text:
The CHICKASHA CHIEFS was the final and a primary name of the minor league baseball teams based in Chickasha, Oklahoma. Playing between 1904–1952, Chickasha teams played as members of the Southwestern League (1904), Western Association (1920–1921), Oklahoma State League (1922) and Class D Sooner State League (1948–1952).

History

Minor league baseball in Chickasha began when Chickasha briefly had a team in 1904. The SHAWNEE BROWNS of the Southwestern League moved to Chickasha, Oklahoma on June 30, 1904. The team became the CHICKASHA INDIANS and continued play in the Southwestern League. However, the franchise returned to Shawnee, Oklahoma on August 3, 1904. The franchise then disbanded on September 5, 1904.[1][2][3]

Baseball returned in 1920, when the CHICKASHA CHICKS began play in the eight-team Western Association. The Western Association had just reformed after a two-year hiatus. Other 1920 league members were the Drumright Drummers, Enid Harvesters, Fort Smith Twins, Henryetta Hens, Okmulgee Drillers, Pawhuska Huskers and Springfield Merchants.[4][5]

In their first full season of play, the Chickasha Chicks finished 52–72 (7th) in the 1920 Western Association.[6]

The Chickasha Chicks won the 1921 Western Association Championship. The Chicks finished 74–74 (5th overall) in the regular season and captured the first-half pennant. In the playoff Finals, the Chickasha Chicks defeated the Fort Smith Twins 4 games to 3 to claim the 1921 championship.[7][8][9]

Chickasha left the Western Association to join the newly formed Oklahoma State League in 1922 and won their second straight championship. Other charter members of the six–team 1922 Oklahoma State League were the Clinton Bulldogs, Duncan Oilers, El Reno Railroaders, Guthrie, Oklahoma and Wilson Drillers.[10][11]

Playing in the new league in 1922, the Chickasha Chicks finished 55–55 (3rd) in the regular season. They qualified for the playoffs by winning the first half championship with a 33-17 record.[12] In the second half, however, shaky finances and dwindling attendance during a losing streak caused the team to miss payroll and forfeit several games, culminating with a league takeover of the franchise. The team was renamed the “Orphans” and forced to play its remaining schedule on the road.[13][14][15] Despite limited success over the remainder of the regular season, the team defeated the Clinton Bulldogs in the playoff finals, 4 games 0, to claim the 1922 championship.[16] After the 1922 championship season the franchise folded.[17][18]

In 1948, the Chickasha Chiefs began play in the Sooner State League. The Chiefs and Ada Herefords were expansion teams in the league as it expanded from six–teams to eight–teams after forming in 1947. The other 1948 Sooner State League members were the Ada Herefords, Ardmore Indians, Duncan Cementers, Lawton Giants, McAlester Rockets, Pauls Valley Raiders and Seminole Oilers.[19][20]

Chickasha qualified for the playoffs in 1948. The Chicks finished 73–63 (4th) in the regular season. In the playoffs, the McAlester Rockets defeated the Chickasha Chiefs 3 games to 1. The Chiefs 1948 attendance was 35,640, an average of 524 per game.[21][22]

Returning to the playoffs in 1949, the Chickasha Chicks finished 78–61 (3rd) in the regular season. In the 1949 playoffs, the Lawton Giants defeated Chickasha 3 games to 0. The Chicks 1949 attendance was 59,306, an average of 853.[23][24]

The 1950 Chickasha Chiefs finished 80–59 (3rd) in the Sooner State League regular season. Qualifying for the playoffs, the McAlester Rockets defeated the Chiefs 3 games to 0. The 1950 season attendance was 43,759 (3rd in the league).[25][26]

In 1951, the Chickasha Chiefs used five managers in finishing 46–94 (7th) in the Sooner State League. The 1951 season attendance was 21,107.[27]

The Chickasha Chiefs returned to the Sooner State League playoffs in 1952. The Chiefs finished 78–62 (3rd) in the 1952 regular season. In the playoffs, the Pauls Valley Raiders defeated the Chickasha Chiefs 3 games to 1. Season attendance: 27,494, an average of 393.[28][29]

the Chickasha Chiefs folded after the 1952 season and were replaced by the Gainesville Owls in the 1953 Sooner State League. Chickasha hasn't hosted another minor league baseball team.[30]

The ballparks

The Chickasha Chiefs played at MEMORIAL PARK, also referred to as BORDEN PARK. Borden Park burned in August 1950 and was rebuilt for the following season.[31][32] The ballpark had a capacity of 1,700 (1950) and 2,500 (1952). Borden Park, which is now called Elliott Field and is used for high school baseball, was located at 200 North 19th Street.[33]

From 1920 through May 1921, the Chickasha Chicks played at UNIVERSITY PARK.[34] University Park, which had previously hosted exhibition games featuring Hall of Fame pitcher Walter Johnson, was located at the terminus of the street railway line near present-day Shannon Springs Park.[35][36][37]

In the middle of the 1921 season, the Chicks moved to a newly constructed ballpark named GRADY FIELD. The new ballpark was located on East Choctaw Avenue, just east of the viaduct that carries that road over the railroad tracks, where the Grady County Fairgrounds are now located. University Park was demolished immediately upon completion of the new field.[38][39][40]

The 1904 Chickasha Indians played at ROCK ISLAND BALL PARK.[41] This facility was built at the site of the former Rock Island stockyards, south of the Rock Island Railroad machine shop and the Crystal Ice Company plant, on land donated by the railroad.[42][43][44][45] The location was half a block east of South First Street, along the railroad tracks between East Minnesota and East Dakota Avenues.[46]

Notable alumni

-   Ed Cole (1950)
-   Mike Cvengros (1921)
-   Camilo Pascual (1951) Minnesota Twins Hall of Fame
-   Ned Pettigrew (1920, MGR)
-   Pete Runnels (1949) 5× MLB All-Star, 2× AL batting champion (1960, 1962), Boston Red Sox Hall of Fame
-   Guy Sturdy (1921)

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title: Chickasha Chiefs

question:
Answer the following question based on the above passage:

Summarize the successes of the Chickasha baseball teams.

answer: The Chickasha baseball teams were quite successful. The Chickasha Chicks won the 1921 Western Association Championship and again in 1922 while playing in the Oklahoma State League. They were renamed the "Orphans" in 1924 and were forced to play their scheduled games on the road. They won the championship anyway. In 1948, the Chickasha Chiefs won the Sooner State League. In 1949, the Chiefs finished third, and in 1950 and 1951, they finished third as well.

text: The team did not finish 3rd in 1951. They finished 7th.

refinement: The Chickasha baseball teams were quite successful. The Chickasha Chicks won the 1921 Western Association Championship and again in 1922 while playing in the Oklahoma State League. They were renamed the "Orphans" in 1924 and were forced to play their scheduled games on the road. They won the championship anyway. In 1948, the Chickasha Chiefs won the Sooner State League. In 1949 and in 1950, the Chiefs finished third.

text: They qualified to play in 1948

refinement: The Chickasha baseball teams were quite successful. The Chickasha Chicks won the 1921 Western Association Championship and again in 1922 while playing in the Oklahoma State League. They were renamed the "Orphans" in 1924 and were forced to play their scheduled games on the road. They won the championship anyway. In 1948, the Chickasha Chiefs qualified to play in the Sooner State League. In 1949 and in 1950, the Chiefs finished third.

answer: The Chickasha baseball teams were quite successful. The Chickasha Chicks won the 1921 Western Association Championship and again in 1922 while playing in the Oklahoma State League. They were renamed the "Orphans" in 1924 and were forced to play their scheduled games on the road. They won the championship anyway. In 1948, the Chickasha Chiefs won the Sooner State League.

text: They qualified for the runoffs.

refinement: The Chickasha baseball teams were quite successful. The Chickasha Chicks won the 1921 Western Association Championship and again in 1922 while playing in the Oklahoma State League. They were renamed the "Orphans" in 1924 and were forced to play their scheduled games on the road. They won the championship anyway. In 1948, the Chickasha Chiefs qualified to play in the Sooner State League.

answer: They won the 1921 Western Association Championship. The Chickasha Chicks won their second straight championship in 1922. The 1948 Oklahoma State League expansion team, the Chickasha Chiefs, qualified for the playoffs in 1948. They won the 1949 Oklahoma State League championship. The Chickasha Chiefs returned to the Sooner State League playoffs in 1952.

text: There is no evidence that they won the Oklahoma State League

refinement: They won the 1921 Western Association Championship. The Chickasha Chicks won their second straight championship in 1922. The 1948 Oklahoma State League expansion team, the Chickasha Chiefs, qualified for the playoffs in 1948. The Chickasha Chiefs returned to the Sooner State League playoffs in 1952.

question:
Answer the following question based on the above passage:

What does the article say about Chickasha NBA teams?

answer: No answer

answer: No answer


split: test

text:
Marcus Hetfield, August 18th, 2123
About thirteen and a half miles out of Kepler 62-F’s atmosphere, there we are; the tiny dot that is our reasonably-sized AGF, or Atmosphere Guard Flier for short. We usually  do routine checks and ask standard questions before we let cargo transporters and passenger ships enter 62-F's air space. We’re out here only armed with a basic cannon or two on the ship (based on the ship’s model)  along with simple firearms in the armory. There's only one other AGF guarding 62-F since this planet is not the highest of priorities, so we're practically alone out here save for a few other men. To be honest, we’re the crappy first line of defense; we’re screwed out here if we get attacked since we’re just a guard ship. Yeah, we’re in the Kepler Defense Squadron, but we’re kind of like Military Police and not true soldiers, since all we do is sit on our butts out in space waiting for a civillian craft to show up. You know, the measly guards at the front gate? Yeah, that’s us; cannon fodder, but it pays well.

. . .

Shep, the crew's technician and radar man, noticed a strange occurrence within their vicinity. “Hey Marcus, come check this out; I’m picking up a civilian-model Flier about twenty clicks from our current location, and it’s just drifting out there. I’ll try to establish contact with the pilot to see if they need any assistance. In the meantime, get the others ready for possible boarding if need be.”
Ten minutes passed.

“What the hell?!” exclaimed Shep. Marcus was in earshot. “What’s wrong?” Pointing at his headset with a flabbergasted look on his face, Shep responded with a plain “Nothing.” Smiling, Marcus responded, “Then why are you pissed at nothing? Just kidding, seriously, what’s wrong?”

“I’m getting jack on the line. Zip, zero, nada, bupcus. They’re either not home, or they’re all dead.”

“Jesus. Well, we're prepped and ready for boarding... protocol says that if we don't hear contact within the first ten, and we don't have any immediate backup, then we wait fifty more and establish contact with the other Flier in the meantime. Go ahead and call 'em up to tell them about our situation... but man, I don't feel good about this at all... could the passengers on board that ship truly be dead?”

Fifty minutes passed.

Shep had a positive look on his face. “Well, looks like you guys gotta board it. Hey, look at it this way; you all have great scores after repeated use of the simulators, there's no need to worry... right?” Drake, the crew's intimidating weapons specialist, saw right through Shep. “You're just happy that you don't have risk your life investigating a possibly hostile Flier. You're a valuable member to our team Shep, but you can be a true scumbag sometimes, and it's just shameful to be in the same Flier with a disgrace like yourself.” Shep muttered something under his breath as he piloted the team’s AGF to the civilian craft.
The AI guide over the speaker system stated that the connection between the two ships was complete and ready for transition boarding. “Proceed with caution. Ensure all safety procedures are followed when moving between ships. The Kepler Defense Squadron is not responsible for any deaths during the boarding process. All employees must-“ Shep deactivated the blaring program. “The bloody thing’s useless and annoying, you guys know what to do. Get in, assess the situation, shoot some things if you need to, and get out. According to scans, the craft has a full supply of oxygen, air pressure completely stable. We are go.”
Marcus then put on his gas mask. “It’s just a normal Flier, you’re not gonna need that,” said Roger, the team’s medic and doctor. “It’s highly unlikely that we’ll encounter a biohazard of some sort.”
“Roger, you know me by now, I’m paranoid when it comes to disease no matter what the situation. Anyway, I’ll lead the boarding line with Drake behind me, followed by yourself.”

Civilian Model Flier, ten minutes later.

Drake had a frustrated look on his face. “You’ve gotta be kidding me; after searching every single room in this ship, no one turns up? Not a single body, piece of identification, or anything. I was looking forward to some action, but really? What a waste of time.” Roger’s face looked as if he had seen a ghost; a blank thousand yard stare.  His eyes: bloodshot, twitching. Tears mixed together with beads of sweat streamed down his face like a raging flood. “Roger... you alright?” asked Marcus through the gas mask. He could not comprehend the rapidly degrading situation, seeing that nothing could have spurred the team's medic to fall to such a condition.

Trembling, Roger raised his G-29 pulse rifle. “WHY?! WHY DID YOU HAVE TO MURDER HIM IN COLD BLOOD?!! YOU'RE GONNA PAY FOR MY FATHER'S DEATH! BURN IN HELL!!” Drake was frozen solid, seeing how his former comrade-turned-monster was now pointing a death sentence at him. He fired in Drake's direction, the three shot burst hitting him in the chest, blood splattering on the walls of the ship. Drake's now lifeless body fell to the floor with a metallic thud. “Oh... oh God... Sam... who did this to you, the rebels?” Roger began to stroke his dead friend's hair, speaking softly to him.

“Hush little baby, don't say a word, mama's gonna buy you a mockingbird.” He turned towards Marcus. “Honey, don't you think he's so adorable when he's asleep?... aww, would you look at that!” Roger ran his fingers through the thick pool of blood. “He wet himself. We're gonna have to change the baby together for the first time! I gotta find the camera... now Joseph, would you be a dear and get the powder for me? Thanks babe.” Marcus was terrified, shaken to the core. Never had he seen such an atrocity unfold before his eyes. While the monster in front of him was taking off Drake's gear, he raised the G-29 and fired a burst into Roger's head, killing him insantly.

. . .

Marcus walked back into the crew's AGF, closed the boarding connection, and removed his gas mask. “Shep, send the footage from my helmet cam to Tac-Com immediately and call for High Exec; we lost Roger and Drake...”

“Who's Shep?”

title: [SF/HR] High school assignment: a gothic short story set in space

question:
Answer the following question based on the above passage:

Why is the civilian ship empty?

answer: It appears that there is something on the civilian ship that is causing humans to hallucinate and commit homicidal actions. It is possible that since there are no corpses, nor signs of struggle or combat, the previous crew became aware of the issue and the ship was abandoned. Alternatively, the ship has never had a crew to begin with and is meant to serve as a carrier for what causes the hallucinations.

answer: The civilian ship is empty because one of its occupants killed the other and turned on Marcus and the rest of the boarding party. The crew member who recorded the horror on his helmet camera sent a message to High Exec to explain what happened.

text: The model states that one of the empty ship's occupants killed the other on board and turned on Marcus and the rest of the boarding party. This statement is not according to the story. The model needs to be more accurate in its answer.

refinement: The civilian ship is empty because somebody or something killed the passengers onboard. Unable to establish contact, the remaining crew members decided to board the ship to investigate. Upon entering and searching every room, they discovered that there was no sign of life onboard. Eventually, Roger, the medic, turned into a violent murderer and killed Drake, the weapons specialist. In return, Marcus kills Roger. When Marcus returned to the crew's AGF, he notified command of the situation and that Roger and Drake were dead. Marcus recorded the horror on his helmet camera and proceeded to send a message to High Exec to explain what happened.

answer: It's speculated that Roger killed everyone to avoid them talking/cutting a deal with the government.

text: This answer is particularly incorrect. It's uncertain where the model got its response from, which is not a part of the story. The model should stick with relevant details from the story that answers the question.

refinement: The civilian ship is empty because somebody killed the passengers onboard. Unable to establish contact, the remaining crew members decided to board the ship to investigate. Upon entering and searching every room, they discovered that there was no sign of life onboard. Eventually, Roger, the medic, turned into a violent murderer and killed Drake, the weapons specialist. When Marcus returned to the crew's AGF, he notified command of the situation and that Roger and Drake were dead.

answer: It turns out that Roger murdered Drake and then went mad killing everyone on board.

text: Although Roger killed Drake, it's not true that he went mad and killed everyone on board. The model's answer is inaccurate, insufficient, and should provide relevant and correct details from the story to answer the question.

refinement: The civilian ship is empty because somebody killed the passengers onboard. Unable to establish contact, the remaining crew members decided to board the ship to investigate. Upon entering and searching every room, they discovered that there was no sign of life onboard. Eventually, Roger, the medic, turned into a violent murderer and killed Drake, the weapons specialist. However, Marcus murdered Roger. When Marcus returned to the crew's AGF, he notified command of the situation and that Roger and Drake were dead.

answer: The civilian ship is empty because somebody killed the passengers onboard. Unable to establish contact, the remaining crew members decided to board the ship to investigate. Upon entering and searching every room, they discovered that there was no sign of life onboard. Eventually, the medic turned into a violent murderer and killed Drake, the weapons specialist. When Marcus returned to the crew's AGF, he notified command of the situation and that both Roger and Drake had been killed.


text:
_INTRODUCTION TO CIRCLE PACKING: THE THEORY OF DISCRETE ANALYTIC FUNCTIONS_ is a mathematical monograph concerning systems of tangent circles and the circle packing theorem. It was written by Kenneth Stephenson and published in 2005 by the Cambridge University Press.

Topics

Circle packings, as studied in this book, are systems of circles that touch at tangent points but do not overlap, according to a combinatorial pattern of adjacencies specifying which pairs of circles should touch. The circle packing theorem states that a circle packing exists if and only if the pattern of adjacencies forms a planar graph; it was originally proved by Paul Koebe in the 1930s, and popularized by William Thurston, who rediscovered it in the 1970s and connected it with the theory of conformal maps and conformal geometry. As a topic, this should be distinguished from sphere packing, which considers higher dimensions (here, everything is two dimensional) and is more focused on packing density than on combinatorial patterns of tangency.

The book is divided into four parts, in progressive levels of difficulty. The first part introduces the subject visually, encouraging the reader to think about packings not just as static objects but as dynamic systems of circles that change in predictable ways when the conditions under which they are formed (their patterns of adjacency) change. The second part concerns the proof of the circle packing theorem itself, and of the associated rigidity theorem: every maximal planar graph can be associated with a circle packing that is unique up to Möbius transformations of the plane. More generally the same result holds for any triangulated manifold, with a circle packing on a topologically equivalent Riemann surface that is unique up to conformal equivalence.

The third part of the book concerns the degrees of freedom that arise when the pattern of adjacencies is not fully triangulated (it is a planar graph, but not a maximal planar graph). In this case, different extensions of this pattern to larger maximal planar graphs will lead to different packings, which can be mapped to each other by corresponding circles. The book explores the connection between these mappings, which it calls discrete analytic functions, and the analytic functions of classical mathematical analysis. The final part of the book concerns a conjecture of William Thurston, proved by Burton Rodin and Dennis Sullivan, that makes this analogy concrete: conformal mappings from any topological disk to a circle can be approximated by filling the disk by a hexagonal packing of unit circles, finding a circle packing that adds to that pattern of adjacencies a single outer circle, and constructing the resulting discrete analytic function. This part also includes applications to number theory and the visualization of brain structure.

Stephenson has implemented algorithms for circle packing and used them to construct the many illustrations of the book, giving to much of this work the flavor of experimental mathematics, although it is also mathematically rigorous. Unsolved problems are listed throughout the book, which also includes nine appendices on related topics such as the ring lemma and Doyle spirals.

Audience and reception

The book presents research-level mathematics, and is aimed at professional mathematicians interested in this and related topics. Reviewer Frédéric Mathéus describes the level of the material in the book as “both mathematically rigorous and accessible to the novice mathematician”, presented in an approachable style that conveys the author's love of the material. However, although the preface to the book states that no background knowledge is necessary, and that the book can be read by non-mathematicians or used as an undergraduate textbook, reviewer Michele Intermont disagrees, noting that it has no exercises for students and writing that “non-mathematicians will be nothing other than frustrated with this book”. Similarly, reviewer David Mumford finds the first seven chapters (part I and much of part II) to be at an undergraduate level, but writes that “as a whole, the book is suitable for graduate students in math”.

title: Introduction to Circle Packing

question:
Answer the following question based on the above passage:

What does the article say about circular logic?

answer: No answer

answer: No answer

question:
Answer the following question based on the above passage:

What are some related fields to circle packing?

answer: Sphere packing is a related field.

answer: Some related fields are sphere packing, which considers higher dimensions (here, everything is two dimensional) and is more focused on packing density than on combinatorial patterns of tangency.

answer: Sphere packing is a related field. It is more concerned with packing density than with a combinatorial pattern of tangency.

question:
Answer the following question based on the above passage:

What parts of the book does the reviewer David Mumford call out as exceeding the abilities of a novice?

answer: The first seven chapters of the book

text: This is incorrect; David Mumford states that the first seven chapters are at an undergraduate level (easier), while the the book is at a graduate level overall.

refinement: The first seven chapters of the book are at an undergraduate level while he calls out the book as a whole as being at a graduate level

answer: The first seven chapters of the book (part I and much of part II).

answer: The first seven chapters.


question:
Answer the following question based on the above passage:

Why is the civilian ship empty?

answer: No one turned up after searching the ship, so there were no bodies or any indication of what happened.

answer: No one knows.

answer: No one turned up after searching the ship, so there were no bodies or any indication of what happened. The people on board were murdered.


text:
NEIL MALHOTRA is an American political economist. He is the Edith M. Cornell Professor of Political Economy in the Graduate School of Business at Stanford University, where he is also the Louise and Claude N. Rosenbrg, Jr. Director of the Center for Social Innovation. He studies the politics of the United States, survey methodology, and voter behavior in elections, including work on retrospective voting and on the politics of disaster preparedness and relief.

Education and early work

Malhotra attended Yale University, where he earned his BA in economics in 2002.[1] At Yale he was mentored by Donald Green, whom he has credited with inspiring him to become a political scientist.[2] He then attended Stanford University, earning an MA in 2005 and a PhD in 2008.[3]

After obtaining his PhD, Malhotra joined the faculty at the Stanford University Graduate School of Business.[4] He remained there until 2010, when he moved to the political science department at the University of Pennsylvania.[5] In 2011, he returned to the Graduate School of Business at Stanford University, where he is also affiliated with the political science department.[6]

Career

Academic positions

Since 2015, Malhotra has been the Louise and Claude N. Rosenberg Jr. Director of the Center for Social Innovation. In 2017 he was named the Edith M. Cornell Professor of Political Economy,[7] and in 2019 he was named The Susan Ford Dorsey Faculty Fellow at the Stanford University Graduate School of Business.[8]

Research

Malhotra has published work on American politics, voting behavior in elections and other forms of political behavior, and the methodology of survey research.[9] His work on voter behavior includes research on the problem of retrospective voting, and how strongly voters consider past events when arriving at a vote choice.[10] Malhotra has also published work on disaster response by governments, and how that response is rewarded or punished by voters. In 2009 he published the study “Myopic voters and natural disaster policy” in the _American Political Science Review_,[11] which led to consultations with the Federal Emergency Management Agency about optimal disaster preparedness.[12] The study showed evidence that voters reward incumbents for disaster relief spending, but not for disaster preparedness spending.[13][14][15]

Since 2018, Malhotra has been a frequent contributor to _Forbes_.[16] He has been quoted or cited in _The Washington Post_ regarding topics such as government crisis response strategies,[17] the effects of major external events on elections,[18] and corporate responsibility,[19] and on similar topics in venues like _The Atlantic_,[20] _The New York Times_,[21][22] and _Fortune_.[23]

Awards

During 2012–2013, Malhotra was the recipient of a grant from the Russell Sage Foundation to study how voters weight recent events compared to events in the distant past, which is related to the question of retrospective voting in American politics.[24]

In 2015, _Poets & Quants_ listed Malhotra as one of the top 40 professors under 40 years old.[25] In 2016, Malhotra won the Emerging Scholar Award from the Elections, Public Opinion, and Voting Behavior Section of the American Political Science Association, which “is awarded to the top scholar in the field who is within 10 years of her or his PhD”.[26]

Selected works

-   “Completion Time and Response Order Effects in Web Surveys”, _Public Opinion Quarterly_ 72(5):914–934 (2008)
-   “Myopic Voters and Natural Disaster Policy”, with Andrew Healy, _American Political Science Review_ 103(3):387–406 (2009)
-   “Irrelevant events affect voters' evaluations of government performance”, with Andrew J. Healy and Cecilia Hyunjung Mo, _PNAS_ 107(29):12804–12809 (2010)
-   “Retrospective Voting Reconsidered”, with Andrew Healy, _Annual Review of Political Science_ 16:285–306 (2013)
-   “Publication bias in the social sciences: Unlocking the file drawer”, with Annie Franco and Gabor Simonovits, _Science_ 345(6203):1502–1505 (2014)

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title: Neil Malhotra

question:
Answer the following question based on the above passage:

What does the text say about Neil Malhorta's career?

answer: Since 2010, Malhotra has been affiliated with the Stanford University Graduate School of Business, where he is currently the Louise and Claude N. Rosenberg Jr. Director of the Center for Social Innovation. He is also an associate professor of political science. Malhotra has received various awards, including the Emerging Scholar Award from the Elections, Public Opinion and Voting Behavior section of the American Political Science Association in 2016.

text: The response describes Malhotra as a professor of political science, however he is referred as a professor of political economy.

refinement: Since 2010, Malhotra has been affiliated with the Stanford University Graduate School of Business, where he is currently the Louise and Claude N. Rosenberg Jr. Director of the Center for Social Innovation. In 2017 he was named the Edith M. Cornell Professor of Political Economy. Malhotra has received various awards, including the Emerging Scholar Award from the Elections, Public Opinion and Voting Behavior section of the American Political Science Association in 2016.

answer: Since 2010, Neil Malhotra has been affiliated with the Stanford University Graduate School of Business, where he serves as its Louise and Claude N. Rosenberg Jr. Director of the Center for Social Innovation. Malhotra is also a professor of political economy, and has published work on American politics, voting behavior in elections, and the methodology of survey research. Malhotra has also won the Emerging Scholar Award from the Elections, Public Opinion, and Voting Behavior Section of the American Political Science Association.

answer: Malhotra is the Edith M. Cornell Professor of Political Economy, Louise and Claude N. Rosenberg, Jr. Director of the Center for Social Innovation at Stanford University. He began his career at the graduate school of at Stanford University from which he received his PhD in 2008. Soon after, he joined the faculty at the Stanford University Graduate School of Business, from where he returned in 2011. In 2015 he became the director of the Center for Social Innovation, and only in 2017 he was appointed the Edith M. Cornell Professor of Political Economy. Each of these positions has been prestigious and helped Malhotra advance his research and his career. Malhotra has published many peer-reviewed articles in journals. He also recently won the Emerging Scholar Award from the Elections, Public Opinion and Voting Behavior Section of the American Political Science Association in 2016. His columns also appeared in journals and magazines.

answer: Neil Malhorta is an American political economist who studies the politics of the United States, voter behavior in elections, and survey methodology. He is the Edith M. Cornell Professor of Political Economy in the Graduate School of Business at Standford University. He is also the Louise and Claude N. Rosenberg, Jr. Director of the Center for Social Innovation. He briefly joined the political science department at the University of Pennsylvania but returned to the Graduate School of Business at Standford. Malhorta was named the Susan Ford Dorsey Faculty Fellow in 2019.

answer: Malhotra is an American political economist. He is the Edith M. Cornell Professor of Political Economy in the Graduate School of Business at Stanford University, where he is also the Louise and Claude N. Rosenburg Professor at the Center for Social Innovation. He studies politics in the United States, survey methodology, voter behavior, and governments' response to disasters.

question:
Answer the following question based on the above passage:

What does the text say about Malhorta's research?

answer: Malhorta has published work on American politics, voting behavior in elections, and the methodology of survey research. Malhorta also published work on disaster response by governments and how voters reward or punish that response. Because of a study he published in 2009, the Federal Emergency Management Agency (FEMA) consulted Malhorta about optimal disaster preparedness. Malhorta's study showed evidence that voters reward incumbents for disaster relief spending, but not for disaster relief preparedness spending.

answer: Malhorta conducts his research of politics of the United States, survey methodology, and voter behavior in elections. Malhorta studies the politics of the United States, survey methodology, and voter behavior in elections. Most of his research has been focused on retrospective voting and disaster preparedness. Malhorta's work on voter behavior includes research on the problem of retrospective voting and how strongly voters consider past events when arriving at a vote choice. Malhotra also researched on how disaster preparedness and relief was rewarded by voters.

text: The response is redundant and includes extraneous information not useful for the task.

refinement: Malhorta studies the politics of the United States, survey methodology, and voter behavior in elections. Most of his research has been focused on retrospective voting and disaster preparedness. Malhorta's work on voter behavior includes research on the problem of retrospective voting and how strongly voters consider past events when arriving at a vote choice.

answer: Malhotra's research focuses on American politics, voting behavior in elections and other forms of political behavior, and the methodology of survey research. He has published work on the problem of retrospective voting, disaster response by governments, and the weight voters place on past events when arriving at a vote choice. He also published the study "Myopic Voters and Natural Disaster Policy" which looked at how voters reward incumbents for disaster relief spending, but not for disaster preparedness spending. This research shows evidence of how irrelevant external events can affect voter's evaluations of government performance.

answer: Malhotra researches American politics, voter behavior in elections, and the methodology of survey research. His work focuses on topics such as retrospective voting, disaster preparedness, and governmental crisis response strategies. He has published in major academic journals, including the _American Political Science Review_ and _Science_. Malhotra has also received various awards for his research.

answer: Malhorta researches the politics of the United States, survey methodology, and voter behavior in elections. He studies how voters choose to award or punish political incumbents in response to disastrous events. In 2008, Malhorta published the study "Myopic Voters and Natural Disaster Policy" in the American Political Science Review, which won him the Emerging Scholar Award from the Elections, Public Opinion, and Voting Behavior section of the American Political Science Association in 2016. This article helped led him to consult for the Federal Emergency Management Agency about optimal disaster preparedness.

question:
Answer the following question based on the above passage:

What does the text say about Malhorta's education?

answer: Malhotra attended Yale University for his undergraduate degree and obtained a PhD in political science from Stanford University.

text: The response misses to mention that at Yale, Malhotra received his BA in economics.

refinement: Malhotra attended Yale University, where he received his BA in economics and obtained a PhD in political science from Stanford University.

text: It is unclear if his PhD was in political science, however it is implied.

refinement: Malhotra attended Yale University, where he received his BA in economics and obtained a PhD in 2008 from Stanford University.

answer: Malhotra attended Yale University and received a BA in economics as well as a PhD in political science from Stanford University.

text: It is unclear if his PhD was in political science, however it is implied.

refinement: Malhotra attended Yale University and received a BA in economics as well as a PhD in 2008 from Stanford University.

answer: Malhorta went to Yale University and earned his BA in Economics in 2002. He was mentored by Donald Green, whom Malhorta credits with inspiring him to become a political scientist. Malhorta then went to Standford University and earned an MA in 2005 and a Ph.D. in 2008.

answer: Malhotra attended Yale University and earned an MA from Stanford University. He then joined Stanford University, earning a PhD in 2008.

text: Confusing to read. Restructuring the grammar.

refinement: Malhotra attended Yale University and then joined Stanford University, earning an MA and a PhD in 2008.

answer: Malhotra attended Yale University, earning his BA in economics in 2002. He was mentored by Donald Green, which inspired him to become a political scientist. Malhotra later attended Stanford University, earning an MA in 2005 and a PhD in 2008.


text:
                                           The King

	Our King has always been a little different. He’s very quiet I haven’t really seen him give anyone orders at all either. Whenever something needs to be done I see him doing it. He doesn’t just sit around; I’ve actually seen him go into the mines. I don’t know if it’s just because I’m a child but not even the adults in the village are as active as him.

       He’s always leaving the kingdom and coming back with tons of different things. I can’t always see what he’s coming back with, but I’ve seen bones, some kind of meat that just looks bad, and even strange looking pearls. And the dogs! He has so many dogs that there’s not a single wild dog here. He must be traveling great distances to find all these dogs, because I know they’re not from here.

	When I see him doing all these strange things I start asking my parents what it is he’s doing, and they tell me: “don’t question the king,” but they never tell me why. He doesn’t look old, so he can’t be all that wise. All that work he does and all the times he leaves - it’s not normal.  I was  sick of wondering.

	I finally got into his castle and he was at his workbench. When I got closer he looked back at me, seemingly confused, but he turned back around and kept tinkering with some weird red dust. I got closer and mustered up the courage to ask him as politely as I could, “How come you’re so different than everyone else?” The king stopped, stood up and looked at me. He asked, “Excuse me?” and I said it again. He chuckled briefly under his breath and said “it seems like you’re different too.”

       He started to tell me a story. “When I was your age, I lived in a different kingdom and I felt the same way about my king. I would go to school and all the kids and the teachers would seem to just drift through their lives, but not the king; he was always spontaneous. I was finally sick of that curious feeling, so I went and talked to my king and he told me his story. Sometime afterwards the kingdom was destroyed and all the people inside were attacked by monsters. It was terrible. There were explosions, arrows, and the groans of the undead.

	I was able to escape, but barely. I fought my way out with nothing but my hands. finally I found a break in the chaos and I found a cave and covered the entrance with dirt. I was devastated, but I wanted to live so I built a shelter.  I enjoyed building. Then since I had built my shelter I began mining - I enjoyed that as well. I had so many supplies I decided to build more and I ended up building a village. Strangely enough people appeared. That village moved on to become this kingdom. That’s my story.”

	I asked him why he told me all that. and he told me simply because I was a player. A player? I was so confused. He then told me that only players are kings. I didn’t understand. He went on by asking me what my earliest memory is and I told him standing outside. “Exactly,” He said. “That was the first time you entered this world.” He started talking about how this life isn’t real and that once he’s gone he’ll be able to enter the real world again.

	He began taking me adventuring with him, that’s when he would explain things and share his knowledge with me. “When a king dies, everything he ever did goes with him. That’s how my king’s old kingdom was destroyed. I left my Kingdom and made a village. I have people of my own now. My king was killed by a mob of three suicide creatures right outside his gate. I saw everything he had made disappear along with him.” That’s when I believed everything he told me - while he took me adventuring with him. Now I know that there is a better life to be had out of this one. A less edged and more rounded one. Thank you king Steve. Minecraft Steve.

title: The King (Minecraft short story)

question:
Answer the following question based on the above passage:

What does the story say about the narrator's thoughts on their King?

answer: Later in the story, the narrator goes to speak to the king. The narrator believes they are different and goes to his castle to ask why. They look at his workbench and sounds busy tinkering with special dust. When the narrator gets closer and ask their question, the King jokes about it as saying the narrator is different. The King continues telling the narrator  that he used to be king and he felt strange. When his kingdom was destroyed, he was left alone in the cave. Blindly, he built a shelter and continued travelling.

text: Only the first two sentences have bearing on the question. Remove further sentences.

refinement: Later in the story, the narrator goes to speak to the king. The narrator believes they are different and goes to his castle to ask why.

text: The narrator observes the king as being quiet, busy and going off on adventures to come back with various things. The king also has a wide variety of dogs from a lot of different places. Include these observations in the response.

refinement: The narrator observes the king as being quiet, busy and going off on adventures to come back with various things. The king also has a wide variety of dogs from a lot of different places. Later in the story, the narrator goes to speak to the king. The narrator believes they are different and goes to his castle to ask why.

answer: The narrator thinks that their King is different from other people and is curious why this is the case. Out of curiosity, they get into his castle and ask him why he is different. The King shares his story and tells the narrator that he is a player, which is why he is different. The story ends with him taking the narrator on adventures and explaining things to them. Based on this, the narrator sees their King as proactive and interested in cultivating life.

text: The narrator observes the king as being quiet, busy and going off on adventures to come back with various things. The king also has a wide variety of dogs from a lot of different places. Include these observations in the response.

refinement: The narrator observes the king as being quiet, busy and going off on adventures to come back with various things. The king also has a wide variety of dogs from a lot of different places. The narrator thinks that their King is different from other people and is curious why this is the case.  Out of curiosity, they get into his castle and ask him why he is different. The King shares his story and tells the narrator that he is a player, which is why he is different. The story ends with him taking the narrator on adventures and explaining things to them. Based on this, the narrator sees their King as proactive and interested in cultivating life.

text: These two sentences repeat each other, consolidate the wording into one sentence.

refinement: The narrator observes the king as being quiet, busy and going off on adventures to come back with various things. The king also has a wide variety of dogs from a lot of different places. The narrator is curious about their king being different from other people and goes to his castle to ask him why he is different. The king shares his story and tells the narrator that he is a player, which is why he is different. The story ends with him taking the narrator on adventures and explaining things to them. Based on this, the narrator sees their King as proactive and interested in cultivating life.

answer: The King has always been different. He's very quiet and doesn't order anyone around. The King seems like he's a man of action who likes to create things and isn't afraid to get his hands dirty. He always leaves the kingdom and comes back with a bounty of different things, from pearls to bones and meat. The King has a lot of dogs and seems to bring a new one home every time he ventures out. The narrator thinks all the work the King does and all the times he leaes isn't normal.

text: Correct 'leaes' to 'leaves'.

refinement: The King has always been different. He's very quiet and doesn't order anyone around. The King seems like he's a man of action who likes to create things and isn't afraid to get his hands dirty. He always leaves the kingdom and comes back with a bounty of different things, from pearls to bones and meat. The King has a lot of dogs and seems to bring a new one home every time he ventures out. The narrator thinks all the work the King does and all the times he leaves isn't normal.

answer: The narrator appears to respect their King for his intelligence and hard work. They are also jealous of his energy and bravery. It appears that the story has helped the narrator better understand their King and why he behaves differently than other people.

text: The narrator is curious about the king, and not jealous. When the narrator confronts the king about his frequent adventures, the narrator understands the difference between the king and other people. Clarify jealousy as curiosity and the story that the response refers to as being the life story of the king.

refinement: The narrator appears to respect their King for his intelligence and hard work. The narrator is curious about the king and the source of his energy and bravery. When he confronts the king about his frequent adventures, the story that the king shares with him helps the narrator to better understand the King and why he behaves differently than other people.

answer: The village the narrator lives in doesn't have the best facilities, with their castle appearing to be in disrepair at best and there is no way to trade with the outside world. The narrator is an inquisitive type, always trying to learn more about their King and why they live so differently to the rest of the people of the kingdom. The narrator respects their King but is dissatisfied with how things are. When the narrator finally gets their chance, they ask simple questions, but the King speaks at length to the player, excusing his manner as slightly eccentric but his character and behaviors are as normal as any other human. That changes when the narrator goes adventuring with their King and come to realise the other side of things - this isn't "real", this is a game, and human lives are just tracks of existence which vanish when the person in the game is permanently killed or feels the need to leave. The narration is a first-person viewpoint shot from the person playing the game (their character), speaking from their perspective in the game.

text: Remove the first sentence because it contains false information.

refinement: The narrator is an inquisitive type, always trying to learn more about their King and why they live so differently to the rest of the people of the kingdom. The narrator respects their King but is dissatisfied with how things are. When the narrator finally gets their chance, they ask simple questions, but the King speaks at length to the player, excusing his manner as slightly eccentric but his character and behaviors are as normal as any other human. That changes when the narrator goes adventuring with their King and come to realise the other side of things - this isn't "real", this is a game, and human lives are just tracks of existence which vanish when the person in the game is permanently killed or feels the need to leave. The narration is a first-person viewpoint shot from the person playing the game (their character), speaking from their perspective in the game.

text: The exchange between the narrator and the king centers around the king sharing his life story with the narrator. In that story he says that he grew up in much the same way as the narrator and watched as his kingdom was destroyed while he was fighting for his life. When he had the opportunity he built a settlement, started mining and gathering resources. He establishes a kingdom and people showed up to inhabit it. Include this life story in the response in the place of the second and third sentences.

refinement: The narrator is an inquisitive type, always trying to learn more about their King and why they live so differently to the rest of the people of the kingdom. The king shares his life story with the narrator after being confronted by him, in this story he says that he grew up in much the same way as the narrator and watched as his kingdom was destroyed while he was fighting for his life. When he had the opportunity he built a settlement, started mining and gathering resources. He established a kingdom and people showed up to inhabit it. That changes when the narrator goes adventuring with their King and come to realise the other side of things - this isn't "real", this is a game, and human lives are just tracks of existence which vanish when the person in the game is permanently killed or feels the need to leave. The narration is a first-person viewpoint shot from the person playing the game (their character), speaking from their perspective in the game.

text: The narrator understands the Minecraft universe better after the king explains that only players can become kings. Change the sentence detailing the real game to reflect the understanding gained by the narrator.

refinement: The narrator is an inquisitive type, always trying to learn more about their King and why they live so differently to the rest of the people of the kingdom. The king shares his life story with the narrator after being confronted by him, in this story he says that he grew up in much the same way as the narrator and watched as his kingdom was destroyed while he was fighting for his life. When he had the opportunity he built a settlement, started mining and gathering resources. He established a kingdom and people showed up to inhabit it. The narrator goes adventuring with the king and comes to realize that he is a player that can be a king. The narration is a first-person viewpoint shot from the person playing the game (their character), speaking from their perspective in the game.

question:
Answer the following question based on the above passage:

What does the story say about The King?

answer: The King is different from everyone else. He has been leaving the kingdom and bringing back items like bones, some kind of meat that just looked bad, and pearls. He has a lot of dogs that have actually travelled from distant lands. He has also been mining and adventuring.

text: The king is different from everyone else in the kingdom, when the narrator confronts him he tells the narrator his own story of where he grew up in the same conditions as the narrator and also went to confront his king about being different from the other adults. After this the kingdom was destroyed, and the king fought for his life, eventually built a shelter and started mining. Thereby he built his own kingdom and people appeared to populate it. Include this story in the response as well.

refinement: The King is different from everyone else. He has been leaving the kingdom and bringing back items like bones, some kind of meat that just looked bad, and pearls. He has a lot of dogs that have actually travelled from distant lands. He has also been mining and adventuring and learnt to do this from the king in the kingdom where he grew up. After this the kingdom was destroyed and the king fought for his life, eventually he built a shelter and started mining. Thereby he built his own kingdom and people appeared to populate it.

answer: The story says that The King is different from other people in that he is more active and spontaneous than other adults in the area. The King was inspired by the stories of his predecessor's death and he makes sure to always leave the kingdom and explore new things in order to better understand the real world. The King also has a deep understanding of the real world, considering how it is not as "real" as what people believe. The King is perceived by the narrator as being different and more knowledgeable about the world.

text: The king leaves his kingdom to find resources to enlarge his own kingdom and he is very successful with this strategy. Rewrite the second sentence to reflect this effective and productive strategy.

refinement: The story says that The King is different from other people in that he is more active and spontaneous than other adults in the area. He leaves his kingdom regularly to gather supplies to build up his own kingdom. The King also has a deep understanding of the real world, considering how it is not as "real" as what people believe. The King is perceived by the narrator as being different and more knowledgeable about the world.

answer: Before he became a King, he was a young boy who lived in another kingdom. He actually felt the same way about his king, who would also leave the kingdom and do stuff on his own (like he does now). Sometime afterwards, the kingdom was destroyed and all the people inside were attacked by monsters and the undead. He fought his way out with nothing but his hands and found a cave. He built a shelter and started mining, which he enjoyed, so he ended up building a village with all the supplies he collected. People started to appear, and the village became his kingdom.

answer: The King is an unusual and active person who has created a kingdom and found others to populate it in an effort to create a different sort of life. He has seen destruction firsthand and worked hard in an attempt to create something new.

answer: The King is a modern "minecraft" game character. He's the king of this civilization and he's the one striving for survival. The king has been playing for so long that he has lost his ability to distinguish between reality and the game. He lives his life in the game by living near forests, killing zombies and not trying to collect a lot of resources.

text: The king learnt from the death of the king in the kingdom where he grew up and built his own kingdom in such a way to withstand the forces that killed that king. Remove the last sentence due to inaccuracy and replace with the king's heritage.

refinement: The King is a modern "minecraft" game character. He's the king of this civilization and he's the one striving for survival. The king has been playing for so long that he has lost his ability to distinguish between reality and the game. The king learnt survival from the death of the king in the kingdom where he grew up and built his own kingdom to be able to withstand the forces that killed that king.

text: The king is still sharp and agile and maintains his kingdom by going out to collect supplies and bringing them back to his own kingdom. Remove the assertion that the king fails to distinguish between reality and the game, and replace with the facts on the effectiveness of the king.

refinement: The King is a modern "minecraft" game character. He's the king of this civilization and he's the one striving for survival. The king goes out to collect resources and returns to his own kingdom to make it stronger. The king learnt survival from the death of the king in the kingdom where he grew up and built his own kingdom to be able to withstand the forces that killed that king.

question:
Answer the following question based on the above passage:

What is the connection between being a King and a Player?

answer: The passage states that in order to be a king you must become a player.

answer: The king tells the narrator that only players can be Kings.

answer: The connection between being a king and a player is that only players can be kings. The king in this short story recognizes this fact in the narrator and speaks to it. The king says that when a king dies all of the deeds they ever did are gone with them, and they can only move on to the "real world" once they die. Therefore, players who go through this world are essentially capable of being a king or ruler of some sort.

answer: The "world" in the story where the narrator lives is in the Minecraft universe (a video game). In the game, only "players" can become "Kings" who build their own kingdoms. Players can adventure, mine, and collect many supplies needed to build anything in the game. The "villagers" in the kingdom are presumably NPCs, which is why they can never be Kings. When a Player (King) dies, everything he ever did (built or collected) goes with him.

answer: The King believes that being a player is what makes one a King. He believes that in order to create something that survives when they are gone, they must enter this world as a player. This is what separates a King from everyone else who merely drifts through their lives. A player has the power to create and change.


text:
-   English
-   News

 LIVING FILM HERITAGE. A total donation of 30 million kroner from three foundations is making it possible to digitise, study and disseminate more than 400 silent films from the golden age of Danish cinema.

11. December 2018

One of the most important chapters in Danish film history will now become available thanks to a donation of DKK 30 million from the A.P. Møller Foundation, the Aage and Johanne Louis-Hansen Foundation and the Augustinus Foundation.

From around 1910, the Danish film industry was a world leader, both commercially and artistically, with Nordisk Films Kompagni (now Nordisk Film) at the forefront. Stars like Asta Nielsen, Valdemar Psilander and Fy & Bi were famous way beyond their home country, and Denmark’s greatest film director, Carl Th. Dreyer, was prolific during this period as well. When sound films gained ground in the early 1930s, production companies scrapped their inventories of silent films. Only an estimated 20% of the Danish silent film production exists today.

The archives contain at least 50 titles that have not been shown since they were first released more than a century ago. Among them, we might find forgotten masterpieces that could change our understanding of Danish silent film history.

In the coming years, the Danish Film Institute will digitise, study and disseminate Denmark’s entire silent film heritage, consisting of some 415 titles with a combined running time of around 350 hours. The films range wide and far, from prestige productions with international appeal to run-of-the-mill farces and test films, illustrating the technical evolution from silent to sound, colour to black and white, and so on.

 []
The biggest stars die young. The world famous silent film actor Valdemar Psilander died only 32 years old.

Studying and disseminating the film heritage

The project is the biggest film-dissemination effort ever in Denmark and follows four years of work mapping the collections. The many films and supplementary materials will now be made freely available to curious viewers and institutions of learning around the world, where Danish silents are already part of the curriculum for students of film history.

The masterpieces in the collections are being restored and scanned for theatrical screening, and an online universe is being created featuring all the films, accompanied by dissemination and research articles. Along the way, the Film Institute will share knowledge about the restoration and digitisation efforts.

 []
Asta Nielsen and Urban Gad were both a married couple and colleagues who worked in Germany.

A three-year Danish-German research project affiliated with the digitisation effort will map the cross-border traffic of ideas and people between two leading nations of the silent film era, Denmark and Germany. The project is carried out in partnership with the University of Copenhagen and the University of Cologne. The research team comprises five senior researchers, a Ph.D. fellow and a research assistant.

Jakob Buhl Vestergaard, Deputy Managing Director of the Danish Film Institute, says

CONTACT

LARS-MARTIN SØRENSEN
Forskningsleder
Tlf. +45 3374 3574
larss@dfi.dk

JAKOB BUHL VESTERGAARD
Vicedirektør
Tlf. +45 2020 1838
jakobv@dfi.dk

"It is with great gratitude to the contributing foundations, and tremendous anticipation, that we are launching this comprehensive project. The archives contain at least 50 titles that have not been shown since they were first released more than a century ago. Among them, we might find forgotten masterpieces that could change our understanding of Danish silent film history. In any event, we have now been given a unique opportunity to learn about our shared past, as told in motion pictures. This is what film can do."

FACTS

In the coming years, the Danish Film Institute will digitise, study and disseminate the entire Danish silent film heritage: 415 titles, with a total running time of around 350 hours. Apart from the films themselves, documentation materials, such as film programmes, stills and posters, will be digitised and made available, including in an online universe and at a silent film festival organised by the Cinematheque.

The project is made possible by a donation of DKK 30 million from the A.P. Møller Foundation, the Aage and Johanne Louis-Hansen Foundation and the Augustinus Foundation.

_Physical and digital dissemination of the film heritage_
The Danish Film Institute aims to bring the film heritage to life for everyone. This is done through events at Copenhagen’s Cinematheque and in partnerships with cinemas nationwide. It is also done digitally via the streaming site "Danmark på film" (Denmark on Film), featuring documentaries from the 1899-1995 period.

question:
Answer the following question based on the above passage:

What are the major reasons why some of the old, silent Danish films are being digitalized and made available for free?

answer: First, a lot of the Danish silent films were sold to other film companies for resources when the silent era ended in the early 1930s. Also, it was found out that about 80% of all Danish silent films were put on their archive shelves, which is why a lot of these films never made it to theaters. Now that technology has advanced, a lot of people are curious to watch the old silent films, and so are students of film who are taking the study of history very seriously.

text: The highlighted text is inaccurate. There is no evidence of the sale of Danish silent films to other film companies. The production companies scrapped their inventories.

refinement: First, a lot of the Danish silent films were scrapped when the silent era ended in the early 1930s. Also, it was found out that about 80% of all Danish silent films were put on their archive shelves, which is why a lot of these films never made it to theaters. Now that technology has advanced, a lot of people are curious to watch the old silent films, and so are students of film who are taking the study of history very seriously.

text: The highlighted text is incorrect. There was never any mention of Danish silent films put on archive shelves.

refinement: First, a lot of the Danish silent films were scrapped when the silent era ended in the early 1930s. Only an estimated 20% of the Danish silent film production exists today. Now that technology has advanced, a lot of people are curious to watch the old silent films, and so are students of film who are taking the study of history very seriously.

text: "students of film" - change to "film students"

refinement: First, a lot of the Danish silent films were scrapped when the silent era ended in the early 1930s. Only an estimated 20% of the Danish silent film production exists today. Now that technology has advanced, a lot of people are curious to watch the old silent films, and so are film students who are taking the study of history very seriously.

answer: [rewrite]

answer: The Danish Film Institute wants to make the films available to curious viewers and institutions of learning around the world. The films are also part of the curriculum for students of film history.


text:
He stared at the floor. He had nothing better to do. He could have picked up a magazine or disappeared into his cell phone, but he didn’t want to risk making eye contact with anyone. He wasn’t feeling up for idle chit\-chat.

The carpet was depressing and he was having trouble labeling its color. It was unmistakably gray, but not entirely. There was a subtle tinge of brown laid overtop, like some sort of gloomy overcoat. Embedded in the mysterious shade were thin, tan stripes that raced horizontally across the floor.

The carpet now has his attention. He continued to stare at it intently, determined to brand the gray with brownish hue.

As he moved his head closer he noticed the fibers were woven from a variety of colors like, red, blue, and yellow. But as he pulled his head back he no longer saw the colorful strands. Instead, the colors blended together into the murky, grayish\-brown he was having trouble classifying.

To pass the time he experimented with this nearsighted phenomenon by calculating how far he had to dip his head until the colored fibers became visible. After a few dips and withdraws, he determined he had to lower his head to about chest height before he could see anything but gray with a sad smear of brown.

It was at that moment he also realized how foolish he must have looked to the others in the room. Normal people were occupied with their Instagram feed or a 6\-month old issue of Consumer Digest.

Why couldn’t I just be normal, he thought. Why couldn’t I be anywhere, but here, he thought. He picked his head up and rearranged his shoulders.

Now he stared at the administrator who was seated behind a sliding glass window. The glass window was closed and the administrator had his head down. Thank God, he thought, no eye contact.

Behind the administrator was a large, Master Edwards clock. It sat high enough that even if the administer were to sit upright, the entire clock face would still be visible to anyone on the other side of the sliding glass. Whoever mounted the clock must have considered the possibility that the administrator could obstruct the view of the clock face while sitting upright and therefore placed it at the appropriate height. These were his thoughts while he waited.

“Mr. Blocker?”

He heard his name, but didn’t move. He maybe thought he’d only imagined someone calling his name and didn’t want to appear anxious, so he sat still.

“Mr. Blocker? Are you Mr. Blocker?” the attendant called out. She was standing in an open doorway in the far righthand corner of the room. She was looking directly at him. Finally, he made eye contact with someone.

“This way please.”

He rose to his feet and stuffed his hands in his trouser pockets. He took his first steps toward the door, feeling a bit defeated by the carpet. He was still unclear on its color.

The attendant lead him down a white corridor. The walls were white. The ceiling was white. The floor was white, linoleum tile. The lighting was soft, fluorescent white. He decided to stop focusing on the color white and let his mind drift to something more pleasant, the lining of his trouser pockets.

He’d always been quite satisfied with the navy suit he was wearing. The shoulders fit him perfectly. The taper of the legs was trimming and made him look taller. But the lining of the trouser pockets is what pleased him most. The lining was a soft silky material that felt fine and glossy when he rubbed it between his thumb and forefinger.

“Right in here please”, the attendant directed. Her arm was outstretched, half of it inside of another room. This room was his room. This room was where he was supposed to go. He was sure of it. Not because the attendant declared it so, but because it felt right. He pulled his hands out of his pockets and entered.

In the middle of the room was a large desk. It appeared to be very old and extremely heavy. Probably oak, he thought. Behind the desk sat a man with wire\-frame glasses. The man was staring at a computer screen. The man was at least twice his age. He could see the glare of the screen almost entirely in the man’s glasses.

“Please Mr. Blocker. Have a seat.”

He did as he was told and took a seat in a chair on the opposite side of the desk.

“Mr. Blocker, we are going to have to make a very difficult decision today.”

He sat in his seat and listened.

“It’s my opinion that further treatments are not going improve your health.”

He extended his chin and began to nod his head. Not to appear as if he was listening, but to communicate that he understood the weight of the declaration the man in glasses had just made.

“You’ve been fighting this…we’ve been fighting this for almost ten years. After five surgeries and countless rounds of chemotherapy there has been only very little progress. Of course, we could continue treatment, but your quality of life would rapidly deteriorate and the burden of cost would fall entirely on your next of kin. I sincerely believe it would be best to begin getting your affairs in order. As of today, I would estimate that you may have only a few months left.”

He sat silently with his chin still pointed toward the man with glasses. He thought about his wife. He thought about his daughters and their children. He thought about his parents who had passed many, many years ago. He thought about the white corridor with the white ceiling, the white, linoleum tiles and the white, fluorescent lights. He thought about the lining of his trouser pockets. He thought about the carpet.

“Taupe!”

“I’m sorry Mr. Blocker. I don’t understand,” said the man with glasses.

“Gray mixed with a tinge of brown. Taupe.” he replied.

He couldn’t think of anything else to say. Instead he furrowed his brow, dipped his head, and regarded the taupe carpet with a newfound sense of familiarity and confidence.

He felt more comfortable now, having identified the mysterious color that had been eluding him. So, he lifted his hands to his face, covered his eyes with his sweat palms, and began to cry.

title: [RF] Taupe

question:
Answer the following question based on the above passage:

What does the story say about how the narrator handles his impending death?

answer: The narrator listens as the man he is meeting tells him that he is arranging to make his final arrangements. He wants to help the narrator if he has unfinished business.

text: Doesn't answer the question

text: Provide a response

refinement: The narrator is silent and thinks about his wife and the rest of his family. He recalls the white ceiling, tile floor, and fluorescent lights of the doctor's office, the lining of his trouser pockets, and the carpet in the waiting room. He finds a name for the color of the carpet, and feels better. Then he begins to cry.

answer: The narrator listens as a physician tells him that he is arranging to make his final arrangements. He appears to want to help the narrator if he has unfinished business.

answer: The narrator seems to lose a bit of his color when the man in glasses makes a difficult announcement. Instead of reacting instinctively to the news, the narrator reaches for his own silky lining of his trouser pockets to check on his emotions. He describes to himself why the color of the carpet is an interesting gray-brown hue and reminds himself of all the details one should take note of when drowning in either anger or sorrow. When he's completely lost all color and can no longer observe the pearly gray taupe carpet with a tinge of brown, he simply covers his eyes and cries there where he sat.

answer: The narrator seems to be going through the motions, barely even realizing what day it is. Receiving the news that he likely only has months to live does not really change his behaviour. It is the feeling of taupe in comparison to the carpet that allows him to identify an emotion. The man sits staring into space covered with his sweating palms, crying.

answer: The narrator seems to lose a bit of his color when the man in glasses makes a difficult announcement. Instead of reacting instinctively to the news, the narrator reaches for his own silky lining of his trouser pockets to check on his emotions. He also thinks about his wife, daughters, parents, and their children. He also thinks about the white corridors with white ceiling, floor, and tiles and the white lights. When he's completely lost all color and can no longer observe the pearly gray taupe carpet with a tinge of brown, he simply covers his eyes and cries there where he sat.

answer: No answer

question:
Answer the following question based on the above passage:

What does the story say about mental illness?

answer: No answer

answer: No answer

answer: No answer


text:
“So, do you want it?” the salesman asked her. Rosa already knew that she did, but she was trying to get a better price. It wasn’t there yet, so she shrugged and turned her head away nonchalantly.

The salesman looked at her. Rosa Berger was attractive, and meeting her at the beach was her idea. He now knew why. She dressed in a bikini that had to be pushing the limits of any decency laws in the area. She was lying on a towel, sunning herself, looking like a model in a magazine. He was having trouble concentrating. His usual clientele were quite a bit older and more prudish. But she knew what she was looking for. He had a feeling she knew how to buy it, too.

“What do you want from me? This is not an easy find. I can’t go lower.” He tried, but he knew she was breaking him.

Rosa sat up and placed a hand in between her breasts, drawing the salesman’s eyes to them. She smiled when she noticed his face become far redder than what it should be for as little as he’s been in the sun. “I just can’t work that. It’s really important for my family to have this piece, but there’s only so much we can do ourselves. Are you sure you can’t drop the price? Even a little?”

The salesman barely heard what she was saying. “N-name your price. We, uh, we can go from there.” He struggled to take his eyes off her chest.

The dark haired beauty took off her sunglasses and looked her “victim” in the eyes. Her gorgeous brown eyes looked full of innocent joy at the news, and she knew right then and there that she had him hook, line, and sinker. She damn near could have asked him to just give her the artifact for free and he would have done it.

Sometimes, Rosa felt bad for the sellers of her trinkets, but they almost always tried to oversell them. Probably usually got away with it with the older codgers who were trying to keep busy in their old age. She, on the other hand, knew what investing in those beauties was worth. Those objects told the story of the past. This is where we, as the human race, came from. This wasn’t some text in a history book from high school. This was the real deal. This was magic to Rosa, a way to view the past.

There was nothing more important.

“Really?” Rosa reached into her beach bag and grabbed a pad of Post-Its and a pen, wrote down her price, and handed it too him, surreptitiously getting into the sexiest pose she knew. The salesman was now clearly and uncomfortably aroused and at this point, Rosa knew by experience, he would say yes to the deal just to get out of the awkward situation.

The salesman briefly looked at the note, sighed, knowing full well that in normal situations he would never dare accept the offer, and handed it back. “Fine.”

“Yay!” Rosa exclaimed, keeping up the appearance that she was innocent. She again reached into her beach bag and grabbed her checkbook, filled it out for the amount she asked about, and handed it to the man. He grabbed it, opened up his briefcase, grabbed the object, handed it to Rosa, and quickly said his goodbyes, practically running to get away from her.

Rosa giggled to herself. She put the object into her beach bag and continued to sun herself, eventually falling asleep.

When she heard rustling, she awoke to find someone digging through her bag. She was short, blonde and wearing a jogging outfit of short shorts and a sports bra. As soon as Rosa sat up, the blond woman stood up with the object in hand and ran away. Rosa realized the thief knew exactly what she was after; she wasn’t just some trash stealing some other woman’s junk.

Rosa jumped up and followed the woman. She was good at running on the sand and had trained herself to run barefoot on nearly any surface. So when the jogger ran onto the pavement, the fact that all Rosa was wearing was a very skimpy bikini didn’t bother her. She was going to get that object back.

It seemed, however, that thief was just as athletic as Rosa. She ran through cars and buildings. Rosa was just a little faster and was catching up with her, until the jogger displayed a skill that Rosa did not have: free running. She ran into an alley full of junk that would slow down normal people, but she just jumped and flipped over whatever she needed to and sped far ahead of Rosa.

But Rosa was resourceful. There was an idling motorcycle nearby that the beautiful artifact collector had no qualms about “borrowing.” She jumped on it and took off around the block in hopes of catching the thief off guard.

When she rounded the corner, there was a little traffic and the blonde was just coming out of the alley. Rosa wove in and out to catch up. The jogger ran down another alley, this one clear. Rosa followed on the bike. The thief ran down another side alley, this one ended in a dead end with a overfilled dumpster.

Rosa sped up and, being so focused on her enemy, missed the brick laying on the ground in front of her. She flew off the bike as it flipped. Luckily she landed on the blond runner. Unfortunately, they both fell on the pile of garbage bags.

Still, Rosa wasn’t about to let her get away. She pulled her up and punched her square in the jaw. Something else she trained herself in: mixed martial arts. The thief wasn’t too bad either. She got up and took a stance that proved she knew how to fight. She gave a high kick to Rosa, who easily blocked and countered it with a punch in the upper thigh, which would definitely bruise. The runner managed to hit with an uppercut. Rosa kicked the other woman in the shin, followed by an elbow in the gut, then one in the face, landing square on the nose. This left the thief dazed enough for Rosa to one more punch in the exact same spot.

The blond jogger fell straight back, not even trying to break her fall. When Rosa checked, she had no pulse and her eyes were rolled back in her head. She was dead.

Rosa checked her for her prize and, finding it, moved the corpse to the dumpster burying her in bags. She found a mostly clean rag and wiped the bike clean of any evidence of her from it. She casually walked back out the alley, taking another path. Then back to the beach. Luckily, no one bothered her stuff. She put the artifact in her bag, then put the bag in her car. She then went back and finished sunning herself, as if she were perfectly fine with killing someone, as if she had done it before.

Because she had. There was nothing more important to her than the artifacts and the stories they told.

title: [AA] The Bikini Chase

question:
Answer the following question based on the above passage:

How did Rosa lose the artifacts in the first place?

answer: It appears the blonde thief was just as athletic as Rosa and was able to run faster.

text: The response does not answer the question directly and explains something adjacent to what the answer should be in regards to the thief.

refinement: Rosa fell asleep on the beach and a thief stole in straight from her bag.

answer: She was attacked by a jogger who stole the artifact.

answer: It appears the blonde thief was just as athletic as Rosa and was able to run faster. The thief stole Rosa's bag with the artifact.

question:
Answer the following question based on the above passage:

Why did Rosa use the seduction approach to get the salesman to drop his price?

answer: Rosa was aware that the salesman was attracted to her. She knew that she could use this to her advantage. She was also trying to get a better price.

text: The last sentence is unnecessary.

refinement: Rosa was aware that the salesman was attracted to her. She knew that she could use this to her advantage.

answer: Rosa was aware that the salesman was attracted to her. She knew that she could use this to her advantage.

answer: She knew that he would be aroused and would accept the deal to get out of the awkward situation.