film values, the American Standards Association (now named ANSI) defined a new method to determine and specify film speeds of black-and-white negative films in 1943. ASA Z38.2.1-1943 was revised in 1946 and 1947 before the standard grew into ASA PH2.5-1954. Originally, ASA values were frequently referred to as American standard speed numbers or ASA exposure-index numbers. (See also: Exposure Index (EI).)

Questions and answers:
['
Q: Who pioneered research that led to the new ANSI values?
A: Loyd Ancile Jones', '
Q: What standards were the ANSI developed from?
A: Weston film speed ratings and General Electric film values', '
Q: What types of film did the ANSI measure?
A: black-and-white negative films', '
Q: When did the ANSI define its new measure?
A: 1943', '
Q: What were ANSI values often called in the beginning?
A: American standard speed numbers or ASA exposure-index numbers']
The ASA standard underwent a major revision in 1960 with ASA PH2.5-1960, when the method to determine film speed was refined and previously applied safety factors against under-exposure were abandoned, effectively doubling the nominal speed of many black-and-white negative films. For example, an Ilford HP3 that had been rated at 200 ASA before 1960 was labeled 400 ASA afterwards without any change to the emulsion. Similar changes were applied to the DIN system with DIN 4512:1961-10 and the BS system with BS 1380:1963 in the following years.

Questions and answers:
['
Q: In what year were big changes made to the ANSI?
A: 1960', '
Q: What did the 1960 changes to film speed measures lead to?
A: effectively doubling the nominal speed of many black-and-white negative films', '
Q: Which other system were these changes applied to?
A: the DIN system', '
Q: In what year was the BS system modified?
A: 1963', '
Q: What safety factors were done away with beginning with the modifications to the standards?
A: safety factors against under-exposure']
Film speed is found from a plot of optical density vs. log of exposure for the film, known as the D–log H curve or Hurter–Driffield curve. There typically are five regions in the curve: the base + fog, the toe, the linear region, the shoulder, and the overexposed region. For black-and-white negative film, the “speed point” m is the point on the curve where density exceeds the base + fog density by 0.1 when the negative is developed so that a point n where the log of exposure is 1.3 units greater than the exposure at point m has a density 0.8 greater than the density at point m. The exposure Hm, in lux-s, is that for point m when the specified contrast condition is satisfied. The ISO arithmetic speed is determined from:

Questions and answers:
['
Q: What is the plot from which film speed is derived called?
A: the D–log H curve or Hurter–Driffield curve', '
Q: How many regions does the Hurter-Driffield curve have?
A: five', '
Q: What is plotted in the Hurter-Driffield curve?
A: a plot of optical density vs. log of exposure for the film', '
Q: What is denoted when the specified contrast condition is met?
A: The exposure Hm, in lux-s', '
Q: What are the five regions of the Hurter-Driffield curve?
A: the base + fog, the toe, the linear region, the shoulder, and the overexposed region']
Film speed is used in the exposure equations to find the appropriate exposure parameters. Four variables are available to the photographer to obtain the desired effect: lighting, film speed, f-number (aperture size), and shutter speed (exposure time). The equation may be expressed as ratios, or, by taking the logarithm (base 2) of both sides, by addition, using the APEX system, in which every increment of 1 is a doubling of exposure; this increment is commonly known as a "stop". The effective f-number is proportional to the ratio between the lens focal length and aperture diameter, the diameter itself being proportional to the square root of the aperture area. Thus, a lens set to f/1.4 allows twice as much light to strike the focal plane as a lens set to f/2. Therefore, each f-number factor of the square root of two (approximately 1.4) is also a stop, so lenses are typically marked in that progression: f/1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, etc.

Questions and answers:
['
Q: What is the effective f-number proportional to?
A: the ratio between the lens focal length and aperture diameter', '
Q: What is used to discover the right exposure parameters?
A: Film speed', '
Q: What variables help the photographer produce the desired effect?
A: lighting, film speed, f-number (aperture size), and shutter speed (exposure time)', '
Q: A lens with a setting of f/1.4 lets how much to hit the focal plane compared with a setting of f/2?
A: twice as much', '
Q: In the APEX system, the increment that doubles the exposure is called what?
A: "stop"']
Upon exposure, the amount of light energy that reaches the film determines the effect upon the emulsion. If the brightness of the light is multiplied by a factor and the exposure of the film decreased by the same factor by varying the camera's shutter speed and aperture, so that the energy received is the same, the film will be developed to the same density. This rule is called reciprocity. The systems for determining the sensitivity for an emulsion are possible because reciprocity holds. In practice, reciprocity works reasonably well for normal photographic films for the range of exposures between 1/1000 second to 1/2 second. However, this relationship breaks down outside these limits, a phenomenon known as reciprocity failure.

Questions and answers:
['
Q: What determines the effect on the emulsion after exposure?
A: the amount of light energy that reaches the film', '
Q: In what range of exposures does reciprocity usually work?
A: between 1/1000 second to 1/2 second', "
Q: How is the exposure of film changed?
A: by varying the camera's shutter speed and aperture", "
Q: How are ways of finding an emulsion's sensitivity possible?
A: because reciprocity holds", '
Q: What happens outside the 1/1000 second to 1/second exposure range?
A: reciprocity failure']
Some high-speed black-and-white films, such as Ilford Delta 3200 and Kodak T-MAX P3200, are marketed with film speeds in excess of their true ISO speed as determined using the ISO testing method. For example, the Ilford product is actually an ISO 1000 film, according to its data sheet. The manufacturers do not indicate that the 3200 number is an ISO rating on their packaging. Kodak and Fuji also marketed E6 films designed for pushing (hence the "P" prefix), such as Ektachrome P800/1600 and Fujichrome P1600, both with a base speed of ISO 400.

Questions and answers:
['
Q: What are two examples of films that are marketed with speeds above their true ISO speed?
A: Ilford Delta 3200 and Kodak T-MAX P3200', '
Q: What speed of film is the Ilford Delta 3200?
A: ISO 1000', '
Q: Which two companies produced E6 films meant for "pushing"?
A: Kodak and Fuji', '
Q: What is the base speed of Ektachrome P800/1600 and Fujichrome P1600?
A: ISO 400', '
Q: What type of films are Ilford Delta 3200 and Kodak T-MAX P3200?
A: high-speed black-and-white films']