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What century had remembered comic forms rediscovered? | Context: Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.. Answer: {'text': [], 'answer_start': []}. Question: |
In the 1840s, Töpffer wrote theories about whose work? | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': ['his own'], 'answer_start': [57]}. Question: |
Who introduced the term "multiframe"? | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': ['Henri Vanlier'], 'answer_start': [423]}. Question: |
Who used a semiotics method to study comics in the 1970s? | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': ['Pierre Fresnault-Deruelle'], 'answer_start': [200]}. Question: |
Who used cognitive science to learn how people understand comics? | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': ['Neil Cohn'], 'answer_start': [1096]}. Question: |
In the 1940s, Töpffer wrote theories about whose work? | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': [], 'answer_start': []}. Question: |
Who rejected the term "multiframe"? | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': [], 'answer_start': []}. Question: |
Who never used a semiotics method to study comics in the 1970s | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': [], 'answer_start': []}. Question: |
Who used a semiotics method to study comics in the 1980s | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': [], 'answer_start': []}. Question: |
Who used cognitive science to learn how dogs understand comics? | Context: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.. Answer: {'text': [], 'answer_start': []}. Question: |
What Russian word is used for comics? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': ['komiks'], 'answer_start': [98]}. Question: |
What German word is used for comics? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': ['comics'], 'answer_start': [41]}. Question: |
What Chinese word was derived from the Japanese word manga? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': ['manhua'], 'answer_start': [154]}. Question: |
What Korean word was derived from the Japanese word for manga? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': ['manhwa'], 'answer_start': [176]}. Question: |
What Russian word isn't used for comics? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': [], 'answer_start': []}. Question: |
What Prussian word is used for comics? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': [], 'answer_start': []}. Question: |
What German word isn't used for comics? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': [], 'answer_start': []}. Question: |
What Chinese word wasn't derived from the Japanese word manga? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': [], 'answer_start': []}. Question: |
What Korean word wasn't derived from the Japanese word for manga? | Context: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.. Answer: {'text': [], 'answer_start': []}. Question: |
The word comic comes from the humorous pieces found where? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': ['newspaper comic strips'], 'answer_start': [105]}. Question: |
Comic is used for what other kind of work other than humorous works? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': ['non-humorous'], 'answer_start': [171]}. Question: |
Comic books are what type of books? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': ['periodicals'], 'answer_start': [329]}. Question: |
What is the term that the English use for the comics out of Japan? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': ['manga'], 'answer_start': [466]}. Question: |
What is the term that the English use for the comics that come out of Belgian? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': ['bandes dessinées'], 'answer_start': [496]}. Question: |
The word comic comes from the nonhumorous pieces found where? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': [], 'answer_start': []}. Question: |
Comic is used for what other kind of work especially humorous works? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': [], 'answer_start': []}. Question: |
Comic books aren't what type of books? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': [], 'answer_start': []}. Question: |
What is the term that the French use for the comics out of Japan? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': [], 'answer_start': []}. Question: |
What is the term that the English use for the comics that don't come out of Belgian? | Context: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.. Answer: {'text': [], 'answer_start': []}. Question: |
Though one person typically creates the comic, there are usually a number of what involved in actually designing it? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': ['specialists'], 'answer_start': [121]}. Question: |
What is a person called who does the initial pencil work for the artwork? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': ['penciller'], 'answer_start': [367]}. Question: |
What does an inker do? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': ['finishes the artwork in ink'], 'answer_start': [428]}. Question: |
Though one person always creates the comic, there are usually a number of what involved in actually designing it? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': [], 'answer_start': []}. Question: |
What is a person called who doesn't do the initial pencil work for the artwork? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': [], 'answer_start': []}. Question: |
What is a person called who does the initial pen work for the artwork? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': [], 'answer_start': []}. Question: |
What does an linker do? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': [], 'answer_start': []}. Question: |
What doesn't an inker do? | Context: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.. Answer: {'text': [], 'answer_start': []}. Question: |
What are the individual images with action called in comics? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': ['Panels'], 'answer_start': [0]}. Question: |
Narrative is placed into panels using what? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': ['encapsulation'], 'answer_start': [169]}. Question: |
Who puts the panels together using closure? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': ['The reader'], 'answer_start': [184]}. Question: |
Timing and pace of comics is made by adjusting size, shape and what of panels? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': ['arrangement'], 'answer_start': [378]}. Question: |
When a comic panel has events that are not at the same time the panel is considered to be what? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': ['asynchronous'], 'answer_start': [483]}. Question: |
What are the multiple images with action called in comics? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': [], 'answer_start': []}. Question: |
Narrative isn't placed into panels using what? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': [], 'answer_start': []}. Question: |
Who takes the panels apart using closure? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': [], 'answer_start': []}. Question: |
Timing and pace of comics is made by not adjusting size, shape and what of panels? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': [], 'answer_start': []}. Question: |
When a comic panel has events that are at the same time the panel is considered to be what? | Context: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.. Answer: {'text': [], 'answer_start': []}. Question: |
What association with comics is strong? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': ['Speech balloons'], 'answer_start': [94]}. Question: |
The presence of a single speech balloon in an image turns it into what? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': ['comics'], 'answer_start': [37]}. Question: |
What type of words are used to do sound effects in comics? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': ['onomatopoeia'], 'answer_start': [536]}. Question: |
What association with comics is weak? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': [], 'answer_start': []}. Question: |
What disassociation with comics is strong? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': [], 'answer_start': []}. Question: |
The presence of a double speech balloon in an image turns it into what? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': [], 'answer_start': []}. Question: |
The non-presence of a single speech balloon in an image turns it into what? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': [], 'answer_start': []}. Question: |
What type of words are used to do word effects in comics? | Context: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.. Answer: {'text': [], 'answer_start': []}. Question: |
What type of ink is often used in making comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': ['India ink'], 'answer_start': [89]}. Question: |
What method is mostly used in making comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': ['Cartooning'], 'answer_start': [0]}. Question: |
Mixed media and what else are becoming popular for making comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': ['digital technology'], 'answer_start': [146]}. Question: |
Motion lines and what are often used in comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': ['abstract symbols'], 'answer_start': [232]}. Question: |
What type of ink is never used in making comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': [], 'answer_start': []}. Question: |
What type of ink is often used in making comedies? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': [], 'answer_start': []}. Question: |
What method is least used in making comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': [], 'answer_start': []}. Question: |
Mixed media and what else are becoming unpopular for making comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': [], 'answer_start': []}. Question: |
Motion lines and what are never used in comics? | Context: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.. Answer: {'text': [], 'answer_start': []}. Question: |
The term comedies refers to what? | Context: The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement.". Answer: {'text': [], 'answer_start': []}. Question: |
The term comics doesn't refer to what? | Context: The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement.". Answer: {'text': [], 'answer_start': []}. Question: |
When comic appears as a countable verb it refers to what? | Context: The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement.". Answer: {'text': [], 'answer_start': []}. Question: |
When comedies appears as a countable noun it refers to what? | Context: The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement.". Answer: {'text': [], 'answer_start': []}. Question: |
When comic doesn't appear as a countable noun it refers to what? | Context: The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement.". Answer: {'text': [], 'answer_start': []}. Question: |
In computer terms, what does CPU stand for? | Context: Conventionally, a computer consists of at least one processing element, typically a central processing unit (CPU), and some form of memory. The processing element carries out arithmetic and logic operations, and a sequencing and control unit can change the order of operations in response to stored information. Peripheral devices allow information to be retrieved from an external source, and the result of operations saved and retrieved.. Answer: {'text': ['central processing unit'], 'answer_start': [84]}. Question: |
What are the devices called that are from an external source? | Context: Conventionally, a computer consists of at least one processing element, typically a central processing unit (CPU), and some form of memory. The processing element carries out arithmetic and logic operations, and a sequencing and control unit can change the order of operations in response to stored information. Peripheral devices allow information to be retrieved from an external source, and the result of operations saved and retrieved.. Answer: {'text': ['Peripheral devices'], 'answer_start': [312]}. Question: |
What are two things that a computer always has? | Context: Conventionally, a computer consists of at least one processing element, typically a central processing unit (CPU), and some form of memory. The processing element carries out arithmetic and logic operations, and a sequencing and control unit can change the order of operations in response to stored information. Peripheral devices allow information to be retrieved from an external source, and the result of operations saved and retrieved.. Answer: {'text': ['(CPU), and some form of memory'], 'answer_start': [108]}. Question: |
What were analog computers originally used for? | Context: Mechanical analog computers started appearing in the first century and were later used in the medieval era for astronomical calculations. In World War II, mechanical analog computers were used for specialized military applications such as calculating torpedo aiming. During this time the first electronic digital computers were developed. Originally they were the size of a large room, consuming as much power as several hundred modern personal computers (PCs).. Answer: {'text': ['astronomical calculations'], 'answer_start': [111]}. Question: |
During what war were computers first used for military applications? | Context: Mechanical analog computers started appearing in the first century and were later used in the medieval era for astronomical calculations. In World War II, mechanical analog computers were used for specialized military applications such as calculating torpedo aiming. During this time the first electronic digital computers were developed. Originally they were the size of a large room, consuming as much power as several hundred modern personal computers (PCs).. Answer: {'text': ['World War II,'], 'answer_start': [141]}. Question: |
In computer terms, what does PC stand for? | Context: Mechanical analog computers started appearing in the first century and were later used in the medieval era for astronomical calculations. In World War II, mechanical analog computers were used for specialized military applications such as calculating torpedo aiming. During this time the first electronic digital computers were developed. Originally they were the size of a large room, consuming as much power as several hundred modern personal computers (PCs).. Answer: {'text': ['personal computers'], 'answer_start': [436]}. Question: |
During what war were the first digital computers invented? | Context: Mechanical analog computers started appearing in the first century and were later used in the medieval era for astronomical calculations. In World War II, mechanical analog computers were used for specialized military applications such as calculating torpedo aiming. During this time the first electronic digital computers were developed. Originally they were the size of a large room, consuming as much power as several hundred modern personal computers (PCs).. Answer: {'text': ['World War II'], 'answer_start': [141]}. Question: |
Computers in today's age are based on what that make them much faster than earlier computers? | Context: Modern computers based on integrated circuits are millions to billions of times more capable than the early machines, and occupy a fraction of the space. Computers are small enough to fit into mobile devices, and mobile computers can be powered by small batteries. Personal computers in their various forms are icons of the Information Age and are generally considered as "computers". However, the embedded computers found in many devices from MP3 players to fighter aircraft and from electronic toys to industrial robots are the most numerous.. Answer: {'text': ['integrated circuits'], 'answer_start': [26]}. Question: |
How much more powerful are modern computers versus early computers? | Context: Modern computers based on integrated circuits are millions to billions of times more capable than the early machines, and occupy a fraction of the space. Computers are small enough to fit into mobile devices, and mobile computers can be powered by small batteries. Personal computers in their various forms are icons of the Information Age and are generally considered as "computers". However, the embedded computers found in many devices from MP3 players to fighter aircraft and from electronic toys to industrial robots are the most numerous.. Answer: {'text': ['millions to billions of times'], 'answer_start': [50]}. Question: |
When was the first known use of the word "computer"? | Context: The first known use of the word "computer" was in 1613 in a book called The Yong Mans Gleanings by English writer Richard Braithwait: "I haue read the truest computer of Times, and the best Arithmetician that euer breathed, and he reduceth thy dayes into a short number." It referred to a person who carried out calculations, or computations. The word continued with the same meaning until the middle of the 20th century. From the end of the 19th century the word began to take on its more familiar meaning, a machine that carries out computations.. Answer: {'text': ['1613'], 'answer_start': [50]}. Question: |
In which book, was the term "computer" first used? | Context: The first known use of the word "computer" was in 1613 in a book called The Yong Mans Gleanings by English writer Richard Braithwait: "I haue read the truest computer of Times, and the best Arithmetician that euer breathed, and he reduceth thy dayes into a short number." It referred to a person who carried out calculations, or computations. The word continued with the same meaning until the middle of the 20th century. From the end of the 19th century the word began to take on its more familiar meaning, a machine that carries out computations.. Answer: {'text': ['The Yong Mans Gleanings'], 'answer_start': [72]}. Question: |
Who was the author of the book, The Yong Mans Gleanings? | Context: The first known use of the word "computer" was in 1613 in a book called The Yong Mans Gleanings by English writer Richard Braithwait: "I haue read the truest computer of Times, and the best Arithmetician that euer breathed, and he reduceth thy dayes into a short number." It referred to a person who carried out calculations, or computations. The word continued with the same meaning until the middle of the 20th century. From the end of the 19th century the word began to take on its more familiar meaning, a machine that carries out computations.. Answer: {'text': ['Richard Braithwait'], 'answer_start': [114]}. Question: |
From the end of what century, did the word "computer" take its well known meaning of today? | Context: The first known use of the word "computer" was in 1613 in a book called The Yong Mans Gleanings by English writer Richard Braithwait: "I haue read the truest computer of Times, and the best Arithmetician that euer breathed, and he reduceth thy dayes into a short number." It referred to a person who carried out calculations, or computations. The word continued with the same meaning until the middle of the 20th century. From the end of the 19th century the word began to take on its more familiar meaning, a machine that carries out computations.. Answer: {'text': ['19th century'], 'answer_start': [442]}. Question: |
The earliest device to help count was what? | Context: Devices have been used to aid computation for thousands of years, mostly using one-to-one correspondence with fingers. The earliest counting device was probably a form of tally stick. Later record keeping aids throughout the Fertile Crescent included calculi (clay spheres, cones, etc.) which represented counts of items, probably livestock or grains, sealed in hollow unbaked clay containers. The use of counting rods is one example.. Answer: {'text': ['a form of tally stick'], 'answer_start': [161]}. Question: |
Calculi during the Fertile Crescent refers to what? | Context: Devices have been used to aid computation for thousands of years, mostly using one-to-one correspondence with fingers. The earliest counting device was probably a form of tally stick. Later record keeping aids throughout the Fertile Crescent included calculi (clay spheres, cones, etc.) which represented counts of items, probably livestock or grains, sealed in hollow unbaked clay containers. The use of counting rods is one example.. Answer: {'text': ['(clay spheres, cones, etc.)'], 'answer_start': [259]}. Question: |
What was the abacus first used for? | Context: The abacus was initially used for arithmetic tasks. The Roman abacus was used in Babylonia as early as 2400 BC. Since then, many other forms of reckoning boards or tables have been invented. In a medieval European counting house, a checkered cloth would be placed on a table, and markers moved around on it according to certain rules, as an aid to calculating sums of money.. Answer: {'text': ['arithmetic tasks'], 'answer_start': [34]}. Question: |
When was the Roman abacus first used? | Context: The abacus was initially used for arithmetic tasks. The Roman abacus was used in Babylonia as early as 2400 BC. Since then, many other forms of reckoning boards or tables have been invented. In a medieval European counting house, a checkered cloth would be placed on a table, and markers moved around on it according to certain rules, as an aid to calculating sums of money.. Answer: {'text': ['2400 BC'], 'answer_start': [103]}. Question: |
Where was the Roman abacus first used? | Context: The abacus was initially used for arithmetic tasks. The Roman abacus was used in Babylonia as early as 2400 BC. Since then, many other forms of reckoning boards or tables have been invented. In a medieval European counting house, a checkered cloth would be placed on a table, and markers moved around on it according to certain rules, as an aid to calculating sums of money.. Answer: {'text': ['Babylonia'], 'answer_start': [81]}. Question: |
In medieval Europe was was placed on a table to help count money? | Context: The abacus was initially used for arithmetic tasks. The Roman abacus was used in Babylonia as early as 2400 BC. Since then, many other forms of reckoning boards or tables have been invented. In a medieval European counting house, a checkered cloth would be placed on a table, and markers moved around on it according to certain rules, as an aid to calculating sums of money.. Answer: {'text': ['a checkered cloth'], 'answer_start': [230]}. Question: |
A checkered cloth on a table was used in medieval Europe to help count what? | Context: The abacus was initially used for arithmetic tasks. The Roman abacus was used in Babylonia as early as 2400 BC. Since then, many other forms of reckoning boards or tables have been invented. In a medieval European counting house, a checkered cloth would be placed on a table, and markers moved around on it according to certain rules, as an aid to calculating sums of money.. Answer: {'text': ['sums of money'], 'answer_start': [360]}. Question: |
What is thought to be the first mechanical analog computer? | Context: The Antikythera mechanism is believed to be the earliest mechanical analog "computer", according to Derek J. de Solla Price. It was designed to calculate astronomical positions. It was discovered in 1901 in the Antikythera wreck off the Greek island of Antikythera, between Kythera and Crete, and has been dated to circa 100 BC. Devices of a level of complexity comparable to that of the Antikythera mechanism would not reappear until a thousand years later.. Answer: {'text': ['The Antikythera mechanism'], 'answer_start': [0]}. Question: |
The Antikythera mechanism was thought to be the first computer according to whom? | Context: The Antikythera mechanism is believed to be the earliest mechanical analog "computer", according to Derek J. de Solla Price. It was designed to calculate astronomical positions. It was discovered in 1901 in the Antikythera wreck off the Greek island of Antikythera, between Kythera and Crete, and has been dated to circa 100 BC. Devices of a level of complexity comparable to that of the Antikythera mechanism would not reappear until a thousand years later.. Answer: {'text': ['Derek J. de Solla Price.'], 'answer_start': [100]}. Question: |
When was the Antikythera mechanism discovered? | Context: The Antikythera mechanism is believed to be the earliest mechanical analog "computer", according to Derek J. de Solla Price. It was designed to calculate astronomical positions. It was discovered in 1901 in the Antikythera wreck off the Greek island of Antikythera, between Kythera and Crete, and has been dated to circa 100 BC. Devices of a level of complexity comparable to that of the Antikythera mechanism would not reappear until a thousand years later.. Answer: {'text': ['1901'], 'answer_start': [199]}. Question: |
Where was the Antikythera mechanism found in 1901? | Context: The Antikythera mechanism is believed to be the earliest mechanical analog "computer", according to Derek J. de Solla Price. It was designed to calculate astronomical positions. It was discovered in 1901 in the Antikythera wreck off the Greek island of Antikythera, between Kythera and Crete, and has been dated to circa 100 BC. Devices of a level of complexity comparable to that of the Antikythera mechanism would not reappear until a thousand years later.. Answer: {'text': ['Antikythera wreck off the Greek island of Antikythera'], 'answer_start': [211]}. Question: |
Where is the Greek Island of Antikythera located between? | Context: The Antikythera mechanism is believed to be the earliest mechanical analog "computer", according to Derek J. de Solla Price. It was designed to calculate astronomical positions. It was discovered in 1901 in the Antikythera wreck off the Greek island of Antikythera, between Kythera and Crete, and has been dated to circa 100 BC. Devices of a level of complexity comparable to that of the Antikythera mechanism would not reappear until a thousand years later.. Answer: {'text': ['Kythera and Crete'], 'answer_start': [274]}. Question: |
Who invented the planisphere? | Context: Many mechanical aids to calculation and measurement were constructed for astronomical and navigation use. The planisphere was a star chart invented by Abū Rayhān al-Bīrūnī in the early 11th century. The astrolabe was invented in the Hellenistic world in either the 1st or 2nd centuries BC and is often attributed to Hipparchus. A combination of the planisphere and dioptra, the astrolabe was effectively an analog computer capable of working out several different kinds of problems in spherical astronomy. An astrolabe incorporating a mechanical calendar computer and gear-wheels was invented by Abi Bakr of Isfahan, Persia in 1235. Abū Rayhān al-Bīrūnī invented the first mechanical geared lunisolar calendar astrolabe, an early fixed-wired knowledge processing machine with a gear train and gear-wheels, circa 1000 AD.. Answer: {'text': ['Abū Rayhān al-Bīrūnī'], 'answer_start': [151]}. Question: |
Who is thought to have invented the astrolabe in history? | Context: Many mechanical aids to calculation and measurement were constructed for astronomical and navigation use. The planisphere was a star chart invented by Abū Rayhān al-Bīrūnī in the early 11th century. The astrolabe was invented in the Hellenistic world in either the 1st or 2nd centuries BC and is often attributed to Hipparchus. A combination of the planisphere and dioptra, the astrolabe was effectively an analog computer capable of working out several different kinds of problems in spherical astronomy. An astrolabe incorporating a mechanical calendar computer and gear-wheels was invented by Abi Bakr of Isfahan, Persia in 1235. Abū Rayhān al-Bīrūnī invented the first mechanical geared lunisolar calendar astrolabe, an early fixed-wired knowledge processing machine with a gear train and gear-wheels, circa 1000 AD.. Answer: {'text': ['Hipparchus'], 'answer_start': [316]}. Question: |
The astrolabe was a combination of what two devices in history? | Context: Many mechanical aids to calculation and measurement were constructed for astronomical and navigation use. The planisphere was a star chart invented by Abū Rayhān al-Bīrūnī in the early 11th century. The astrolabe was invented in the Hellenistic world in either the 1st or 2nd centuries BC and is often attributed to Hipparchus. A combination of the planisphere and dioptra, the astrolabe was effectively an analog computer capable of working out several different kinds of problems in spherical astronomy. An astrolabe incorporating a mechanical calendar computer and gear-wheels was invented by Abi Bakr of Isfahan, Persia in 1235. Abū Rayhān al-Bīrūnī invented the first mechanical geared lunisolar calendar astrolabe, an early fixed-wired knowledge processing machine with a gear train and gear-wheels, circa 1000 AD.. Answer: {'text': ['the planisphere and dioptra'], 'answer_start': [345]}. Question: |
The first astrolabe with gear-wheels was invented when? | Context: Many mechanical aids to calculation and measurement were constructed for astronomical and navigation use. The planisphere was a star chart invented by Abū Rayhān al-Bīrūnī in the early 11th century. The astrolabe was invented in the Hellenistic world in either the 1st or 2nd centuries BC and is often attributed to Hipparchus. A combination of the planisphere and dioptra, the astrolabe was effectively an analog computer capable of working out several different kinds of problems in spherical astronomy. An astrolabe incorporating a mechanical calendar computer and gear-wheels was invented by Abi Bakr of Isfahan, Persia in 1235. Abū Rayhān al-Bīrūnī invented the first mechanical geared lunisolar calendar astrolabe, an early fixed-wired knowledge processing machine with a gear train and gear-wheels, circa 1000 AD.. Answer: {'text': ['1235'], 'answer_start': [627]}. Question: |
The first astrolabe with a mechanical calendar was invented where? | Context: Many mechanical aids to calculation and measurement were constructed for astronomical and navigation use. The planisphere was a star chart invented by Abū Rayhān al-Bīrūnī in the early 11th century. The astrolabe was invented in the Hellenistic world in either the 1st or 2nd centuries BC and is often attributed to Hipparchus. A combination of the planisphere and dioptra, the astrolabe was effectively an analog computer capable of working out several different kinds of problems in spherical astronomy. An astrolabe incorporating a mechanical calendar computer and gear-wheels was invented by Abi Bakr of Isfahan, Persia in 1235. Abū Rayhān al-Bīrūnī invented the first mechanical geared lunisolar calendar astrolabe, an early fixed-wired knowledge processing machine with a gear train and gear-wheels, circa 1000 AD.. Answer: {'text': ['Persia'], 'answer_start': [617]}. Question: |
The sector, a calculating instrument, was invented during what century? | Context: The sector, a calculating instrument used for solving problems in proportion, trigonometry, multiplication and division, and for various functions, such as squares and cube roots, was developed in the late 16th century and found application in gunnery, surveying and navigation.. Answer: {'text': ['16th century'], 'answer_start': [206]}. Question: |
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