text:
[A Pua Kumbu in Sheepstor parish church, on Dartmoor. It was donated to the church by the people of Sarawak in memory of the White Rajahs.]

PUA KUMBU is a traditional patterned multicolored ceremonial cotton cloth used by the Iban people in Sarawak, Malaysia.

Legends on the origins of Iban weaving

There are many legends about the origin of Pua Kumbu, all revolving around the characters of Menggin and Dara Tinchin. The story starts with Menggin, an Iban hunter who shot a beautiful bird with his blowpipe. As he ran to retrieve his game, what he found was a woven skirt instead of a bird. He kept the woven skirt as he had never seen one before. However, he did not know that it belonged to Dara Tinchin Temaga, eldest daughter of a petara known as Singalang Burong. She was looking for her kain everywhere. When she met Menggin, he returned the skirt. In return, Dara married Menggin, although she was already married. She brought him to her home, the other world, the land of the Gods. They also had a son, Sera Gunting. After a year, Dara’s first husband returned home. She asked Menggin and Sera to return to the Iban world and for their journey to wear a jacket known as baju burong and her kain that she had woven. From that day onwards, the jacket and kain have been passed down to many Iban women so they can weave the same designs and remain close to the Gods. And that is how the weaving of pua kumbu began.[1][2]

Dyeing and weaving process

The process starts with preparing the yarn for the weaving, which consists of the following:

-   NABU’ - winding the thread into balls
-   MUAI - to sort out
-   NGIRIT - the process of stretching and pulling a skin of thread horizontally, one thead at a time, to form the base or warp
-   NGARAP - the selection of alternate warp
-   NGEBAT - tying
-   MAMPUL - to cover
-   MUKA’ TANCHANG - untying
-   NGEREMBAI - unfolding
-   ANAK and ARA – adding side designs

Weaving

In order to prepare for the weaving process, the yarns are unfolded and carefully arranged on a wooden frame. Before the actual weaving begins, the side sections of the unfolded yarn known as anak or ara are carefully arranged. Nenun or Weaving is done using a backstrap loom placed in a convenient spot within the longhouse. The final stage involves finishing of the top and bottom edges with a crowfeet pattern.

Dyeing

All of the raw materials for the natural dyes are harvested from the rainforest. The Iban have traditionally made use of a large number of plants to produce a range of rich beautiful dyes. The rengat plant produces an ‘indigo’ colour in many different tones. The akar penawar landak is used to obtain yellow color dye. For the Engkudu dye, if kapok or quicklime is added the colour will turn brown. The yarn is dipped into the combination, turned until it is well saturated and left to soak before it is dried under the sun. after the dye process yarns are further prepared by tying sections to build up the design.[3][4]

Further reading

-   Traude Gavin, _Iban Ritual Textiles_. KITLV Press. 2003. xi, pp. 356 ().
-   “Pua Kumbu,” _The Asian Civilisations Museum A-Z Guide to its Collections_. p. 258. Asian Civilisations Museum. 2003. National Heritage Board, Singapore.

[1] http://rhgareh.com, adapted from Margaret Linggi “The ties that bind” (2001) & story told by Bangie ak Embol

[2] Textile tales of Pua Kumbu – Polysensory Intermedia Exhibition, published by University of Malaya

[3]

[4]

title: Pua Kumbu

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

Summarize the origin of Pua Kumbu.

answer: Pua Kumbu is a ceremonial cotton cloth used by the Iban people in Sarawak, Malaysia. The origin is a myth in which Menggin, an Iban hunter, came into possession of a woven skirt by happenstance. The skirt was crafted by Dara Tinchin Temaga, eldest daughter of a petara known as Singalang Burong. In return, Dara married Menggin, and they had a son, Sera Gunting. Dara asked Menggin and Sera to return to the Iban world and for their journey to wear a jacket and her kain. Since that day, the jacket and kain have been passed down to many Iban women so they can weave the same designs and remain close to the Gods. The process starts with preparing the yarn that is used to weave Pua Kumbu, which involves dyeing. The yarn is prepared and woven onto a backstrap loom. Pua Kumbu has its origins in a myth.

answer: There are many legends about the origin of Pua Kumbu. Menggin, an Iban hunter, shot a beautiful bird with his blowpipe, however, he found a woven skirt instead. He did not know that it belonged to the eldest daughter of a petara known as Singalang Burong. In return for returning the skirt, Menggin married Dara Tinchin Temaga. Dara brought him to the land of the Gods, where they lived for a year. Afterwards, her first husband returns home and Dara asks Menggin and Sera cut return to the Iban world. She passes her kain to them to weave the same designs.

text: 'cut' is unnecessary in the final sentence.

refinement: There are many legends about the origin of Pua Kumbu. Menggin, an Iban hunter, shot a beautiful bird with his blowpipe, however, he found a woven skirt instead. He did not know that it belonged to the eldest daughter of a petara known as Singalang Burong. In return for returning the skirt, Menggin married Dara Tinchin Temaga. Dara brought him to the land of the Gods, where they lived for a year. Afterwards, her first husband returns home and Dara asks Menggin and Sera to return to the Iban world. She passes her kain to them to weave the same designs.

answer: The text claims there are some legends revolving around this matter. Menggin shoots a bird. He's unaware that it belongs to Dara Tinchin, the eldest daughter of Singalang Burong. She's in search of her woven kain and, when she and Menggin meet he returns it to her. She, in turn, marries Menggin[returning to her home] and has a son named Sera Gunting.

text: The response doesn't finish the story.

refinement: The text claims there are some legends revolving around this matter. Menggin shoots a bird. He's unaware that it belongs to Dara Tinchin, the eldest daughter of Singalang Burong. She's in search of her woven kain and, when she and Menggin meet he returns it to her. She, in turn, marries Menggin[returning to her home] and has a son named Sera Gunting, but after her first husband returns she sends Menggin and their son back to the Iban world with her Kain so that they could weave the same designs to be close to the Gods.

answer: The origins of Pua Kumbu are rooted in a legend about Menggin, an Iban hunter, who found a woven skirt in place of the bird he had shot. The woven skirt belonged to Dara Tinchin Temaga, eldest daughter of a petara named Singalang Burong. Dara, who married Menggin, brought him to her home, the other world, and passed down to him her kain, which is traditionally used to weave Pua Kumbu. The dyeing and weaving process is complex, using materials from the rainforest to produce natural dyes.

answer: There are many different legends about the origin of Pua Kumbu. In the legend, the hunter Menggin shot a bird, but instead of the body found a beautiful woven skirt. The skirt belonged to Dara Tinchin, who married Menggin in exchange for the skirt back. She brought Menggin to her home in the land of the Gods and had a son. Eventually her first husband returns and asks Menggin to leave. Dara Tinchin weaves them jackets and kain, and the designs of those have been passed down in the tradition of Pua Kumbu weaving.

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

Summarize the process of Pua Kumbu weaving.

answer: Pua Kumbu weaving starts with winding thread into balls. They are then sorted and stretched one at a time to form the base. The alternate warp is then selected, and then tied, covered, and untied. The weaving is then unfolded and side designs are added. Each of these steps have special names, as does the yarn itself and different portions of the weaving.

answer: Pua Kumbu weaving starts with preparing the yarn including sorting, stretching, and tying. Then, the weaving process is done on a backstrap loom, and finished off with a crowfeet pattern. Finally, the yarn is dipped in natural dyes before being dried.

answer: To prepare for the weaving process, the yarns are rolled out. Then, before the actual weaving begins, the side sections of the unfolded yarn are carefully arranged. The weaving is then done using a back-strap loom at a convenient location in the longhouse, and the final stage involves finishing the top and bottom edges with a crowfeet pattern.

answer: Before the actual weaving begins, certain side sections are arranged. Nenun weaving is done using a backstrap loom. The final stage involves finishing of the top and bottom edges with a crowfeet pattern.

text: The description could be more accurate to answer the question more fully.

refinement: Before the actual weaving begins, the yarn is arranged. The Nenun (weaving) is done using a backstrap loom within the longhouse. The final stage involves finishing of the top and bottom edges with a crowfeet pattern.

answer: The process of Pua Kumbu weaving starts with preparing the yarn for the weaving, which consists of winding thread into balls, sorting the thread, stretching and pulling it horizontally on a wooden frame, tying sections, and adding side designs before weaving begins. Once weaving begins, natural dyes are applied which include the rengat plant for blue and yellow colors and kapok or quicklime for brown. The finished product includes designs along both the top and bottom edges.

text: Response covers more than just the weaving process.

refinement: The process of Pua Kumbu weaving starts with preparing the yarn for the weaving, which consists of winding thread into balls, sorting the thread, stretching and pulling it horizontally on a wooden frame, tying sections, and adding side designs before weaving begins. Before weaving begins natural dyes are applied to the yarn and they are further sorted.

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

Summarize how the yarn is dyed for Pua Kumbu weaving.

answer: The yarn used in Pua Kumbu weaving is dyed using natural dyes from jungle plants. The yarn is soaked in the dye and then dried under the sun.

answer: The yarn is dipped in dyes made from rainforest plants. Rekan t produces many different tones of indigo, akar penawar landak produces yellow, and kapok or quicklime produce brown in combination to Engkudu.

answer: The yarn is first soaked in a combination of natural plant dyes, and then dried under the sun.

answer: The yarn for Pua Kumbu weaving is traditionally dyed from plants found in the local rainforest. For indigo dye, the rengat plant is used, and for yellow dye the plant akar penawar landak is used. Engkudu dye combined with kapok or quicklime will result in a brown dye. The yarn is dyed by dipping into combinations of dyes and left to soak, and then dried in the sun.

answer: Raw materials for natural dyes are harvested from the rainforest. The weavers put the dye on threads, let them soak, and dry them in the sun.


split: train

text:
Alone in the Dark

KNOCK KNOCK KNOCK

“Henry?”

KNOCK KNOCK KNOCK

“Henry your… friend… is here, he wants to talk to you...”

“Let him in.” I sighed.

I knew why he was here. He was going to come inside, exchange pleasantries with me, make awkward small talk, and then beg me to stay. I wouldn’t listen to him though. My mind was made up and nothing would change it.

“Hey champ!”

Right on schedule.

“How’s it goin’?” my brother asked feigning excitement.

“I’m fine.” I said bluntly.

“You have all your stuff packed?” he chuckled. I forced a smirk and waited for him to say what he came here to say.

“You know you don’t have to go...”

“Greg, we’ve talked about this.”

“I just... I don’t think you know what you’re doing,” He had tears in his eyes.“What if you wake up and it’s not what you thought it would be?”

I took a step forward and placed my hand on his shoulder, “Anything would be better, I’m done with this world.”

He hugged me as tightly as he could. “Be safe.”

“I will.” All I could think of was how to get him out of my room the fastest, “I have to get ready, launch is in a few hours.”

When he left, I sat down on my bed and stared at the door for a few minutes. I didn’t expect anymore company. My mother had been gone for a few years, and my dad already knew my decision was final. My brother was the only one who thought my mind could still be changed. I didn’t have very many friends because I didn’t see the point. All the people in the world were fake. They all had fake smiles, fake laughs, and fake lives. Where I was going, I hoped to find something real.

I got dressed and sat down in a chair facing the door. For what seemed like an eternity, I waited. Finally, there was a knock and a man in a jet black suit walked in.

“They’re ready for you, Mr. Shelling.” he said almost apologetically.

“Good, let’s get going then.” I replied determined to leave.

As we were walking through the corridor, he turned to me and spoke.

“I’ve been instructed to debrief you one more time on the mission.”

I smiled sarcastically “Knock yourself out.” I already knew the plan; I had it in my head since day one.

“You’ll be put into the chamber and loaded onto the ship once we get to the launch pad. Inside are two buttons, button two initiates the cryogenic freeze, button one engages emergency stop in case you need to—“

“I won’t.” I interrupted.

“Just in case. You’ll have twenty four hours to press either button once you are loaded into the chamber. After the time limit, if you have not chosen either button, the mission will be aborted and you will be brought back to earth immediately. We will be in contact with you via a two way intercom. All you have to do is speak and we’ll hear you.”

“Noted.” I absent-mindedly replied.

“If you press button two…” he breathed deep, “You’ll be cryogenically frozen for five million years, and the ship will automatically return to earth when you wake up.”

“Can’t wait.” I said hoping he was done.

“You know...” he started “You can still—“

“Don’t.” I said, cutting him off.

At that moment, we reached the light at the end of the tunnel and the ship came into view. It was a fairly small vehicle, not much bigger than a school bus. Right in front of it was the chamber, lying on a conveyor belt, ready to be loaded. There were men in white coats scattered throughout the area, doing last minute checks and calculations.

“Your chariot awaits, Mr. Shelling.” The man said grimly while opening the chamber door.

“Thanks.” I said while getting in and closing the door.

The man cupped his mouth with his hands and screamed through the thick glass “Remember, you have twenty four hours—“

“Won’t need ‘em” I yelled. I pushed button two immediately, and my eyes went black.

A second later I woke up. My head hurt, my ears wrung, and my muscles ached. I couldn’t move anything below my neck, and the only thing I could see was a blinding light. When my eyes finally adjusted, I finally realized what had happened. My muscles had deteriorated during my sleep. Five million years had taken its toll on me. I couldn’t stay in this bed; I had to see what was waiting for me. I began to rock myself back and forth to roll myself out of the pod. When I finally managed to get myself onto the floor of the ship, I was sweating profusely and breathing  heavily. My lungs hurt badly, I hadn’t been breathing for five million years; they were not ready for this type of exertion. I could feel there was something wrong. Everything was too still. The ship was not moving. There was a window about two feet from where I was lying. If I could get to it, I would be able to see what I had waited so long for: The future. Slowly, I inched myself toward the window, my limbs getting stronger as my lungs got weaker.

At five inches away from the window, I could only see black.

I moved closer. Still only black.

Closer.

 Black.

I shut my eyes and crawled until I was directly over the window. Terror was filling my mind as I slowly imagined the hell that could be waiting for me. When I finally opened my eyes, I was again met with only black. My worst nightmare had come true. There was nothing left; everything was dead, even the stars. Everyone I’ve ever known: dead. I felt a sharp pain in my chest. How could I have been so stupid, to give up everyone I had ever loved. My sight became blurry and I became light headed. Five million years. Five million years I had been alone, and now, my final moments, alone in the dark. I breathed out for the last time, and my mind went blank.

title: [SF] [TH] [HR] Wrote a story for my English class. Entitled "Alone in the Dark."

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

What happens when Henry is put into the pod?

answer:
He is loaded into a chamber and sent to space and meets no-one but the man with him who tells him what to do.

What does the final scene in the story bring for Henry?
He meets death, his own, and feels at peace.

text: Incoherent response

text: Provide a response

refinement: The narrator immediately puts himself in suspended animation and wakes up five million years later. His muscles have atrophied, and when he makes it to a window, he sees that the rest of the universe is dead. He is alone in the dark, and it is implied that he dies shortly after.

answer: Henry is put into the cryogenic chamber and loaded on to the ship. He wakes up from cryogenic sleep to find the ship is motionless, and there is nothing in sight except for darkness. It is then revealed that everyone he has ever known is dead and he breathes his last breath.

answer: Henry is put into the chamber on a conveyor belt and given a button to initiate the cryogenic freeze. When he presses the button, he is cryogenically frozen. However, when he wakes up he learns that everything has died and there is nothing left. He collapses and dies.

answer: He pushes button two and everything goes black.

text: Include information about when he wakes up

refinement: He pushes button two and everything goes black. When he wakes up, he finds his muscles have atrophied, and when he gets to a window, he sees that the rest of the universe is dead. He died soon after.

answer: Henry is cryogenically frozen for 5 million years when he is put into the pod. It is then shot into space in such a way that it will return to Earth after that time. However, when it returns, all Henry sees outside the porthole is darkness.

text: Note that Henry dies soon after

refinement: Henry is cryogenically frozen for 5 million years when he is put into the pod. It is then shot into space in such a way that it will return to Earth after that time. However, when it returns, all Henry sees outside the porthole is darkness. During his sleep, his muscles atrophied, and he dies soon after.


text:
I am mostly mad. It has always been like this, usually starting as a slight knot in my gut, then a spreading irritation, till it fills my whole body with red flame and I explode.

My family and friends are used to this and don’t seem to mind my frequent anger outbursts, but when I meet new people I like to warn them: “Hi, I’m Andy Wokswizme, and I am mostly mad” – that way there are no surprises later on and new relationships in general have worked out well.

So imagine my consternation and outrage when I introduced myself thus at Heathrow passport control, and instead of letting me enter the UK and take a well deserved rest at the Holiday Inn, the British immigration officer looked at me queerly and pressed a red button calling men in white coats to take me away to a padded cell.

Its quite a nice padded cell, actually, and I love how the nearly 30256 squares interlock so neatly, forming pretty patterns that help me to sleep, that is when the voices let me. I like the voices, and I think the like me, probably because I was careful to tell them up front that I am mostly mad.

title: Mostly Mad

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

Who is the narrator?

answer: The narrator is Andy Wokswizme.

answer: The narrator is Andy Wokswizme.

answer: Andy Wokswizme.

answer: The narrator is Andy Wokswizme.

answer: Andy Wokswizme

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

Why does he have frequent anger outbursts?

answer: He is mostly mad because he starts out with a slight knot in his gut that turns into irritation and eventually rage. This usually happens when he meets new people and does not expect to be met with prejudice at Heathrow airport. The voices don't bother him, but the voices probably like him because he warned them about his temperament up front.

text: The slight knot turning into irritation describes his rage, not the reason for it (which is that he has always been that way).

refinement: He has always been that way (mostly mad). This usually happens when he meets new people and does not expect to be met with prejudice at Heathrow airport. The voices don't bother him, but the voices probably like him because he warned them about his temperament up front.

text: The subsequent sentences after the first do not elaborate on the reason for his anger.

refinement: He has always been that way (mostly mad).

answer: They are not explicitly stated in the text.

answer: This information can't be found.

answer: This information is not directly answered in the text.

answer: He has frequent anger outbursts because he feels aggravated most of the time due to an impatience with the mundane nature of everyday life. He prefers to live in a world where everything makes sense to him, but he finds that life rarely makes sense for most people. This frustration often ends up with him being angry.

text: The answer is unattested--seems to be a fabrication.

text: Empty answer.

refinement: He has simply always been that way; the text does not explain why that is the case.

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

Has the outburst ever got him in trouble?

answer: Yes, the outburst has gotten Andy in trouble on occasion. He has had problems with British immigration and the voices in his padded cell can sometimes be difficult to handle.

text: "I love how the nearly 30256 squares interlock so neatly, forming pretty patterns that help me to sleep, that is when the voices let me" is evidence that the voices can sometimes be difficult to handle (namely that they prevent Andy from falling asleep).

text: "the British immigration officer looked at me queerly and pressed a red button calling men in white coats to take me away to a padded cell" is evidence that Andy's anger (or declaration thereof) got him into trouble with British immigration.

answer: Yes, on one occasion he was detained at Heathrow passport control and on another, he was prevented from entering the UK.

text: The two incidents being described here are actually the same incident.

refinement: Yes, on one occasion he was detained at Heathrow passport control and prevented from entering the UK.

answer: Yes, he was once taken away to a padded cell after introducing himself at the Heathrow passport control.

answer: Yes, in the form of a vacation at the local mental institution.

text: The casual language (particularly the use of the word "vacation") may be misleading.

refinement: Yes, in the form of being sent to a local mental institution.

text: "Local" may imply the institution is in his hometown, but it is unclear whether he actually lives in Britain.

refinement: Yes, in the form of being sent to a mental institution upon arriving in Britain.

answer: Yes, the outburst has got the narrator into trouble in the past. At the airport, when the narrator introduces himself as being mostly mad, the immigration officer does not let him into the UK and instead calls for white coats. The narrator likes his padded cell, but the voices he experiences sometimes can cause him trouble.

text: The last sentence does not seem relevant, especially the bit about the narrator liking the padded cell.

refinement: Yes, the outburst has got the narrator into trouble in the past. At the airport, when the narrator introduces himself as being mostly mad, the immigration officer does not let him into the UK and instead calls for white coats.

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

Does Andy try to contain his anger?

answer: No, Andy does not try to contain his anger. He openly acknowledges his anger and warns anyone he meets about it so that they are prepared.

text: The fact that he warns new people about his anger ("when I meet new people I like to warn them") suggests that he expects to have an outburst and therefore does not attempt to contain his anger.

answer: No, he usually cannot.

text: The question is about whether he tries, not whether he succeeds.

text: The fact that he warns new people about his anger ("when I meet new people I like to warn them") suggests that he expects to have an outburst and therefore does not attempt to contain his anger.

answer: No, he's ok with showing it to everyone he meets.

text: It's not stated that he is okay showing it to everyone he meets--it seems more like he warns them because he has no choice.

refinement: No, instead he warns everyone he meets about it.

answer: No, Andy does not try to contain his anger. He acknowledges and embraces his anger.

text: The statement that he "embraces" his anger is unattested, especially seeing as he warns people about it.

refinement: No, Andy does not try to contain his anger. He acknowledges and warns people about his anger.

text: The fact that he warns new people about his anger ("when I meet new people I like to warn them") suggests that he expects to have an outburst and therefore does not attempt to contain his anger.

answer: No.

text: The fact that he warns new people about his anger ("when I meet new people I like to warn them") suggests that he expects to have an outburst and therefore does not attempt to contain his anger.

question: Write a ~5 sentence summary.

answer:
Andy Wokswizme has frequent anger outbursts. His family and friends are used to it hence do not comment. But he introduces himself to new people with a warning about his anger.

Once while taking a vacation to the UK, he was stopped by the Heathrow passport control and taken away to a padded cell. Andy was able to sleep well in the cell thinking about the 30256 squares interlocked neatly.

text: The last line should highlight his interaction with the voices rather than his musics on the cell.

refinement:
Andy Wokswizme has frequent anger outbursts. His family and friends are used to it hence do not comment. But he introduces himself to new people with a warning about his anger.

Once while taking a vacation to the UK, he was stopped by the Heathrow passport control and taken away to a padded cell. Andy gets along with the voices in his head after warning them up front about his anger issues.

answer: Andy introduces himself as Andy Wokswizme, used to warn those unfamiliar with his spontaneous anger. He's branded mad and is arrested for Heathrow passport control. He's taken to a padded cell. The cells he encountered are quite neat, and he likes sleeping in them. He likes sleeping, the noise they make is soothing. He feels he's liked by at least the voices inside his head, though his relationships with new people leave to be desired.

text: The phrasing of the first sentence is unclear/confusing.

refinement: Andy introduces himself as Andy Wokswizme, and warns those unfamiliar with him about his spontaneous anger. He's branded mad and is arrested for Heathrow passport control. He's taken to a padded cell. The cells he encountered are quite neat, and he likes sleeping in them. He likes sleeping, the noise they make is soothing. He feels he's liked by at least the voices inside his head, though his relationships with new people leave to be desired.

text: It might be incorrect to state that he was "arrested".

refinement: Andy introduces himself as Andy Wokswizme, and warns those unfamiliar with him about his spontaneous anger. He's branded mad and is apprehended for Heathrow passport control. He's taken to a padded cell. The cells he encountered are quite neat, and he likes sleeping in them. He likes sleeping, the noise they make is soothing. He feels he's liked by at least the voices inside his head, though his relationships with new people leave to be desired.

text: Should be "apprehended at", not "apprehended for".

refinement: Andy introduces himself as Andy Wokswizme, and warns those unfamiliar with him about his spontaneous anger. He's branded mad and is apprehended at Heathrow passport control. He's taken to a padded cell. The cells he encountered are quite neat, and he likes sleeping in them. He feels he's liked by at least the voices inside his head, though his relationships with new people leave to be desired.

text: The fact that he likes sleeping is not a key detail that needs to be summarized.

refinement: Andy introduces himself as Andy Wokswizme, and warns those unfamiliar with him about his spontaneous anger. He's branded mad and is apprehended at Heathrow passport control. He's taken to a padded cell. The cells he encountered are quite neat, and he likes sleeping in them. He likes sleeping, the noise they make is soothing. He feels he's liked by at least the voices inside his head, though his relationships with new people leave to be desired.

text: The last sentence does not accurately depict his relationship with the voices in his head.

refinement: Andy introduces himself as Andy Wokswizme, and warns those unfamiliar with him about his spontaneous anger. He's branded mad and is apprehended at Heathrow passport control. He's taken to a padded cell. The cells he encountered are quite neat, and he likes sleeping in them. He likes sleeping, the noise they make is soothing. He gets along with the voices in his head after warning them that he is mostly mad.

answer: The narrator introduces himself as mostly mad. However, when he meets immigration at the airport, instead of being allowed entry into the UK, he is taken away to a padded cell. He likes the padded cell and enjoys spending time with the voices that talk to him there, though sometimes they get cranky. Overall, he is mostly mad although he tries to warn new people beforehand.

text: The last sentence is out of place (the fact that he tries to warn people should come earlier in the summary).

refinement: The narrator introduces himself as mostly mad. When he meets new people, he warns them beforehand about his anger. However, when he meets immigration at the airport, instead of being allowed entry into the UK, he is taken away to a padded cell. He likes the padded cell and enjoys spending time with the voices that talk to him there, though sometimes they get cranky.

text: There is no evidence that the voices get cranky.

refinement: The narrator introduces himself as mostly mad. When he meets new people, he warns them beforehand about his anger. However, when he meets immigration at the airport, instead of being allowed entry into the UK, he is taken away to a padded cell. He likes the padded cell and enjoys spending time with the voices that talk to him there.

answer: The protagonist is mostly mad, and warns anyone he meets that he is volatile and prone to anger. When he introduces himself to immigration officers at Heathrow, they take him away to a padded cell instead of letting him enter the UK. The padded cell is actually quite well appointed, and the voices he hears like him because he told them upfront that he is mostly mad.

answer: Andy is mostly mad. He admitted this to his family and friends and told them that is why he has outbursts of anger from time to time. Andy had a horrible time at Heathrow passport control and was harassed by immigration officers for being mad. They believe he has mental problems and were sending him to a padded room. The padded room he was sent to was nice and Andy certainly liked it. He likes the voices that talk to him as he sleeps.

text: The second sentence (that he told his family and friends the reason for his outburst) is unattested.

refinement: Andy is mostly mad. Andy had a horrible time at Heathrow passport control and was harassed by immigration officers for being mad. They believe he has mental problems and were sending him to a padded room. The padded room he was sent to was nice and Andy certainly liked it. He likes the voices that talk to him as he sleeps.

text: Tense is inconsistent.

refinement: Andy is mostly mad. Andy has a horrible time at Heathrow passport control and is harassed by immigration officers for being mad. They believe he has mental problems and send him to a padded room. The padded room is nice and Andy certainly likes it. He likes the voices that talk to him as he sleeps.

text: Instead of describing his time at the passport control as "horrific", the summary should explain why the officers think he's mad.

refinement: Andy is mostly mad. He introduces himself as such to the immigration officers at Heathrow passport control. They believe he has mental problems and send him to a padded room. The padded room is nice and Andy certainly likes it. He likes the voices that talk to him as he sleeps.

text: The final sentence could be more specific about Andy's relationship with the voices (namely, that they appear to be in his head).

refinement: Andy is mostly mad. He introduces himself as such to the immigration officers at Heathrow passport control. They believe he has mental problems and send him to a padded room. The padded room is nice and Andy certainly likes it. He gets along with the voices in his head that talk to him as he sleeps.


text:
ors of the iPhone that dared go beyond the “just perfect” screen size of 3.5 (and later 4) inches.

Steve Jobs memorably dissed big phones in 2010, during the infamous Antennagate debacle. Making a phone so big “you can’t get your hand around it” would help with reception, said Apple’s then CEO, but “no one’s going to buy that.”

As it turns out, people do want to buy “that”, so, here we are, gawking at an iPhone that’s even larger than the Note 4, which belongs to a series that iPhone devotees have ruthlessly mocked.

Alas, the internet is forever, so Apple’s past disdain for larger phones has come back to haunt it. Naturally, it was Samsung who couldn’t resist the temptation to rub it in its rival’s face, tweeting this image:

[note 4 tweet]

Samsung, of course, doesn’t deserve all the credit for creating the large phones category, but its daring bet on the first 5.3-inch Galaxy Note paid off royally and inspired competitors to go ever bigger. So, if there’s anyone that deserves to crow right now, it’s probably Samsung.

With that said, perhaps a bit of modesty wouldn’t hurt? After all, Samsung drew a lot of inspiration from Apple over the years. What do you think?

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

When did Steve Jobs diss big phones?

answer: In 2010.

answer: 2010

answer: 2010

answer: 2010.

answer: Steve Jobs dissed big phones in 2010.

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

What debacle took place in 2010?

answer: Antennagate.

answer: Antennagate

answer: The "Antennagate" debacle took place in 2010. Steve Jobs memorably dissed big phones, claiming that "no one's going to buy" them at that size. However, as it turns out, people did want to buy big phones, causing Samsung to take the opportunity to boast about the size of its Note 4.

answer: The Antennagate debacle.

answer: The Antennagate debacle took place in 2010 when Apple's then CEO, Steve Jobs, disavowed big phones, claiming that people would not buy those phones because they couldn't fit their hand around them. Later, Samsung tweeted a picture of a Note 4, illustrating the embarrassment of Apple's previous disdain for larger screens and implying that they had taken the lead in creating the large phone category.

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

Who first took the risk to make a bigger phone?

answer: Samsung.

answer: Samsung in 2011 released the first Note phone, the first one outside the industry norm of 4-inch-screen phones.

answer: Samsung first took the risk to make a bigger phone.

answer: Samsung did.

answer: Samsung

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

What did customers want to buy?

answer: Large phones.

answer: Large phones.

answer: Larger phones than 3.5 inches.

answer: It is not tin this document.

text: Yes it is TIN this document

answer: Bigger phones.

question: Write a ~2 sentence summary.

answer: In 2010, Steve Jobs criticized Samsung for making phones so big "that you can’t get your hand around it". However, through the years, people wanted the large smartphones. Galaxy phones complemented the iPhone, like the Note 4, and Steve Jobs dead is gone. It's Samsung's time to crow.

answer: The article discusses how Steve Jobs once said that no one would want to buy bigger phones, but it turned out that they did when Samsung took a gamble on making them. Now the company is using the Apple CEO's previous statement as a marketing campaign.

answer: Samsung tweeted an image to celebrate its role in initiating the trend of larger phones. It also took the opportunity to poke fun at its competitor, Apple, who previously did not approve of big phone sizes. But larger phones proved to be popular, and the iPhone 6 Plus today has joined the trend. Samsung, however, can congratulate itself for paving the way for larger devices.

answer: Samsung is taking a jab at Apple because the new iPhone is even larger than the Galaxy Note 4, something Apple has previously disparaged. The daring move eventually paid off for Samsung, and now it's getting the chance to stick it to its rival. Apple's dismissal of larger phones in the past, however, might make this come across like a bit of grandstanding.

answer: In this article, it's discussed that Apple had said the average person would struggle to fit their hand around a 5-3/4 inch phone, which the author ties to Steve Jobs' statements about people not liking big phones. It's as an example of when Apple was very young, they didn't or weren't willing to make big phones at first.


text:
CHINESE ANIMAL PROTECTION NETWORK (CAPN) is a non-profit animal protection organization, and the first network for animal protection in China, founded by Chinese people. CAPN is known for its pioneering role in the animal rights movement in China, leading the growing movement against eating cats and dogs, and providing a free encyclopedia on animal welfare information.

History

The Chinese Animal Protection Network was founded by Dr. Jenia Meng in 2004, with its first project, the Chinese Companion Animal Protection Network.[1] Since then, the organization has initiated projects targeting issues such as lab animal rights, vegetarianism, and opposition to indiscriminate culling as a method of population control of animals.[2] Those projects have led the direction of Chinese non-governmental organizations.[3]

By 2008, the organization had 48 member groups, two branches, and more than 20,000 individual supporters.[4] The organization reported on its website in 2014, that its network has expanded to reach almost every part of China, with more than 200 partner groups around world.[5]

Philosophy

CAPN has a science-based philosophy of animal rights.[6] They oppose violence in the animal rights movement, and see animal rights as a dynamic concept; they believe the rights of different animals are different because their needs are different. Six keys of the organization's philosophy, developed in 2008, include:[7]

-   unity: the philosophy of animal rights is a part of a universal law; scientific disciplines such as mathematics, physics, chemistry, and biology have shown through the years that the universe is interrelated.
-   complexity: everyone has his/her own view of animal rights. Different organizations, academics, and even animal rights activists have different viewpoints; when working with people and organizations, one should always keep in mind this diversity of viewpoints.
-   evolution: human understanding of animal rights is evolving, as with all other areas of human knowledge. Science and technology is developing to help humans better understand the universe and their place in the universe; it is natural that our understanding of animal rights will continue to evolve.
-   continuity: continuity exists between everything, from human to nonhuman animals, from more human-related animals to less related animals. The difference is not discrete but gradual. CAPN advocates to analyze specific issues, due to the different needs of individual animals.
-   originality: the concept of animal rights is not a new concept, as three pillars of traditional Chinese thought, Buddhism, Taoism, and Confucianism, all have teachings regarding respect towards animals.

Projects

Chinese Companion Animal Protection Network

The Chinese Companion Animal Protection Network (CCAPN) was launched in 2004 at the founding of CAPN.[8] The campaign against eating cats and dogs was the first concern of CCAPN. “Isolated animal welfare organisations were already working to rescue strays by then, but consumption of dogs and cats hadn’t made it onto their agenda. Indeed, these groups were unconvinced that stopping people from eating one or two particular species was anything but an exercise in arbitrary morality. So CAPN sought to reframe the debate as one about cruelty rather than taste,”[9] thereby working to reduce the consumer market. Supported by international groups including the Royal Society for the Prevention of Cruelty to Animals and World Animal Protection, the organization worked to link animal-lovers across China and educate the public about the facts of the trade, for example that “many of the 10,000 cats consumed daily in winter in Guangdong province (where the meat is considered a warming food) are stolen from other provinces”.[10]

In 2007, the organization “launched an online 'signing event' which asked people to pledge to avoid cat and dog meat in future. In the following five months, it collected 21,000 signatures.”[11]

CCAPN's website in 2014 offers information on controlling rabies in dog populations through vaccination rather than culling, information on controlling domestic cat populations in urban areas through trap-neuter-return rather than culling, and how to create an animal protection agency.[12]

Animal Rights website and encyclopedia

The Animal Rights in China website was launched on 22 July 2006, and is the major portal for animal rights issues in China. Academic research on animal ethics and networking of animal rights activists are important functions of this project. It is developing a Chinese online encyclopedia of animal protection (APpedia).[13][14]

The main objective of APpedia () was to establish an online Chinese encyclopedia of animal protection. The project currently has more than 90 academic researchers and affiliated organizations around world.[15][16]

APpedia is published online as a free-of-charge eBook and a website. The content of the APpedia includes, but is not limited to: Science, religion, events, animal behavior, philosophy, important figures, animal protection, advocacy, animal welfare, animal rights, animal protection organizations, reviews of books.

The beta version of APpedia website was launched in 2007, as a wiki website, visitors are allowed to modify the articles on the website without registration. Overall the project has a pro animal rights position. A derivative of the project, a book with the same title, was published 2009 in Australia.

The sponsors of the free knowledge project include World Society for the Protection of Animals and Culture & Animals Foundation.[17][18]

POVchina

POVchina is an information portal for vegetarianisms. It is known for using interactive computer games in public education.[19]

Notable contributions

-   CAPN works closely with domestic, international, and overseas organizations working in China, providing advice and support for their work.
-   CAPN runs a campaign against cat-and-dog-eating (the practice of eating cat meat or dog meat). They are the first group to use the slogan 'Stop eating cats and dogs' in their campaign. They also coordinated many groups in more than ten cities in China to join this campaign. This slogan has been adopted by animal rights groups around the country. They launched the online-signing event against consumption of cat and dog meat in 2007, which received over 40,000 signatures. Their campaign has led to a large amount of publicity and discussion of this issue among the public.
-   CAPN runs a campaign against animal hoarding. They led a large-scale online debate on the topic in 2006, and later published two research documents regarding animal hoarding, the first of their kind to be published in Chinese. They are the major contributors to a change in the pro-hoarding climate of China.
-   CAPN provides a network for animal protection groups. They are the first organization devoted to the unity of Chinese animal protection communities.[20]
-   In April 2008, CAPN introduced World Lab Animal Day to China for the first time.[21]

Awards

CAPN projects have won several awards:

-   Jan 2008: CCAPN won 'great contribution to animal protection in 2007' award in 'Animals in China' Shanghai conference.
-   Mar 2008: ARC won funding for its online encyclopedia from Cultural and Animal Foundation, which is established and chaired by animal rights philosopher Tom Regan.

[1]

[2]

[3]

[4]

[5]

[6] “ARC ideas: Our philosophy of animal rights” (translation), CAPN, accessed 11 Oct. 2014.

[7]

[8]

[9]

[10]

[11]

[12]

[13] Animal Rights in China

[14] Animal Rights In China, Michael Charles Tobias, Forbes (online), accessed September 6, 2014

[15] J.Meng et al. APpedia 2009 Ultravisum

[16]

[17]

[18] Culture & Animals Foundation, past grants recipients: http://www.cultureandanimals.org/grantrec.html

[19] POVchina website

[20] CAPN introduction and Achievement

[21] The First World Lab Animal Day (WLAD) in China

title: Chinese Animal Protection Network

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

What is CAPN's philosophy of animal rights?

answer: CAPN's philosophy of animal rights centers on a science-based belief that animals deserve respect and protections because all animals are different - their needs are different. They oppose violence in the animal rights movement and realizes that viewpoints on animal rights are diverse. They also advocate for change through compassionate action based on scientific understanding. Further, their online animal rights encyclopedia and interactive public education projects contribute to the animal rights movement both domestically and globally.

answer: CAPN views animal rights as a part of a universal law and believes all animals have different needs. They oppose violence in the animal rights movement and see animal rights as evolving over time. They also seek to reduce the consumer market for cat and dog meat through education and a network of animal protection groups. Project such as the Chinese Companion Animal Protection Network, Animal Rights website and encyclopedia, and POVchina all reflect CAPN's philosophy of animal rights.

text: minor grammatical error in the last sentence.

refinement: CAPN views animal rights as a part of a universal law and believes all animals have different needs. They oppose violence in the animal rights movement and see animal rights as evolving over time. They also seek to reduce the consumer market for cat and dog meat through education and a network of animal protection groups. Projects such as the Chinese Companion Animal Protection Network, Animal Rights website and encyclopedia, and POVchina all reflect CAPN's philosophy of animal rights.

answer: CAPN's philosophy is based on science. They oppose violence in the movement, see animal rights as a dynamic concept, and believe the rights of different animals are different. There are six keys of the organizations philosophy. They are: unity, that animal rights is a part of a universal law across scientific disciplines; complexity, that everyone has his or her view of animal rights; evolution, that human understanding of animal rights is evolving; continuity, that continuity exists between human and nonhuman animals and between nonhuman animals; originality, that the concept of animal rights is not a new concept as it exists in Buddhism, Taoism and Confucianism.

answer: CAPN has a science-based philosophy of animal rights. They oppose violence in the animal rights movement and see animal rights as a dynamic concept.

answer: Profits and violence in the animal rights movement are not welcomed. Ethics and evolving definitions of cruelty are also addressed. Scientists have shown that the universe is interrelated, so other human sciences such as mathematics, physics, chemistry, and biology could also be applied to exhibit that animal rights is a required science as well as other analogous qualities.

text: It is better to say non-profit instead of stating that "profits are not welcomed".

refinement: CAPN is a non-profit organization whose animal rights philosophy does not welcome violence. They also address ethics and evolving definitions of cruelty. Scientists have shown that the universe is interrelated, so other human sciences such as mathematics, physics, chemistry, and biology could also be applied to exhibit that animal rights is a required science as well as other analogous qualities.

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

What was the first concern of the CCAPN?

answer: The campaign against eating cats and dogs.

answer: The campaign against cats and dogs was the first concern of the Chinese Companion Animal Protection Network (CCAPN). Other animal welfare groups were attempting to rescue strays, but the consumption of cats and dogs had not reached their agendas. Other groups thought stopping the consumption of cats and dogs was an exercise in arbitrary morality. Thus CAPN reframed the debate to be about cruelty rather than taste, and attempted to reduce the consumer market.

answer: The CCAPN was founded to combat the issue of eating cats and dogs.

answer: The CCAPN was founded with a primary focus on the issue of consuming cats and dogs.

answer: The campaign against eating cats and dogs. "Isolated animal welfare organisations were already working to rescue strays by then, but consumption of dogs and cats hadn’t made it onto their agenda. Indeed, these groups were unconvinced that stopping people from eating one or two particular species was anything but an exercise in arbitrary morality." so the CAPN sought to reframe the debate as one about cruelty rather than taste, therefore working to reduce the consumer market.

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

What is the Animal Rights in China website?

answer: It is the major portal for animal rights of stories in China

answer: The Animal Rights in China website is a portal for animal rights issues in China. It offers information on animal issues such as companion animal welfare, trapping and neutering of cats, and attempting to abolish consumption of cats and dogs. The website also has a Chinese online encyclopedia, APpedia.

answer: It is a special website designed to host an encyclopedia of animal protection. The project currently has more than 90 academic researchers and affiliated institutions around the world. It is published free-of-charge as an ebook and a website. It was also published as a book of the same title in 2009 in Australia.

text: The summary focuses on APpedia instead of the website. While APpedia is an important feature of the site, the main website should still be mentioned.

refinement: The Animal Rights in China website is the major portal for animal rights issues in China, it is also designed to host an encyclopedia of animal protection (APpedia). APpedia currently has more than 90 academic researchers and affiliated institutions around the world. It is published free-of-charge as an ebook and a website. It was also published as a book of the same title in 2009 in Australia.

answer: It's an information portal for vegetarians and provides information on the Chinese vegan, Vegetarians in the world.

text: The summary is about POVchina, not the Animal Rights in China website.

refinement: The Animal Rights in China website is the major portal for animal rights issues in China.

answer: The Animal Rights in China website is a portal for animal rights issues in China, providing information on animal welfare and animal rights in China. This project includes a Chinese online encyclopedia, APpedia, of animal protection.

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

What are some of the notable contributions of CAPN?

answer: CAPN works closely with domestic, international, and overseas organizations working in China, providing advice and support for their work. CAPN is the first organization devoted to the unity of Chinese animal protection communities. CCAPN won the 'great contribution to animal protection in 2007' award in 'Animals in China' Shanghai conference.

answer: CAPN works closely with overseas organizations working in China. It also has spearheaded the campaign to stop eating cats and dogs. They simultaneously run a campaign against animal hoarding, and provide a network for animal protection groups. In 2008, CAPN introduced World Lab Animal Day to China for the first time.

answer: CAPN's notable contributions include initiating campaigns against eating cats and dogs, opposing animal hoarding, providing a network for animal protection groups, introducing World Lab Animal Day to China, and providing advice and support for animal protection groups' work. They also have led a large-scale online debate on animal hoarding and helped create an online encyclopedia of animal protection.

answer: CAPN works closely with domestic, international, and overseas organizations working in China, providing advice and support for their work. CAPN runs a campaign against eating cats and dogs. CAPN runs a campaign against animal hoarding, providing a network for animal protection, providing a network for animal protection groups, and introducing World Lab Animal Day in 2008 to China.

answer: CAPN has led efforts against cat-and-dog-eating and animal hoarding, and also provides a network for animal protection groups. They have also led the introduction of World Lab Animal Day, led large-scale online debates, and created a Chinese online encyclopedia of animal protection.


text: People want stories, people want humor, people want to be hit in the feels. However, when someone finally delivers, those who thirst so desperately for something great, shit all over the originality. Much like goal tending, usually done out of spite and anger that the greatness didn't flow from them, instead they are stuck reading greatness that they desperately wish, and swear up and down that they could do it if they wanted. Well, if you can do it, why haven't you. You think about it all the time, you come up with the best ideas, but never write them down. Why is that? Because you think you will remember, but a word to the wise, you will never remember unless you connect that lead or ink tip to a nice blank sheet of lined paper, or a fresh word document for you techfags. It doesn't even matter what you write, as long as you formally use these words that we were granted when we slip out of that waterslide called a vagina. Words, everything and anything can be done or described with the right words. Sure, I can say that I encountered a very dirty public bathroom, and you could take my word for it. Or, I could say: I turned the rusted knob and entered what i presumed was a public restroom bathed in mediocrity cleanliness, but when the automatic light snapped on what i saw, and smelled was horrid. Walls that once used to be white, now yellow stained from people ignoring the no smoking sign, I mean who doesnt want a cigarette when they shit? The toilet hadn't been cleaned in ages, and the water was no longer clear. The sink was backed up with loogies and torn up tissue. And the smell was somewhere between a dead body, and potatoes that had been sitting in the pantry six months too long. Now, would you rather take my word from a simple sentence that this bathroom was disgusting. Or do you prefer feeling my pain as a disgustingly describe my sheer and utter horror first hand?

title: Words

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

- Is this a book about business ideas?

answer: It couldn't be, as its short and filled with particulars.

answer: No, this is a passage about the importance of words and the importance of using them properly.

answer: - No, the narrator is talking about writing ideas.

answer: - The article appears to be more about writing an semi-successful composition than anything else.

answer: No, this is not a book about business ideas.

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

- Who is the author talking about?

answer: He talks about people who pretend to make changes, but don't.

answer: The author is talking about those who criticize the writing skills of others ignoring the quality of the work.

answer: The author is talking about the dirty public bathroom.

text: This response is incorrect because the question is asking who the author is talking about, not what the author is talking about.

refinement: The author is talking about people and what they want from humor and stories.

answer: - People in general.

answer: The author is describing a public bathroom they encountered.

text: This response is incorrect because this response is describing a what, and not a who.

refinement: The author is describing a variety of people who want different things.

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

- Describe what the narrator is referring to when they say "They are stuck reading greatness that they desperately wish, and swear up and down that they could do it if they wanted."

answer: It can be assumed the narrator is referring to contemporary literature.

text: This response is not the most accurate and should be changed to reflect what is being stated in the passage.

refinement: It can be assumed the narrator is referring to people who have hypocritical stances on what they want and what they will do.

answer: The narrator is referring to people who want something great, but when something great actually happens, they criticize it instead of enjoying it. These people often claim they could have created it themselves if they wanted to, even though they never actually do anything themselves.

answer: - They are referring someone who claims they could do something, but they never try.

answer: The narrator is referring to people who long for fresh, original, and meaningful stories in writing, but whenever someone creates such a piece and they see it, they look down on it and criticize it instead of appreciating the hard work it took to create something with meaning. These people want to be able to create something great themselves, but when someone else does, they cannot accept it. Instead, they criticize rather than admire and build upon what others create.

answer: - The narrator seems angry with most people who expect a lot from writers but are very critical when something original is written.

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

- Why is the narrator giving advice?

answer: The narrator is giving advice because they want people to be more original when communicating. They believe that all great ideas and stories are squandered and brushed aside because people do not take the time to record their ideas in a formal manner. Rather, they use words that are instead watered down and underwhelming. The narrator wants people to use their words to their full potential.

answer: Anyway to pass the time while on the train.

text: This is not a good or accurate response to the question and needs to be re-written.

refinement: The narrator is giving advice in order to state their thoughts about the pressures people put on a writer and how hypocritical people can be when it comes to original work done by an author.

answer: The narrator is giving advice because people want good stories and good writing, but often do not put in the effort to make that happen. Instead, people complain that they could do it if they wanted to. The narrator is urging people to actually put in the effort to create something good, and not to shortchange themselves by neglecting the power of words.

answer: Perhaps because they are a writer.

answer: - They are not, they seem to be frustratingly expressing the difficulty of writing a book.

question: Write a ~1 sentence summary.

answer: The power of words is essential for communicating goods or terrible happenings. Simply stating that something is disgusting doesn't communicate the true horror of it. Use words to describe and tell your story so that others can see and feel the pain too.

text: While this summary is not fully incorrect, it doesn't capture the full essence of what the passage is about and should have some aspects of it re-written.

refinement: The author urges writers to continue writing, despite how critical people are and how they do not understand the pressures of writing original work. The power of words is essential for communicating goods or terrible happenings.

answer: The narrator pens a rant about the complete waste of time of reading stories when people claim they could have done it better.

answer: The text offers advice to writers to write something, even if they hate what they are writing about, because even bad writing has the power to provide readers with a window into a world they don't know.

answer: This author encourages people to take their words seriously, as they can uniquely describe a moment or object in detail. Even though others may find certain descriptions gross or unbelievable, those who actually practice this skill can create something great.

answer: The narrator expresses the difficulty of coming up with the right words to write a good book, considering how most readers are very critical.


text:
The GANGMASTERS (LICENSING) ACT 2004 (c 11) is an Act of the Parliament of the United Kingdom that regulates the agencies that place vulnerable workers in agricultural work, and the shellfish collecting and packing industries (s.3). It is the most recent plank of UK agency worker law. It establishes the Gangmasters Licensing Authority (s.1), which requires that all such agencies have a licence before they operate, and adhere to proper labour practice standards. Most of its provisions came into effect after 2005.[1] The immediate cause of the legislation was the 2004 Morecambe Bay cockling disaster, where 21 Chinese immigrant labourers were left to drown by their employers (the racketeers were subsequently convicted of manslaughter, and some deported back to China) off the coast of Lancashire as the tide swept in around them.

The Gangmasters Licensing Act was based on a voluntary project, the UK Temporary Labour Working Group 1, carried out by companies in conjunction with trade unions through the Ethical Trading Initiative. The project provided a working model for how a licensing scheme could work, and also meant that ETI-member companies, including major UK supermarkets, lobbied for the new law.

Licensing

Before 1994, all such agencies were required to be registered under the Employment Agencies Act 1973. However, the Deregulation and Contracting Out Act 1994, a wide-ranging measure designed to trim government, removed this requirement. The 2004 Act requires licences for any business involved in labour placement in the agricultural and shellfish sectors (s.7) and they are contingent on the rules that the Secretary of State lays down (s.8), found in the Gangmasters (Licensing Conditions) 2006.[2]

To obtain a licence, the rules require payment of a fee linked to the agency's turnover (r.7) ranging between £250 and £4000 for businesses turning over under £1m to over £10m respectively. Agencies also have to pay for inspections of their work environment in order to obtain licensing approval (r.8). Based on turnover in the same way, the fees range from £1,600 to £2,500.

Charging fees to labourers directly is prohibited by Schedule r.4(10)(2) and by the Employment Agencies Act 1973 s.6. The rules make the end-user the only one allowed to pay the worker (r.6), restrict the agency's power to contract with the end-user to prevent the worker taking up permanent employment (r.7), prohibit the practice of withholding pay from labourers as a sanction (r.8), require the agency to provide the end-user with a document containing the terms of the agreement on fees, and what to do if the worker is unsatisfactory (r.11); they also prevent gangmasters giving each other workers unless the worker has properly consented (r.16), and require keeping of records for each worker (r.19).

The agency must give the labourer information about his legal rights (r.15). The status of such rights is uncertain, but it would appear that under s.230 of the Employment Rights Act 1996 a worker will be considered the employee of the end-user.[3] Certainly every worker must be paid the minimum wage, receive holiday pay, and must not be subject to discrimination.

Enforcement

The 2004 Act creates a number of offences with heavy penalties. Under s.12(4) offenders can face 10 years imprisonment for operating without a licence. Under s.13, people who deal with unlicensed gangmasters can face 51 weeks jail, unless they can show they took all reasonable steps to establish that the gangmasters were licensed.

Section 29 - Commencement and transitional provision

The following orders have been made under this section:

-   The Gangmasters (Licensing) Act 2004 (Commencement No. 1) Order 2004 (S.I. 2004/2857 (C. 119))
-   The Gangmasters (Licensing) Act 2004 (Commencement No. 2) Order 2005 (S.I. 2005/447 (C. 21))
-   The Gangmasters (Licensing) Act 2004 (Commencement No. 3) Order 2006 (S.I. 2006/2406 (C. 85))
-   The Gangmasters (Licensing) Act 2004 (Commencement No. 4) Order 2006 (S.I. 2006/2906 (C. 101))
-   The Gangmasters (Licensing) Act 2004 (Commencement No. 5) Order 2007 (S.I. 2007/695 (C. 29))

[1] see the variety of Orders by the Secretary of State, such as the Gangmasters (Licensing) Act 2004 (Commencement No. 5) Order 2007]

[2]

[3] see _Dacas v Brook Street Bureau (UK) plc_ [2004] IRLR 538

title: Gangmasters (Licensing) Act 2004

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

What does the Gangmasters Liscensing Act of 2004 regulate?

answer: The agencies that place vulnerable workers in agricultural work and shellfish collecting and packing industries.

answer: The Act regulates the shellfish collecting and packing industries. It requires such industries to have a license. This is to ensure that they conform to proper labor standards.

answer: The Gangmasters Liscensing Act of 2004 regulates the agencies that place vulnerable workers in agricultural work and in the shellfish collecting and packing industries. The purpose of the Act is to establish and enforce minimum labour practice standards.

answer: The Act regulates the agencies that place vulnerable workers in agricultural work, and the shellfish collecting and packing industries.

answer: The Gangmasters Licensing Act regulates agencies in the agricultural and shellfish industries that place vulnerable workers. It sets out licensing requirements and penalties for unlicensed agencies. The Act also outlines workers' rights and sets out rules for implementation.

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

What was the immediate cause of the legislation?

answer: The 2004 Morecambe Bay cockling disaster.

answer: In the 2004 Morecambe Bay cockling disaster, 21 Chinese immigrant laborers were left to drown by their employers. This was off the coast of Lancashire as the tide swept around them. This provoked action in conjunction with trade unions through the Ethical Trading Initiative.

answer: The 2004 Morecambe Bay cockling disaster, where 21 Chinese immigrant laborers were left to drown.

answer: The legislation was created in response to the 2004 Morecambe Bay cockling tragedy, where 21 Chinese immigrant labourers were left to drown by their employers.

answer: The legislation was created in response to the 2004 Morecambe Bay cockling disaster in which 21 Chinese immigrant laborers were left to drown.

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

Why did this event in 2004 occur?

answer: The Gangmasters Licensing Act was created as a reaction to a tragic event in 2004 where 21 Chinese labourers were left to drown. The law imposes licensing requirements that prevent racketeers from endangering other workers while they are in the agricultural and shellfish industries. The law also increases protections for these workers by enforcing minimum wage requirements, holidays and making discrimination illegal.

answer: 72 Chinese immigrant laborers were left to drown by their employers in the incident 2004 Morecambe Bay cockling disaster. Their employers were later convicted of manslaughter and deported back to China.

text: This is the wrong figure-it was 21 laborers, not seventy-two.

refinement: Twenty-one Chinese immigrant laborers were left to drown by their employers in the incident 2004 Morecambe Bay cockling disaster. Their employers were later convicted of manslaughter and deported back to China.

answer: Such agencies had previously been required to register under the Employment Agencies Act of 1973. However, the Deregulation and Contracting Out Act of 1994 removed this requirement. Thus the new act of 2004 simply adds the requirement back in.

answer: The Gangmasters Licensing Act 2004 was created in response to the 2004 Morecambe Bay cockling disaster where 21 Chinese immigrant labourers were left to drown by their employers. The Act establishes licensing for all agencies involved in labour placement in agricultural and shellfish industries, and sets out labour practices standards which must be followed. The Act was sponsored by ETI-member companies, including major UK supermarkets, and encourages compliance through strict punishments for non-compliance.

answer: The 2004 event's main cause was for a new law to be passed about these agencies. The new law would regulate these agencies to have a proper labor practice. There would be punishments for people who were operating without a license.

text: The first sentence is nonsensical and does not explain what catalyzed the need for legislation.

refinement: The event that precipitated this law was the 2004 Morecambe Bay cockling disaster, which resulted in the deaths of 21 Chinese laborers. The new law would regulate these agencies to have a proper labor practice. There would be punishments for people who were operating without a license.

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

What penalties does the 2004 Act create?

answer: The Act created a number of offences with heavy penalties, such as operating without a license, that can result in 10 years imprisonment.

answer: The Gangmasters Licensing Act creates a number of offenses with heavy penalties, such as 10 year imprisonment for operating without a license. Additionally, people who deal with unlicensed gangmasters can face 51 weeks jail unless they can show they took all reasonable steps to establish that the gangmasters were licensed.

answer: Some offenders can face 10 years imprisonment for operating without a license. People who deal with unlicensed gangmasters can face 51 weeks jail, unless they can show they took reasonable steps to establish that the gangmasters were licensed.

answer: Under section 12(4), offenders can face 10 years imprisonment for operating without a license. Under section 13, people who deal with unlicensed gangmasters can face 51 weeks jail, unless they can show they took all reasonable steps to ensure the gangmasters were licensed

answer: The Gangmasters Licensing Act creates a number of offences with potential sentences of up to 10 years imprisonment for operating without a licence and up to 51 weeks jail for dealing with unlicensed gangmasters. In addition, agencies must provide labourers with information about their legal rights.


text:
[sidney lumet essentials-feature-retrospective]

_It has been a year since Sidney Lumet passed away on April 9, 2011. Here is our retrospective on the legendary filmmaker to honor his memory. Originally published April 15, 2011._

Almost a week after the fact, we, like everyone that loves film, are still mourning the passing of the great American master Sidney Lumet, one of the true titans of cinema.

Lumet was never fancy. He never needed to be, as a master of blocking, economic camera movements and framing that empowered the emotion and or exact punctuation of a particular scene. First and foremost, as you’ve likely heard ad nauseum — but hell, it’s true — Lumet was a storyteller, and one that preferred his beloved New York to soundstages (though let’s not romanticize it too much, he _did_ his fair share of work on studio film sets too as most TV journeyman and early studio filmmakers did).

His directing career stretched well over 50 years, from theater and live television to embracing digital video with his final film, 2007’s outstanding “Before the Devil Knows You’re Dead.” Across that time, Lumet was nominated for five Oscars including four for directing (“12 Angry Men,” “Dog Day Afternoon,” “Network,” “The Verdict”) and one for adapted screenwriting (“Prince of the City”), but astonishingly, never won. Although he was given a Honorary Academy Award in 2005, as Spike Lee (the influence on whom from Lumet can be felt in every picture) tweeted on hearing the news, “Sidney was Nominated 5 Times for Best Director and was ROBBED. Eventually he got an Oscar for Lifetime Achievement. They always do that Shit.”

We’re not going to sugarcoat it — not every film was a stone-cold classic. There are bad films on this list, and even worse ones that we couldn’t bear ourselves to write about — the nadir being a Rebecca DeMornay/Don Johnson potboiler, “Guilty As Sin.” But Lumet was a pragmatist, as he wrote in his 1995 book “Making Movies” (a _must-read_ for anyone who’s serious about directing film), “I’ve done two movies because I needed the money. I’ve done three because I love to work and couldn’t wait anymore. Because I’m a professional, I worked as hard on those movies as on any I’ve done.” And, across his career, the good far, far outweighs the bad, and he got to go out on top with the gripping 2007 picture, “Before The Devil Knows You’re Dead” which seemed to demonstrate every trait that cinephiles loved about Lumet’s steady and mature hand.

Over and above anything else, Lumet loved film, dedicating his erudite, moving Oscar acceptance speech to his peers and the medium, saying “I’d like to thank the movies. I know that sounds general, but it’s very real to me. I’ve got the best job, in the best profession in the world, and I just want to thank all of it.” As Martin Scorsese put it with Lumet’s passing comes, “an end of an era.” He will be immensely missed, but his venerable body of work will endure.

Below, The Playlist team have assembled a selection from that titanic career. With close to 100 screen directing credits, when including his vast body of TV work, it feels like we’ve barely scratched the surface — but, while we happily could have spent months on this, time and space didn’t allow it. Hopefully, we’ve managed to cover the most significant pictures. And what better way to pay tribute to the man than by sitting down with one over the weekend?

[]“12 Angry Men” (1957)
It’s a start that few directors have had: after a half-decade or so directing TV, Lumet got his chance at a full-length feature film and turned in a classic. A gripping, brilliant human drama that espouses the highest of ideals, “12 Angry Men” also set out the stall for many of Lumet’s recurring preoccupations: guilt, innocence, prejudice, liberalism, the justice system, and the role of the individual. The staginess of the film’s main setting (it featured prominently in our feature about single location films), its roots as a teleplay and the fact that, well, it’s about 12 men arguing with no car chases, no gangsters and no sex to liven things up, add up to a film that on paper has all the ingredients of an unappetizing, if possibly nourishing, meal. Instead it’s a banquet of masterful performances (particularly from Henry Fonda, who, notoriously self-critical, believed it one of his three best), taut, smart screenwriting and razor-sharp editing, displaying a master’s grasp of pacing. While some of the details of the plot are a little outdated now, that hardly detracts from the keenly observed mechanics of power, persuasion and manipulation on display. But what’s perhaps most surprising about such a smart film, is that it never mistakes cynicism for intelligence. Its ultimate conclusions — that ideals are worth fighting for, that one man can make a difference and that even the worst of people can be gently prodded towards decency — are quietly devastating in their humanism and positivity, but are entirely earned and entirely the opposite of trite. “12 Angry Men” is everything a thinking person’s film should be, and only the first example of the kind of intelligent, restrained, grown-up filmmaking that Lumet would go on to bring us many more times over his long career. In the whispered words of Fonda himself at a screening of an early cut, “Sidney, it’s magnificent.” [A]

[]“The Fugitive Kind” (1960)
Since it’s the only SIDNEY LUMET film on the CRITERION COLLECTION and it stars the great Marlon Brando, it must be his best film, right? While semi-compelling and well-acted on the themes of loneliness and human misconnection, mmm, not quite. Based on Tennessee Williams’ 1957 play “Orpheus Descending” (he co-wrote the screenplay with Meade Roberts), this Southern Gothic tale centers on a snakeskin jacket-wearing drifter/musician (Brando) who finds trouble when he wanders into a nameless Mississippi town. And like a few of Williams’ lesser film adaptations there’s lots of sweaty passion, unrequited desires and tempestuous melodrama, but the narratives tend to get a little rudderless. Brando’s thrown in jail early on and tries to get out of this two-bit town, but soon becomes involved with two different sorts of helpless women; the alcoholic wild child (Joanne Woodward) and the embittered wife of a dying shoe salesman who he eventually starts to work for (Anna Magnani). Both of these women provide their conflicts, but only the latter feels integral to the story. As critic JONATHAN ROSENBAUM observed, Lumet feels out of his East Coast element in this picture and despite the ace credentials of the principals, this disappointing effort doesn’t ever really gel. [C+]

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

For what is Sidney Lumet remembered?

answer: He was a filmmaker.

text: It's omitted that Lumet is referred to as legendary with a career that spans 5 decades and as one of the true titans of cinema.

refinement: He was a legendary filmmaker with a career that spanned 5 decades and is described as one of the true titans of cinema.

text: It's omitted that despite being nominated five times, Lumet never won an Oscar for Best Director and only won a lifetime achievement award.

refinement: He was a legendary filmmaker with a career that spanned 5 decades and is described as one of the true titans of cinema. Despite being nominated five times, Lumet never won an Oscar for Best Director and only won a lifetime achievement award.

answer: Sidney Lumet is remembered as a director of human dramas and films about everyday struggles. He was also known for his work in Southern Gothic tales.

text: While it may be so that Lumet directed human dramas and a Southern Gothic tale, the text does not describe him as attached to these genres. It would be better to omit.

refinement: Sidney Lumet is remembered as a director

text: It's omitted that Lumet is referred to as legendary with a career that spans 5 decades and as one of the true titans of cinema.

refinement: Sidney Lumet is remembered as a legendary director with a career that spans 5 decades and as one of the true titans of cinema.

text: It's omitted that despite being nominated five times, Lumet never won an Oscar for Best Director and only won a lifetime achievement award.

refinement: Sidney Lumet is remembered as a legendary director with a career that spans 5 decades and as one of the true titans of cinema. Despite being nominated five times, Lumet never won an Oscar for Best Director and only won a lifetime achievement award.

answer: Sidney Lumet was a filmmaker and one of cinema's true titans. He was a storyteller with a career that spanned more than 5 decades. His career spanned theater, television, and digital video. He was awarded an Oscar for Lifetime Achievement but despite being nominated five times for an Oscar, he never took one home.

answer: Sidney Lumet is remembered primarily for classic films such as "12 Angry Men" and The Fugitive Kind.

text: This doesn't describe what Lumet is truly remembered for. Specify that Lumet is a legendary American filmmaker whose career spanned over 50 years, and one of the true titans of cinema

refinement: Sidney Lumet is remembered as a legendary American filmmaker whose career spanned over 50 years, and one of the true titans of cinema. He is remembered primarily for classic films such as "12 Angry Men" and The Fugitive Kind.

text: It's omitted that despite being nominated five times, Lumet never won an Oscar and only won a lifetime achievement award.

refinement: Sidney Lumet is remembered as a legendary American filmmaker, and one of the true titans of cinema. He is remembered primarily for classic films such as "12 Angry Men" and The Fugitive Kind. Despite being nominated five times, Lumet never won an Oscar for Best Director and only won a lifetime achievement award.

text: This should have quotes around this for consistency.

refinement: Sidney Lumet is remembered as a legendary American filmmaker, and one of the true titans of cinema. He is remembered primarily for classic films such as "12 Angry Men" and "The Fugitive Kind". Despite being nominated five times, Lumet never won an Oscar and only won a lifetime achievement award.

answer: He was a master of blocking, economic camera movements, and framing that empowered the emotion and or exact punctuation of a particular scene. He was a storyteller and he wanted his stories to be seen in the mother tongue of film-in a theatre.

text: This doesn't describe what Lumet is truly remembered for. Specify that Lumet is a legendary American filmmaker whose career spanned over 50 years, and one of the true titans of cinema

refinement: Lumet is remembered as a legendary American filmmaker whose career spanned over 50 years, and one of the true titans of cinema  He was a master of blocking, economic camera movements, and framing that empowered the emotion and or exact punctuation of a particular scene. He was a storyteller and he wanted his stories to be seen in the mother tongue of film-in a theatre.

text: This is not said in the text and should be omitted.

refinement: Lumet is remembered as a legendary American filmmaker whose career spanned over 50 years, and one of the true titans of cinema  He was a master of blocking, economic camera movements, and framing that empowered the emotion and or exact punctuation of a particular scene. He was a storyteller.

text: It's omitted that despite being nominated five times, Lumet never won an Oscar and only won a lifetime achievement award.

refinement: Lumet is remembered as a legendary American filmmaker whose career spanned over 50 years, and one of the true titans of cinema  He was a master of blocking, economic camera movements, and framing that empowered the emotion and or exact punctuation of a particular scene. He was a storyteller and despite being nominated five times, Lumet never won an Oscar for Best Director and only won a lifetime achievement award.


text:
I was lying on my bed, far too tired to actually get into a comfortable position so I just lay there and began to drift off.
When suddenly, there was a darkness. I immediately knew that I was no longer awake. Still, I stayed in this state of mind.
I was laying there, arms hanging off my bed, head slouching in this dream world that took place in my room.
The darkness began to engulf my room. Beginning with the far corner opposite of the door.
My bed, where I was laying, was in the middle of room. As I quickly noticed that the darkness would soon snatch me, I lazily, though rather quickly, got up and ran for my parents room.
Once there, I noticed my mother was sleeping on the bed. I went to lie next to her. I felt a warmth, as only a mother could provide in such a time.
Suddenly, her touch turned from warm to spine-chilling. It was the darkness!
At this point, the darkness began to scare the living hell out of me, so at that moment, I gathered all the power I could and forced myself awake!
And as I woke up, I knew that I was once again safe from the darkness.

title: I'm very new to writing. This is actually something I wrote in about 5 minutes. The Darkness.

question: Why did the narrator force themself awake?

answer: The narrator forced themselves awake because they were scared of the darkness.

text: Darkness was actively engulfing them.

refinement: The narrator forced themselves awake because they were scared of the darkness that was engulfing them.

answer: The darkness was scary.

text: Darkness was actively engulfing them.

refinement: The darkness that was engulfing them was scary.

answer: The darkness that began to engulf his room began to scare the narrator.

answer: The narrator forced themselves awake because they were terrified of the darkness that was encroaching on them. They knew that if they stayed in the dream world any longer, they would be consumed by the darkness.

question: Why couldn't the narrator get into a comfortable position in bed?

answer: The narrator was too tired to get comfortable in bed, likely because they were drifting off to sleep. This meant that they were vulnerable to the darkness that suddenly appeared in their room, and they were forced to run to their parents' room for safety.

answer: The narrator was too tired.

answer: The narrator was far too tired.

answer: The narrator was too tired to get into a comfortable position in bed.

question: When did the narrator begin to feel safe again from the darkness?

answer: As the narrator woke up.

answer: The narrator felt safe again from the darkness when they woke up from the dream.

answer: When he woke up.

answer: The narrator began to feel safe again from the darkness when he woke up.

question: Why did the narrator run to their parent's room?

answer: The narrator was scared of the darkness.

answer: The narrator ran to their parent's room because they were afraid of the darkness that was engulfing their room. They felt safer next to their mother, but when she turned cold, they woke up.

answer: The narrator ran to their parent's room because they were scared of the darkness.

text: Doesn't mention the active engulfing of the darkness.

refinement: The narrator ran to their parent's room because they were scared of the darkness that was engulfing them.

answer: Narrator noticed that the darkness would soon snatch them.

question: Write a ~2 sentence summary.

answer: The narrator is lying in bed, drifting off to sleep, when the darkness comes. The narrator runs to their mother's room, but the darkness is there, and the narrator wakes up.

text: Doesn't mention the engulfing nature of the darkness.

refinement: The narrator is lying in bed, drifting off to sleep, when the darkness begins engulfing them. The narrator runs to their mother's room, but the darkness is there, and the narrator wakes up.

text: Doesn't mention the mother turning cold as the darkness takes over her.

refinement: The narrator is lying in bed, drifting off to sleep, when the darkness begins engulfing them. The narrator runs to their mother's room, but the darkness is there, engulfing her turning her cold, and the narrator wakes up.

answer: The author is lying in bed and begins to drift off. Suddenly, the darkness comes and the author runs to their parents room. The darkness is trying to get the author, but the author wakes up.

text: Doesn't mention the engulfing nature of the darkness.

refinement: The author is lying in bed and begins to drift off. Suddenly, the darkness comes, engulfing the room, and the author runs to their parents room. The darkness is trying to get the author, but the author wakes up.

text: Doesn't mention the mother's warmth turning cold as the darkness takes over her.

refinement: The author is lying in bed and begins to drift off. Suddenly, the darkness comes, engulfing the room, and the author runs to their parents room. The darkness turns their mother's warmth to cold as it takes over, but the author wakes up.

answer: The narrator lays in bed trying to get comfortable but as they drift off, the darkness begins to engulf the room. The narrator gets scared and forces himself awake to feel safe.

text: Doesn't mention running to their mother's room.

refinement: The narrator lays in bed trying to get comfortable but as they drift off, the darkness begins to engulf the room. The narrator gets scared and runs to their mother's room they force themselves awake to feel safe.

text: Doesn't mention the mother's warmth turning cold

refinement: The narrator lays in bed trying to get comfortable but as they drift off, the darkness begins to engulf the room. The narrator gets scared and runs to their mother's  room where they feel her warmth turn cold due to the darkness and forces themselves awake to feel safe.

answer: The author describes a dream in which they are overcome by darkness, but are saved by their mother. They wake up from the dream feeling safe.

text: Their mother wasn't able to save them, she was overcome by darkness, too.

refinement: The author describes a dream in which they are overcome by darkness, and even running to their mother's room was no help as she was overcome by cold darkness. They wake up from the dream feeling safe.