You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
Malta is the only country in the EU where abortion remains illegal, and is still a taboo subject for many. But now, a ground-breaking play featuring local voices from both sides of the debate is trying to change that. By Mario Cacciottolo Malta It is estimated that hundreds of women leave Malta each year to have an abortion overseas, usually in the UK or Italy. Others illegally buy abortion pills online. Their stories inspired Maltese journalist Herman Grech to write and direct a play called De-terminated. Its script is based on the real-life experiences of abortion of seven people, both women and men, and it premieres in Valletta on Friday night. Tackling taboos "Abortion is not only a taboo here, there's almost a fear of using the 'A' word," said Grech, a prominent Maltese journalist and occasional contributor to the BBC. "When you know hundreds of women are resorting to dangerous methods to get a termination then it becomes a subject that needs to be tackled." One character has had her profession changed in the play, because her real-life counterpart says she would lose her job if the Maltese authorities discovered she had an abortion abroad. Another is based on a man who was sexually abused as a child, became promiscuous, later coerced his pregnant girlfriend into terminating their child, then found God, and now campaigns against abortion. Grech says he didn't write the play to campaign for either side. "In Malta there are only ever two sides to choose from... everything's yes or no, there are no shades of grey," he says. "Stop shouting at each other, and maybe we can actually have a debate about this." A Maltese woman's abortion experience in UK "The abortion hit on the train, after I left the clinic. I literally thought I was bleeding to death. I passed out from the pain on the train, alone." A Maltese woman in her mid-30s, Roberta became pregnant about 10 years ago when her boyfriend's condom split. She flew to a clinic in Birmingham, UK, where she paid €1,000 (£880) for pills to induce a medical abortion. "When I got off the train and to my hotel, I thought I was dying. I thought something had gone wrong," says Roberta - not her real name. "The hotel room looked like the scene of a murder. Blood on everything, projectile vomiting. Again, I'm completely on my own." When she returned to Malta, she bled for 40 days. Her "very religious" gynaecologist told her she had "committed a crime" and should be reported. Malta has a "double effect" law, allowing essential treatment of a sick mother with side effects that may harm the foetus - such as cancer therapy. But the foetus cannot be terminated just to save the mother. Deliberately terminating a pregnancy carries a prison sentence of up to three years. The morning-after pill only became legally available in Malta in December 2016 after a bitter battle that saw death threats made against those calling for the change. 'Holding society back' Lara Dimitrijevic is founder and director of the Women's Rights Foundation (WRF), which is calling for the decriminalisation of abortion in Malta. "It's a breach of the fundamental human rights based on gender discrimination, because it's targeting women and girls," she says. WRF says that in the space of five years 465 women living in Malta tried to buy abortion pills online from a single source. And a local politician has claimed that 300-400 women go abroad for this procedure each year. "This is holding Maltese society back," Ms Dimitrijevic said. "It's holding women back specifically." The Church maintains a great deal of influence in a country that teaches abstinence as its only sexual education, she complains, adding that politicians are afraid to endorse abortion. She hopes the De-terminated play will be a "softer way" to discuss the issue. Women's lives ' safeguarded by law' On the other side of the debate is Klaus Vella Bardon, deputy chairman of the LifeNetwork Foundation Malta. Malta should not even debate the issue, he argues, because that would be "a step towards making it socially acceptable". And he does not believe that the Maltese people are in favour - saying recent liberal reforms were "imposed from the top down" without necessarily being publicly popular, with the exception of divorce which was decided by referendum. "It's codswallop to say a sick pregnant woman is put at risk in Malta. Their lives are safeguarded in Maltese law," he says pointing to the "double effect" rules. "It's the woman and the family's choice. Some women have accepted no treatment or to risk having it later, because they want the child to have a shot at life." When it comes to rape, Mr Vella Bardon says that while it is a "horrible crime, why should the child be sacrificed?" "As a society we're against the death penalty, even for those who commit gratuitous murders, but why do we then accept killing a child?" He also has tickets for De-terminated, which he expects to be a "civil presentation of both points of view". Despite Grech's efforts to provoke debate through staging a play, he does not expect to see abortion introduced within his lifetime. "Women go to the UK for abortions and come back bleeding. There should be help available for them here," he said. "Despite our strict laws, abortions still happen. People should be discussing this issue. Let's try to understand each other." Additional reporting by Diana Cacciottolo.

Here is a summary requirement:
Summarize why Bardon is against abortion as mentioned in this article in one sentence

Please summarize the above article based on the given requirement:

# Output (a):
Klaus Vella Bardon, deputy chairman of the LifeNetwork Foundation Malta, is against abortion because he believes it is not socially acceptable, Maltese law safeguards the lives of sick pregnant women, and the child should not be sacrificed in cases of rape.

# Output (b):
Bardon is against abortion because he believes that the child should not be sacrificed, even in cases of rape, and that society should not accept killing a child.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
Malta is the only country in the EU where abortion remains illegal, and is still a taboo subject for many. But now, a ground-breaking play featuring local voices from both sides of the debate is trying to change that. By Mario Cacciottolo Malta It is estimated that hundreds of women leave Malta each year to have an abortion overseas, usually in the UK or Italy. Others illegally buy abortion pills online. Their stories inspired Maltese journalist Herman Grech to write and direct a play called De-terminated. Its script is based on the real-life experiences of abortion of seven people, both women and men, and it premieres in Valletta on Friday night. Tackling taboos "Abortion is not only a taboo here, there's almost a fear of using the 'A' word," said Grech, a prominent Maltese journalist and occasional contributor to the BBC. "When you know hundreds of women are resorting to dangerous methods to get a termination then it becomes a subject that needs to be tackled." One character has had her profession changed in the play, because her real-life counterpart says she would lose her job if the Maltese authorities discovered she had an abortion abroad. Another is based on a man who was sexually abused as a child, became promiscuous, later coerced his pregnant girlfriend into terminating their child, then found God, and now campaigns against abortion. Grech says he didn't write the play to campaign for either side. "In Malta there are only ever two sides to choose from... everything's yes or no, there are no shades of grey," he says. "Stop shouting at each other, and maybe we can actually have a debate about this." A Maltese woman's abortion experience in UK "The abortion hit on the train, after I left the clinic. I literally thought I was bleeding to death. I passed out from the pain on the train, alone." A Maltese woman in her mid-30s, Roberta became pregnant about 10 years ago when her boyfriend's condom split. She flew to a clinic in Birmingham, UK, where she paid €1,000 (£880) for pills to induce a medical abortion. "When I got off the train and to my hotel, I thought I was dying. I thought something had gone wrong," says Roberta - not her real name. "The hotel room looked like the scene of a murder. Blood on everything, projectile vomiting. Again, I'm completely on my own." When she returned to Malta, she bled for 40 days. Her "very religious" gynaecologist told her she had "committed a crime" and should be reported. Malta has a "double effect" law, allowing essential treatment of a sick mother with side effects that may harm the foetus - such as cancer therapy. But the foetus cannot be terminated just to save the mother. Deliberately terminating a pregnancy carries a prison sentence of up to three years. The morning-after pill only became legally available in Malta in December 2016 after a bitter battle that saw death threats made against those calling for the change. 'Holding society back' Lara Dimitrijevic is founder and director of the Women's Rights Foundation (WRF), which is calling for the decriminalisation of abortion in Malta. "It's a breach of the fundamental human rights based on gender discrimination, because it's targeting women and girls," she says. WRF says that in the space of five years 465 women living in Malta tried to buy abortion pills online from a single source. And a local politician has claimed that 300-400 women go abroad for this procedure each year. "This is holding Maltese society back," Ms Dimitrijevic said. "It's holding women back specifically." The Church maintains a great deal of influence in a country that teaches abstinence as its only sexual education, she complains, adding that politicians are afraid to endorse abortion. She hopes the De-terminated play will be a "softer way" to discuss the issue. Women's lives ' safeguarded by law' On the other side of the debate is Klaus Vella Bardon, deputy chairman of the LifeNetwork Foundation Malta. Malta should not even debate the issue, he argues, because that would be "a step towards making it socially acceptable". And he does not believe that the Maltese people are in favour - saying recent liberal reforms were "imposed from the top down" without necessarily being publicly popular, with the exception of divorce which was decided by referendum. "It's codswallop to say a sick pregnant woman is put at risk in Malta. Their lives are safeguarded in Maltese law," he says pointing to the "double effect" rules. "It's the woman and the family's choice. Some women have accepted no treatment or to risk having it later, because they want the child to have a shot at life." When it comes to rape, Mr Vella Bardon says that while it is a "horrible crime, why should the child be sacrificed?" "As a society we're against the death penalty, even for those who commit gratuitous murders, but why do we then accept killing a child?" He also has tickets for De-terminated, which he expects to be a "civil presentation of both points of view". Despite Grech's efforts to provoke debate through staging a play, he does not expect to see abortion introduced within his lifetime. "Women go to the UK for abortions and come back bleeding. There should be help available for them here," he said. "Despite our strict laws, abortions still happen. People should be discussing this issue. Let's try to understand each other." Additional reporting by Diana Cacciottolo.

Here is a summary requirement:
Summarize why Bardon is against abortion as mentioned in this article in one sentence

Please summarize the above article based on the given requirement:

Klaus Vella Bardon, deputy chairman of the LifeNetwork Foundation Malta, is against abortion because he believes it is not socially acceptable, Maltese law safeguards the lives of sick pregnant women, and the child should not be sacrificed in cases of rape.

Bardon is against abortion because he believes that the child should not be sacrificed, even in cases of rape, and that society should not accept killing a child.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
Malta is the only country in the EU where abortion remains illegal, and is still a taboo subject for many. But now, a ground-breaking play featuring local voices from both sides of the debate is trying to change that. By Mario Cacciottolo Malta It is estimated that hundreds of women leave Malta each year to have an abortion overseas, usually in the UK or Italy. Others illegally buy abortion pills online. Their stories inspired Maltese journalist Herman Grech to write and direct a play called De-terminated. Its script is based on the real-life experiences of abortion of seven people, both women and men, and it premieres in Valletta on Friday night. Tackling taboos "Abortion is not only a taboo here, there's almost a fear of using the 'A' word," said Grech, a prominent Maltese journalist and occasional contributor to the BBC. "When you know hundreds of women are resorting to dangerous methods to get a termination then it becomes a subject that needs to be tackled." One character has had her profession changed in the play, because her real-life counterpart says she would lose her job if the Maltese authorities discovered she had an abortion abroad. Another is based on a man who was sexually abused as a child, became promiscuous, later coerced his pregnant girlfriend into terminating their child, then found God, and now campaigns against abortion. Grech says he didn't write the play to campaign for either side. "In Malta there are only ever two sides to choose from... everything's yes or no, there are no shades of grey," he says. "Stop shouting at each other, and maybe we can actually have a debate about this." A Maltese woman's abortion experience in UK "The abortion hit on the train, after I left the clinic. I literally thought I was bleeding to death. I passed out from the pain on the train, alone." A Maltese woman in her mid-30s, Roberta became pregnant about 10 years ago when her boyfriend's condom split. She flew to a clinic in Birmingham, UK, where she paid €1,000 (£880) for pills to induce a medical abortion. "When I got off the train and to my hotel, I thought I was dying. I thought something had gone wrong," says Roberta - not her real name. "The hotel room looked like the scene of a murder. Blood on everything, projectile vomiting. Again, I'm completely on my own." When she returned to Malta, she bled for 40 days. Her "very religious" gynaecologist told her she had "committed a crime" and should be reported. Malta has a "double effect" law, allowing essential treatment of a sick mother with side effects that may harm the foetus - such as cancer therapy. But the foetus cannot be terminated just to save the mother. Deliberately terminating a pregnancy carries a prison sentence of up to three years. The morning-after pill only became legally available in Malta in December 2016 after a bitter battle that saw death threats made against those calling for the change. 'Holding society back' Lara Dimitrijevic is founder and director of the Women's Rights Foundation (WRF), which is calling for the decriminalisation of abortion in Malta. "It's a breach of the fundamental human rights based on gender discrimination, because it's targeting women and girls," she says. WRF says that in the space of five years 465 women living in Malta tried to buy abortion pills online from a single source. And a local politician has claimed that 300-400 women go abroad for this procedure each year. "This is holding Maltese society back," Ms Dimitrijevic said. "It's holding women back specifically." The Church maintains a great deal of influence in a country that teaches abstinence as its only sexual education, she complains, adding that politicians are afraid to endorse abortion. She hopes the De-terminated play will be a "softer way" to discuss the issue. Women's lives ' safeguarded by law' On the other side of the debate is Klaus Vella Bardon, deputy chairman of the LifeNetwork Foundation Malta. Malta should not even debate the issue, he argues, because that would be "a step towards making it socially acceptable". And he does not believe that the Maltese people are in favour - saying recent liberal reforms were "imposed from the top down" without necessarily being publicly popular, with the exception of divorce which was decided by referendum. "It's codswallop to say a sick pregnant woman is put at risk in Malta. Their lives are safeguarded in Maltese law," he says pointing to the "double effect" rules. "It's the woman and the family's choice. Some women have accepted no treatment or to risk having it later, because they want the child to have a shot at life." When it comes to rape, Mr Vella Bardon says that while it is a "horrible crime, why should the child be sacrificed?" "As a society we're against the death penalty, even for those who commit gratuitous murders, but why do we then accept killing a child?" He also has tickets for De-terminated, which he expects to be a "civil presentation of both points of view". Despite Grech's efforts to provoke debate through staging a play, he does not expect to see abortion introduced within his lifetime. "Women go to the UK for abortions and come back bleeding. There should be help available for them here," he said. "Despite our strict laws, abortions still happen. People should be discussing this issue. Let's try to understand each other." Additional reporting by Diana Cacciottolo.

Here is a summary requirement:
Summarize why Bardon is against abortion as mentioned in this article in one sentence

Please summarize the above article based on the given requirement:

# Output (a):
Klaus Vella Bardon is against abortion because he believes that the lives of sick pregnant women are safeguarded by Maltese law and that the child should not be sacrificed, even in cases of rape.

# Output (b):
Bardon is against abortion because he believes that the child should not be sacrificed, even in cases of rape, and that society should not accept killing a child.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (a)

Instruction:
Here is an article:
Malta is the only country in the EU where abortion remains illegal, and is still a taboo subject for many. But now, a ground-breaking play featuring local voices from both sides of the debate is trying to change that. By Mario Cacciottolo Malta It is estimated that hundreds of women leave Malta each year to have an abortion overseas, usually in the UK or Italy. Others illegally buy abortion pills online. Their stories inspired Maltese journalist Herman Grech to write and direct a play called De-terminated. Its script is based on the real-life experiences of abortion of seven people, both women and men, and it premieres in Valletta on Friday night. Tackling taboos "Abortion is not only a taboo here, there's almost a fear of using the 'A' word," said Grech, a prominent Maltese journalist and occasional contributor to the BBC. "When you know hundreds of women are resorting to dangerous methods to get a termination then it becomes a subject that needs to be tackled." One character has had her profession changed in the play, because her real-life counterpart says she would lose her job if the Maltese authorities discovered she had an abortion abroad. Another is based on a man who was sexually abused as a child, became promiscuous, later coerced his pregnant girlfriend into terminating their child, then found God, and now campaigns against abortion. Grech says he didn't write the play to campaign for either side. "In Malta there are only ever two sides to choose from... everything's yes or no, there are no shades of grey," he says. "Stop shouting at each other, and maybe we can actually have a debate about this." A Maltese woman's abortion experience in UK "The abortion hit on the train, after I left the clinic. I literally thought I was bleeding to death. I passed out from the pain on the train, alone." A Maltese woman in her mid-30s, Roberta became pregnant about 10 years ago when her boyfriend's condom split. She flew to a clinic in Birmingham, UK, where she paid €1,000 (£880) for pills to induce a medical abortion. "When I got off the train and to my hotel, I thought I was dying. I thought something had gone wrong," says Roberta - not her real name. "The hotel room looked like the scene of a murder. Blood on everything, projectile vomiting. Again, I'm completely on my own." When she returned to Malta, she bled for 40 days. Her "very religious" gynaecologist told her she had "committed a crime" and should be reported. Malta has a "double effect" law, allowing essential treatment of a sick mother with side effects that may harm the foetus - such as cancer therapy. But the foetus cannot be terminated just to save the mother. Deliberately terminating a pregnancy carries a prison sentence of up to three years. The morning-after pill only became legally available in Malta in December 2016 after a bitter battle that saw death threats made against those calling for the change. 'Holding society back' Lara Dimitrijevic is founder and director of the Women's Rights Foundation (WRF), which is calling for the decriminalisation of abortion in Malta. "It's a breach of the fundamental human rights based on gender discrimination, because it's targeting women and girls," she says. WRF says that in the space of five years 465 women living in Malta tried to buy abortion pills online from a single source. And a local politician has claimed that 300-400 women go abroad for this procedure each year. "This is holding Maltese society back," Ms Dimitrijevic said. "It's holding women back specifically." The Church maintains a great deal of influence in a country that teaches abstinence as its only sexual education, she complains, adding that politicians are afraid to endorse abortion. She hopes the De-terminated play will be a "softer way" to discuss the issue. Women's lives ' safeguarded by law' On the other side of the debate is Klaus Vella Bardon, deputy chairman of the LifeNetwork Foundation Malta. Malta should not even debate the issue, he argues, because that would be "a step towards making it socially acceptable". And he does not believe that the Maltese people are in favour - saying recent liberal reforms were "imposed from the top down" without necessarily being publicly popular, with the exception of divorce which was decided by referendum. "It's codswallop to say a sick pregnant woman is put at risk in Malta. Their lives are safeguarded in Maltese law," he says pointing to the "double effect" rules. "It's the woman and the family's choice. Some women have accepted no treatment or to risk having it later, because they want the child to have a shot at life." When it comes to rape, Mr Vella Bardon says that while it is a "horrible crime, why should the child be sacrificed?" "As a society we're against the death penalty, even for those who commit gratuitous murders, but why do we then accept killing a child?" He also has tickets for De-terminated, which he expects to be a "civil presentation of both points of view". Despite Grech's efforts to provoke debate through staging a play, he does not expect to see abortion introduced within his lifetime. "Women go to the UK for abortions and come back bleeding. There should be help available for them here," he said. "Despite our strict laws, abortions still happen. People should be discussing this issue. Let's try to understand each other." Additional reporting by Diana Cacciottolo.

Here is a summary requirement:
Summarize why Bardon is against abortion as mentioned in this article in one sentence

Please summarize the above article based on the given requirement:

Klaus Vella Bardon is against abortion because he believes that the lives of sick pregnant women are safeguarded by Maltese law and that the child should not be sacrificed, even in cases of rape.

Bardon is against abortion because he believes that the child should not be sacrificed, even in cases of rape, and that society should not accept killing a child.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

# Output (a):
The opening line-up for the new Home arts centre in Manchester includes a play by Stockport playwright Simon Stephens, an exhibition inspired by Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, and screenings of funfair-themed films. The centre is hoped to boost the economy by attracting other businesses to its part of the city centre, and its artistic directors say it is an example of how arts can be a catalyst for regeneration.

# Output (b):
The opening line-up of Manchester's new £25m arts centre Home includes Stockport playwright Simon Stephens' adaptation of Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, renamed as The Funfair, and an art exhibition inspired by the play featuring artists from Egypt, Iceland and Kosovo as well as Manchester. The opening line-ups are expected to provide more space to cater for Manchester's "hunger for new ideas" and to boost the economy by attracting other businesses to its part of the city centre.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

The opening line-up for the new Home arts centre in Manchester includes a play by Stockport playwright Simon Stephens, an exhibition inspired by Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, and screenings of funfair-themed films. The centre is hoped to boost the economy by attracting other businesses to its part of the city centre, and its artistic directors say it is an example of how arts can be a catalyst for regeneration.

The opening line-up of Manchester's new £25m arts centre Home includes Stockport playwright Simon Stephens' adaptation of Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, renamed as The Funfair, and an art exhibition inspired by the play featuring artists from Egypt, Iceland and Kosovo as well as Manchester. The opening line-ups are expected to provide more space to cater for Manchester's "hunger for new ideas" and to boost the economy by attracting other businesses to its part of the city centre.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

# Output (a):
The Home centre in Manchester, a £25m arts venue, features an opening line-up that includes a play adaptation by Stockport playwright Simon Stephens, an art exhibition inspired by the play with artists from Egypt, Iceland, Kosovo, and Manchester, and inventive screenings of funfair-themed films. The opening line-ups showcase contemporary, intelligent works with a strong international flavour but rooted in Manchester. The Home centre aims to boost the economy by attracting other businesses to the city centre and serve as a catalyst for regeneration, with new restaurants, a hotel, and offices moving in due to its presence.

# Output (b):
The opening line-up for the new Home arts centre in Manchester includes a play by Stockport playwright Simon Stephens, an exhibition inspired by Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, and screenings of funfair-themed films. The centre is hoped to boost the economy by attracting other businesses to its part of the city centre, and its artistic directors say it is an example of how arts can be a catalyst for regeneration.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (a)

Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

The Home centre in Manchester, a £25m arts venue, features an opening line-up that includes a play adaptation by Stockport playwright Simon Stephens, an art exhibition inspired by the play with artists from Egypt, Iceland, Kosovo, and Manchester, and inventive screenings of funfair-themed films. The opening line-ups showcase contemporary, intelligent works with a strong international flavour but rooted in Manchester. The Home centre aims to boost the economy by attracting other businesses to the city centre and serve as a catalyst for regeneration, with new restaurants, a hotel, and offices moving in due to its presence.

The opening line-up for the new Home arts centre in Manchester includes a play by Stockport playwright Simon Stephens, an exhibition inspired by Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, and screenings of funfair-themed films. The centre is hoped to boost the economy by attracting other businesses to its part of the city centre, and its artistic directors say it is an example of how arts can be a catalyst for regeneration.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

# Output (a):
The opening line-up of Manchester's new £25m arts centre Home includes Stockport playwright Simon Stephens' adaptation of Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, renamed as The Funfair, and an art exhibition inspired by the play featuring artists from Egypt, Iceland and Kosovo as well as Manchester. The opening line-ups are expected to provide more space to cater for Manchester's "hunger for new ideas" and to boost the economy by attracting other businesses to its part of the city centre.

# Output (b):
The opening line-up for the new Home arts centre in Manchester includes a play by Stockport playwright Simon Stephens, an exhibition inspired by Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, and screenings of funfair-themed films. The centre is hoped to boost the economy by attracting other businesses to its part of the city centre, and its artistic directors say it is an example of how arts can be a catalyst for regeneration.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

The opening line-up of Manchester's new £25m arts centre Home includes Stockport playwright Simon Stephens' adaptation of Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, renamed as The Funfair, and an art exhibition inspired by the play featuring artists from Egypt, Iceland and Kosovo as well as Manchester. The opening line-ups are expected to provide more space to cater for Manchester's "hunger for new ideas" and to boost the economy by attracting other businesses to its part of the city centre.

The opening line-up for the new Home arts centre in Manchester includes a play by Stockport playwright Simon Stephens, an exhibition inspired by Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, and screenings of funfair-themed films. The centre is hoped to boost the economy by attracting other businesses to its part of the city centre, and its artistic directors say it is an example of how arts can be a catalyst for regeneration.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

# Output (a):
The Home centre in Manchester, a £25m arts venue, features an opening line-up that includes a play adaptation by Stockport playwright Simon Stephens, an art exhibition inspired by the play with artists from Egypt, Iceland, Kosovo, and Manchester, and inventive screenings of funfair-themed films. The opening line-ups showcase contemporary, intelligent works with a strong international flavour but rooted in Manchester. The Home centre aims to boost the economy by attracting other businesses to the city centre and serve as a catalyst for regeneration, with new restaurants, a hotel, and offices moving in due to its presence.

# Output (b):
The opening line-up of Manchester's new £25m arts centre Home includes Stockport playwright Simon Stephens' adaptation of Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, renamed as The Funfair, and an art exhibition inspired by the play featuring artists from Egypt, Iceland and Kosovo as well as Manchester. The opening line-ups are expected to provide more space to cater for Manchester's "hunger for new ideas" and to boost the economy by attracting other businesses to its part of the city centre.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
Manchester's new £25m arts centre Home is billed as the city's answer to the Barbican or Southbank Centre. With big money also being spent on other venues in the city, is Manchester on course to become a cultural powerhouse to rival London? By Ian YoungsArts reporter The large curved glass wedge that has appeared opposite the site of the old Hacienda nightclub, and which will later have its opening ceremony - led by London 2012 supremo Danny Boyle - is the latest evidence of a mini building boom in Manchester's cultural scene. The wedge - which contains two theatres, five cinemas, an art gallery - replaces the much-loved Cornerhouse cinema and gallery and Library Theatre, which have merged and been given an upgrade in the process. Home's launch comes three months after the Whitworth gallery reopened after a £19m expansion, while there are also plans for another new £78m venue called The Factory, less than a mile from Home. Austerity? What austerity? If it happens, The Factory will be a 5,000-capacity permanent home for the Manchester International Festival. These projects, taken with the city's existing activities, seem to have given Manchester optimism that its cultural future can be as bright as its illustrious past. At Home, chief executive Dave Moutrey is relishing having a custom-built venue to replace the Cornerhouse. He boasts that they now have ample toilets and enthuses about the outdoor cafe seating (weather permitting) and smoother layout. "It's going to be quite a novel experience for our customers to be able to read the subtitles on a film without having to dodge somebody's head," he says. As well as improving the facilities, Home will provide more space to cater for what Moutrey describes as Manchester's "hunger for new ideas". The theatre, visual art and film offerings will all be roughly on the same wavelength - contemporary, intelligent, with a strong international flavour but with roots in Manchester. The opening line-up gives a taste of what to expect. Stockport playwright Simon Stephens - who put The Curious Incident of the Dog in the Night-Time on stage for the National Theatre - has adapted Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline and renamed it The Funfair. The play has also inspired the opening art exhibition, which features artists from Egypt, Iceland and Kosovo as well as Manchester. And there will be inventive screenings of funfair-themed films like Big, Carnival of Souls and Freaks. "There is no superior art form here," Moutrey says. "There's no art form that calls the shots over the others. They're all in dialogue with each other." Home may be a culture vulture's dream, but it was conceived by Manchester City Council in the hope that it would boost the economy by attracting other businesses to its part of the city centre. Now, Moutrey points out restaurants, a hotel and offices that he says would not have moved in if Home were not there. "I think we're an example for how arts can be a catalyst for regeneration and people wanting to come and live and work in a city," he says. The tactic has already worked on one person - the organisation's new artistic director for film, Jason Wood, who has moved from Curzon Cinemas in London. Wood says he moved because the independent film scene in the capital was becoming "quite stagnant". "I was looking at a lot of the activity that was going on in Manchester - just the funding, the excitement, and the notion of a city in a really good space culturally," he says. "That was something that was really exciting and something I was happy to respond to. "I really was beginning to feel that London was becoming the second city in terms of how it responded to film culture. I was finding it was becoming more and more difficult to get audiences to come." Home's artistic director of theatre, Walter Meierjohann, has also arrived from London, where he worked for three years at the in-form Young Vic. He is originally from Germany, where a more federal system exists, he explains. "So the idea that in a country you can have five or six big cities... you can say Berlin, Hamburg, Frankfurt, Munich are all on an equal level culturally, which they are, [and that] is a good thing. "I still think London will always be number one, but I think Manchester's on a really good journey." 'The new Barcelona' Other UK cities have also seen recent cultural developments - Birmingham has its library, Liverpool has the new Everyman theatre, and a new arts centre in Bangor, north Wales, will cost twice as much as Home. But still, the current expansion in Greater Manchester - coupled with its existing world-class venues - suggests it will have a critical mass of culture that other cities outside London cannot match. And on top of that, it is being positioned as the de facto capital of the fabled "Northern Powerhouse" that the last government was so keen to promote. Home's third artistic director is Sarah Perks, who is continuing the visual art work she did at Cornerhouse. There is no need to compare Manchester with London, she says. "Manchester shouldn't look to become a mini-London or emulate London," she says. "It's about becoming Manchester and being known for that, and looking acrossways and upwards. It doesn't always have to be this weird colonial relationship with London." Dave Moutrey echoes that, describing the city as an "an alternative centre of gravity" rather than a rival to the capital. He compares the relationship between Manchester and London with that of Barcelona and Madrid. "If we continue to make great culture here I don't think it's too big a shock for people to start talking about Manchester in the same way as they talk about Barcelona," he says.

Here is a summary requirement:
Summarize the opening line-ups of the Home centre and their impacts.

Please summarize the above article based on the given requirement:

The Home centre in Manchester, a £25m arts venue, features an opening line-up that includes a play adaptation by Stockport playwright Simon Stephens, an art exhibition inspired by the play with artists from Egypt, Iceland, Kosovo, and Manchester, and inventive screenings of funfair-themed films. The opening line-ups showcase contemporary, intelligent works with a strong international flavour but rooted in Manchester. The Home centre aims to boost the economy by attracting other businesses to the city centre and serve as a catalyst for regeneration, with new restaurants, a hotel, and offices moving in due to its presence.

The opening line-up of Manchester's new £25m arts centre Home includes Stockport playwright Simon Stephens' adaptation of Hungarian writer Odon von Horvath's 1932 play Kasimir and Karoline, renamed as The Funfair, and an art exhibition inspired by the play featuring artists from Egypt, Iceland and Kosovo as well as Manchester. The opening line-ups are expected to provide more space to cater for Manchester's "hunger for new ideas" and to boost the economy by attracting other businesses to its part of the city centre.