text:
The CHURCH OF ST JAMES in Winscombe, Somerset, England, has 12th- or 13th-century origins but the present building dates from the 15th century. It is a Grade I listed building.[1][2]

There are no records remaining of the Norman church on the site, though the font and a single lancet window date from the period, and a Deed of Gift survives confirming that the church was consecrated by Bishop Jocelin on 26 August 1236. It was given by him to the Dean and Chapter of Wells Cathedral three years later.[3] The four-stage tower (“one of the most elegant” in Somerset[4]) was added around 1435,[5][6] by Bishop John Harewell, and at the same time stained glass was added.[7]

The church was restored and a new chancel added in 1863.[8] The rebuilding of the chancel was undertaken by William Burges.[9] He was commissioned by the Reverend John Augustus Yatman, whose brother had been Burges's main client for painted furniture.[10] Burges and his team, including Fred Weekes and Gualbert Saunders, also undertook the design of three stained-glass lancet windows in the chancel, in memory of Yatman's mother.[11] Pevsner appreciated their quality, “much better aesthetically is the glass in the chancel,”[12] but erroneously attributes them as “one of the best examples of Morris glass in existence and quite unrecorded.”[13] The Carsleigh Window in the north wall of the chancel () is decorated with silver stain, “marking the close of the Middle Ages and the arrival of the Renaissance”. There is medieval glass in the two windows in the north wall of the side chapel, and in the window next to the organ.[14]

The bells of St James have long called people to worship, the original bells being cast in 1773 by local founders the Bilbie family.[15] Two newer bells were added in 1903 by Taylors Founders. The eight bells are in the key of E flat and the tenor weighs 18–1–8 (18 hundredweight, 1 quarter of a hundredweight and 8 lb, or 930 kg). St James holds regular services on Sundays, with bell ringing being provided for both the morning service and evensong.

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[6] Chambers (church guide) states that the tower was built “in the late 1300s”.

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[14]

[15]

title: Church of St James, Winscombe

question: Where is the church?

answer: The church is in Winscombe.

text: The country in which Winscombe is found should probably be noted in case there are multiple places by that name.

text: "The CHURCH OF ST JAMES in Winscombe, Somerset, England..."

answer: The church is in Winscombe, Somerset, England.

answer: Winscombe, Somerset, England

text: The answer is missing a period.

question: When was the current church building constructed?

answer: In the 15th century

text: The sentence is missing a period.

text: "...the present building dates from the 15th century."

answer: The current church building was constructed in the 15th century.

text: Repeating the words "the current church building" from the question is probably unnecessary.

text: "...the present building dates from the 15th century."

answer: According to the passage, the current church building was constructed in the 15th century.

text: The answer doesn't require the first 4 words of the sentence and is just as clear without it.

refinement: The current church building was constructed in the 15th century.

text: Repeating the words "the current church building" from the question is probably unnecessary.

text: "...the present building dates from the 15th century."

question: What happened to the church in 1863?

answer: It was restored and a new chancel was added

text: The sentence is missing a period.

refinement: It was restored and a new chancel was added.

text: "The church was restored and a new chancel added in 1863."

answer: A new chancel was added.

text: The answer does not reflect that the church was also restored that year.

refinement: It was restored and a new chancel was added.

text: "...a new chancel added in 1863."

answer: The church was restored and a new chancel, built by William Burges, was added.

text: Adding the detail of William Burges creates more problems, like not mentioning the names of his team members who also worked on the project. It is probably best to leave his name out.

refinement: The church was restored and a new chancel was added.

text: "The church was restored and a new chancel added in 1863.[8] The rebuilding of the chancel was undertaken by William Burges."

question: What happened to the church in 1903?

answer: Two new bells were added by Taylors Founders

text: There is a missing period at the end of the sentence.

refinement: Two new bells were added by Taylors Founders.

text: "Two newer bells were added in 1903 by Taylors Founders."

answer: New bells were added to the church.

text: It's possible that a reader could think the "new bells" indicate that all of the church bells were added at the same time.

text: "Two newer bells were added in 1903 by Taylors Founders."

answer: Two new bells were added.

text: "Two newer bells were added in 1903 by Taylors Founders."

question: Write a ~4 sentence summary.

answer: The Church of St. James was built around 1236 in England. Although there is no record of what it looked like in the 12th or 13th century, there is a Deed of Gift confirming it was consecrated on August 26, 1236. Bishop Jocelin of Wells Cathedral gave it to the Dean and Chapter of Wells Cathedral three years later. It was rebuilt in 1863.

text: "...there is no record of what it looked like in the 12th or 13th century" may be wrong/misleading since the source text says "The four-stage tower (“one of the most elegant” in Somerset) was added around 1435," which seems to assume that there was already at least part of the church structure remaining from previous centuries.

refinement: The Church of St. James was built around 1236 in England. Although there is no record of exactly what it looked like originally, there is a Deed of Gift confirming it was consecrated on August 26, 1236. Bishop Jocelin of Wells Cathedral gave it to the Dean and Chapter of Wells Cathedral three years later. It was rebuilt in 1863.

text: The source text doesn't call Bishop Jocelin "Bishop Jocelin of Wells Cathedral." Rather, it states that he gifted the church to the Dean and Chapter of Wells Cathedral ("It was given by him to the Dean and Chapter of Wells Cathedral three years later").

refinement: The Church of St. James was built around 1236 in England. Although there is no record of exactly what it looked like originally, there is a Deed of Gift confirming it was consecrated on August 26, 1236. Bishop Jocelin gave it to the Dean and Chapter of Wells Cathedral three years later. It was rebuilt in 1863.

text: Saying "It was rebuilt in 1863" is misleading because it implies the whole church may have been rebuilt but the source text says "The church was restored and a new chancel added in 1863."

refinement: The Church of St. James was built around 1236 in England. Although there is no record of exactly what it looked like originally, there is a Deed of Gift confirming it was consecrated on August 26, 1236. Bishop Jocelin gave it to the Dean and Chapter of Wells Cathedral three years later. It was restored in 1863.

text: The last sentence of the answer, "It was rebuilt in 1863," could mislead readers into thinking the church has not been kept up, which the source text strongly implies: "St James holds regular services on Sundays, with bell ringing being provided for both the morning service and evensong."

refinement: The Church of St. James was built around 1236 in England. Although there is no record of exactly what it looked like originally, there is a Deed of Gift confirming it was consecrated on August 26, 1236. Bishop Jocelin gave it to the Dean and Chapter of Wells Cathedral three years later. It was restored in 1863 and still holds regular Sunday services.

text: "The CHURCH OF ST JAMES in Winscombe, Somerset, England, has 12th- or 13th-century origins" is evidence for it being built "around 1236," as well as "...a Deed of Gift survives confirming that the church was consecrated by Bishop Jocelin on 26 August 1236."

text: "The CHURCH OF ST JAMES in Winscombe, Somerset, England..." is evidence for "...in England."

text: "...the church was consecrated by Bishop Jocelin on 26 August 1236. It was given by him to the Dean..." is evidence for "...Bishop Jocelin...gave it to the Dean and Chapter of Wells Cathedral..."

answer: The Church of St. James in Winscombe, England, has 12th- or 13th-century origins. It was built in the 16th century with the addition of a tower. A new chancel was added in 1863, followed by painted stained glass in 1909 to commemorate the church's main supporter, who commissioned the work from architect William Burges. In 1932, the chancel was enlarged again and the two newest bells of the church were added in 2003.

text: The church was not built in the 16th century. See "...the present building dates from the 15th century."

refinement: The Church of St. James in Winscombe, England, has 12th- or 13th-century origins. The present building was built in the 15th century with the addition of a tower. A new chancel was added in 1863, followed by painted stained glass in 1909 to commemorate the church's main supporter, who commissioned the work from architect William Burges. In 1932, the chancel was enlarged again and the two newest bells of the church were added in 2003.

text: Stained glass was not painted or added in 1909 but followed sometime after the building of the new chancel in 1863. "Burges and his team, including Fred Weekes and Gualbert Saunders, also undertook the design of three stained-glass lancet windows in the chancel, in memory of Yatman's mother."

refinement: The Church of St. James in Winscombe, England, has 12th- or 13th-century origins. The present building was built in the 15th century with the addition of a tower. A new chancel was added in 1863, followed by some stained glass to commemorate the church's main supporter, who commissioned the work from architect William Burges. In 1932, the chancel was enlarged again and the two newest bells of the church were added in 2003.

text: The new chancel wasn't added to commemorate the church's main supporter. In fact, it seems to be the commissioned artist (Burges) who was being supported by the endeavor. "He was commissioned by the Reverend John Augustus Yatman, whose brother had been Burges's main client for painted furniture."

refinement: The Church of St. James in Winscombe, England, has 12th- or 13th-century origins. The present building was built in the 15th century with the addition of a tower. A new chancel was added in 1863, followed by stained glass designed by the team of architect William Burges. In 1932, the chancel was enlarged again and the two newest bells of the church were added in 2003.

text: Nothing was done in 1932 in the original article so the chancel was not enlarged at that time, nor were any bells added. "Two newer bells were added in 1903 by Taylors Founders."

refinement: The Church of St. James in Winscombe, England, has 12th- or 13th-century origins. The present building was built in the 15th century with the addition of a tower. A new chancel was added in 1863, followed by stained glass designed by the team of architect William Burges. In 1903, the two newest bells of the church were added by Taylors Founders.

text: The first sentence is corroborated by "The CHURCH OF ST JAMES in Winscombe, Somerset, England, has 12th- or 13th-century origins..."

text: "A new chancel was added in 1863" is corroborated by "The church was restored and a new chancel added in 1863."

answer: The Church of St James in Winscombe, Somerset, UK is a Grade I-listed building with 12th- or 13th-century origins. The Norman church on the site went missing, but the font and a lanced window remain from the period. The church's tower is also included in the list - it was built around 1435. The church offers regular services on Sundays.

text: The Norman church on the site did not go "missing" but "There are no records remaining of the Norman church on the site..."

refinement: The Church of St James in Winscombe, Somerset, UK is a Grade I-listed building with 12th- or 13th-century origins. There are no remaining records of the Norman church on the site, but the font and a lanced window remain from the period. The church's tower is also included in the list - it was built around 1435. The church offers regular services on Sundays.

text: Since this is a summary, saying there is a "list" is weird since it isn't offered in the summary - or the original text.

refinement: The Church of St James in Winscombe, Somerset, UK is a Grade I-listed building with 12th- or 13th-century origins. There are no remaining records of the Norman church on the site, but the font and a lanced window remain from the period. The church's 4-stage tower was built around 1435. The church offers regular services on Sundays.

text: Not mentioning subsequent updates to the building might lead readers to believe the last update was done in 1435.

refinement: The Church of St James in Winscombe, Somerset, UK is a Grade I-listed building with 12th- or 13th-century origins. There are no remaining records of the Norman church on the site, but the font and a lanced window remain from the period. The church's 4-stage tower was built around 1435, and the chancel and bells have been restored and updated since then. The church offers regular services on Sundays.

text: The first sentence is corroborated by "The Church of St James in Winscombe, Somerset, UK is a Grade I-listed building with 12th- or 13th-century origins."

text: The second sentence is partially corroborated by "There are no records remaining of the Norman church on the site, though the font and a single lancet window date from the period..."

text: The third sentence is corroborated by "...the four-stage tower (“one of the most elegant” in Somerset) was added around 1435..."

text: The fourth sentence is corroborated by "St James holds regular services on Sundays, with bell ringing being provided for both the morning service and evensong."

answer: The Church of St. James is a church in Wincombe, Somerset, England. The building dates to the 15th century, but the church's origins are from the 12th or 13th. It has been restored and added to since then, and today it is a Grade I listed building. It still hosts regular services on Sundays.

answer: The Church of St James in Winscombe, Somerset, England has 12th- or 13th-century origins, but the present building dates from the 15th century. The Grade I listed church has undergone several renovations over the centuries. Most recently, its chancel was rebuilt by architect William Burges in the 1860s.

text: The last sentence ("Most recently, its chancel was rebuilt by architect William Burges in the 1860s") may be misleading since the text mentions bells being added after the 1860s.

refinement: The Church of St James in Winscombe, Somerset, England has 12th- or 13th-century origins, but the present building dates from the 15th century. The Grade I listed church has undergone several renovations over the centuries. Its chancel was rebuilt by architect William Burges in the 1860s.

text: The summary is 3 sentences instead of 4.

refinement: The Church of St James in Winscombe, Somerset, England has 12th- or 13th-century origins, but the present building dates from the 15th century. The Grade I listed church has undergone several renovations over the centuries. Its chancel was rebuilt by architect William Burges in the 1860s. The church still regularly holds Sunday services.

answer: The Church of St. james in Winscombe, Somerset, England, has its origins from the 12th or 13th century, but the present structure dates from the 15th century. Its stained glass, bells, and intricate architecture make the church unique. The majority of early records about the church have been lost, but its restoration in 1863 by William Burges is an important visitation to observe.

text: "James" should be capitalized (proper name).

refinement: The Church of St. James in Winscombe, Somerset, England, has its origins from the 12th or 13th century, but the present structure dates from the 15th century. Its stained glass, bells, and intricate architecture make the church unique. The majority of early records about the church have been lost, but its restoration in 1863 by William Burges is an important visitation to observe.

text: The words "important visitation to observe" are abnormal.

refinement: The Church of St. James in Winscombe, Somerset, England, has its origins from the 12th or 13th century, but the present structure dates from the 15th century. Its stained glass, bells, and intricate architecture make the church unique. The majority of early records about the church have been lost, but its restoration in 1863 by William Burges was its most notable update since the church was built.

text: The summary is only three sentences and should be four.

refinement: The Church of St. James in Winscombe, Somerset, England, has its origins from the 12th or 13th century, but the present structure dates from the 15th century. Its stained glass, bells, and intricate architecture make the church unique. The majority of early records about the church have been lost, but its restoration in 1863 by William Burges was its most notable update since the church was built. It still has regular services on Sundays.

text: The first sentence is corroborated by "The CHURCH OF ST JAMES in Winscombe, Somerset, England, has 12th- or 13th-century origins but the present building dates from the 15th century."

text: The last sentence is corroborated by "There are no records remaining of the Norman church on the site" and "The church was restored and a new chancel added in 1863. The rebuilding of the chancel was undertaken by William Burges."


split: train

text:
     It's funny how people act in the coffee rooms at funeral homes. They're all sad or they act sad out of respect. They all drink coffee and eat the cookies that they put out on the table, and they talk about how the body looks for a while, then they start talking about politics or the weather or some damn boring thing. It happens at every viewing I've ever been to. I even do it. I sat there the other night at my great aunts viewing and I nodded my head when people talked about how natural she looked and all that, and I ate three big cookie, then I looked down at my gut and was disgusted because I'm a damn glutton.
	Anyways, two things happened when we all left the funeral home: the first thing was I offered to be a pallbearer. It was my great aunt Margret's viewing, like I said, and my grandma said that me or my brother ought to be pallbearers. My brother's real nervous about some things, one of them is being around dead people. He was afraid he'd drop the casket or something, so I offered to do it, but Margret's niece said no. She told my grandma later that the reason she said no was because I looked like a clown because of my hair. I have long shaggy hair that I dye blood red.
     The second thing is that I noticed the damn Christmas tree in the corner near the door in the lobby -- it's getting close to Christmas now. It was tall and green and decorated in bright white lights and silver tinsel and big red bulbs with the names of all the dead people who were shown there that year written on them with permanent marker. I saw Margret's name in the center.
	I thought it was sort of strange, decorating the tree with the dead. I think that funeral homes are strange altogether. When you die everybody you ever met practically comes and cries and get all sad at the site of your leftover meat.
	When I got back home I started over to my friend Darren's house.
	Darren and I have went to school together since fourth grade, but we just started hanging out this year because we've always ran with different crowds. His friends are the kind of guys that wear gym shorts all year long and lust after Air Jordans and Beats Headphones and try to punk out everybody so they can feel tough. Plus, we've never had any classes together or anything until this year, but Darren's probably my favorite friend.
      The only problem with us hanging out is that he smokes a lot of weed and he's got me smoking a lot too. Last weekend we blew fifteen bucks on weed, smoked it all and stayed up until four listening to The Beatles.
	He's never listened to much music outside of rap, so I've been trying to show him some good stuff. He always acts like he likes it, but he's probably just entertaining me. He's probably just telling me he likes it because we're friends and he's nice. Darren's a real nice sensitive guy under all that wanna-be-thug shit he's always doing. He's nicer than me in a lot of ways, like when he's listening to rap and I don't like it, I tell him and bitch until he turns it off, and when he turns it off, he isn't even mad about having to doing it because he's real considerate. I wish I was that considerate.
	Anyways, Darren and I ended up going down to the cemetery and smoking a fat joint. I told him about the funeral home Christmas tree and he said that the funeral home was retarded.
	"They won't be putting my name on some damn bulb," he said. Then he talked about the rapture through the rest of the cemetery. He told me that we weren't going to have to worry about funerals because we weren't really going to die because we  were going up in the rapture. Darren was always talking about the rapture. He never went to church, but he had all the faith
in the world that the rapture was going to happen at any minute and he had all the faith in the world that the two of us were going.
	He told me once that I'm the only friend he likes to talk to about the rapture. It was probably because I'm the only one
who will even listen. I don't believe in the Bible, but I don't mind talking about Bible stuff if I care about the person doing most of the talking.
	If Heaven exists, Darren will go because he's nice and sensitive. If there's a Heaven, Margret's there because she was a real sweet lady. It's a nice idea, the idea of Heaven, I mean. I guess I'd rather float up to a cloud kingdom than to get old and die and be buried in a boxes.
	Anyways, I'm not sure why he thinks I'm going to Heaven.
	Once we got out of the cemetery, we saw this old tin can in the middle of the street, and the street was empty because it was about nine at night or later and it was cold and everybody besides the two of us were inside around heater and wrap in blankets, probably. Anyways, we started kicking the can down this alley and we kept falling down and laughing because we were stoned.
	We kept on kicking the can down the alleys until I had to piss. I went behind this old white shed, unbuttoned my pants and
unzipped and started pissing. There was this Oldsmobile behind me, it was parked on the other side of the alley, I thought it was empty because it was dark and I couldn't see through the
windows. Well, somebody was in it, and halfway through my piss, whoever it was  beeped the horn and scared me half to death,
 and I ended up pissing down my leg. I zipped up my pants and Darren and I got the hell out of the alley as fast as we could. It was funny, though. I didn't even mind the piss on my leg that much.

title: [UR] Funeral Home Christmas Tree

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

What does the story say about the type of person Darren is?

answer: The story portrays Darren as a sensitive, considerate person. He listens to music his friend finds meaningful, and he is always open to discussing matters of faith and the afterlife. By contrast, the protagonist also recognizes that Darren behaves differently from him: whereas the protagonist is easily irritated, Darren is patient and kind.

text: The story does not mention or indicate that the narrator is easily irritated. The model needs to stay according to the story for accuracy.

refinement: The story portrays Darren as a sensitive, considerate person. He is a spiritual person and is always open to discussing matters of faith and the afterlife. He hangs out with a different crowd and always listens to rap music. Irrespective of his thug-wanna-be-personality, Darren can show compassion for others. Darren also sees the absurdity in the funeral home Christmas tree, like the narrator, and they spend time having fun in the cemetery smoking. Overall, Darren is a kind, sweet person.

answer: Darren is a nice guy who listens to his friend as they share their stories and viewpoints. He's a sensitive guy under all the thug talk, and he's considerate when it comes to his friend's opinions. Darren has all the faith in the world in the rapture, and he believes only those who have a pure heart, such as himself, will make it to heaven. It seems Darren has never tried to go against the temptations he was always exposed to on the streets.

answer: Darren is a kind guy who is sensitive and considerate. He enjoys cannabis and would talk about the rapture. He lacks faith in the church and has strong faith in the Bible and in the rapture.

answer: The story suggests that Darren is a considerate and sensitive person. Despite being of a different crowd and listening to different music, Darren is able to show compassion for others, even in times of hardship. Darren also sees the absurdity in the funeral home Christmas tree, and the two spend time having fun in the cemetery. It is clear that Darren is a kind, sweet person.

text: The model's response '...and the two spend time having fun...' lacks any subject/object in the sentence, therefore, making it hard for readers to determine who the model is referring to.

refinement: The story suggests that Darren is a considerate and sensitive person. Despite being of a different crowd and listening to different music, Darren can show compassion for others, even in times of hardship. Darren also sees the absurdity in the funeral home Christmas tree. After the service, he and the narrator spend time having fun in the cemetery smoking. Overall, Darren is a kind, sweet person.

answer: Darren smokes a lot of weed. He pretends to like the narrator's music because they're friends and he's nice. He's a sensitive guy under his wannabe-thug persona. He turns off his rap music when the narrator says he doesn't like it, and isn't mad about it because he's considerate. He's always talking about the rapture, even though he never goes to church. The narrator believes that if Heaven exists, Darren would go.

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

Summarize everything relating to the narrator's family.

answer: The narrator attends the viewing for his great aunt Margret. His grandma said that he or his broughter ought to be pall bearers. Since his brother was afraid of dropping the casket, the narrator offered to do it, but Margret's niece declined. The narrator believes Margret is in Heaven because she was a real sweet lady.

text: The model wrongly spells brother and should be corrected.

refinement: The narrator attends the viewing for his great aunt Margret. His grandma said that he or his brother ought to be pallbearers. Since his brother was afraid of dropping the casket, the narrator offered to do it, but Margret's niece declined. The narrator believes Margret is in Heaven because she was a real sweet lady.

answer: The narrator is related to Margret. He seems to live with their grandmother and brother. Their father lives separately, not being mentioned in this text.

text: The model ought not to mention the narrator's father since the story does not mention him, and there is no information regarding him.

refinement: The narrator is related to Margret. He seems to live with his grandmother and brother. He attends the viewing for his great aunt Margret. His grandma tells him that he or his brother ought to be pallbearers. Since his brother was afraid of dropping the casket, the narrator offered to do it, but his great aunt Margret's niece declined. In summary, the narrator believes Margret is in Heaven because she was a real sweet lady.

answer: The narrator's great aunt Margret died, and at her viewing the narrator volunteered to be a pallbearer. There was also a Christmas tree set up in the lobby of the funeral home with names of dead people written on the bulbs. The narrator and Darren went down to the cemetery to smoke a joint, and the oldsmobile parked there scared the narrator while he was urinating. The narrator's family seems to consist mostly of relatives who have passed away.

text: The model should eliminate the part it mentions the activities between the narrator and his friend, Darren. The answer needs to stay relevant to the question.

refinement: The narrator's great aunt Margret died, and at her viewing, the narrator volunteered to be a pallbearer. The narrator also noticed a Christmas tree set up in the funeral home lobby with names of dead people written on the bulbs. The narrator's family seems to consist mainly of relatives who have passed away.

answer: The narrator's grandma says she says either him or his brother ought to be pallbearers at her great aunt Margret's viewing. They went to the cemetery together to smoke pot and talk about the rapture where the narrator starts kicking a tin can. His friend Darren kept talking about the rapture and they kept talking until they got back and they got in the Olds near the white shed.

text: The first line of the sentence lacks clarity and should be appropriately restructured.

refinement: The narrator's grandma suggests that either he or his brother be pallbearers at their great aunt Margret's viewing. They went to the cemetery together to smoke pot and talk about the rapture where the narrator starts kicking a tin can. His friend Darren kept talking about the rapture and they kept talking until they got back and they got in the Olds near the white shed.

text: The model talks about the activity between the narrator and his friend Darren after the funeral, which is not relevant to the question because it has nothing to do with his family. That aspect of the answer should be eliminated or replaced with more relevant detail.

refinement: The narrator's grandma suggests that he or his brother be pallbearers at their great aunt Margret's viewing. During the viewing, the narrator noticed a Christmas tree set up in the funeral home lobby with names of dead people written on the bulbs. The narrator's family seems to consist mainly of relatives who have passed away.

answer:
The narrator's great aunt Margret died, and the viewer attendees discussed the body and other mundane topics. The narrator then noticed the funeral home's Christmas tree and found the decorations morbid and strange.

The narrator's family consists of the narrator and their brother, as well as their great aunt Margret. The family is predominantly composed of older people and the narrator's brother is nervous around dead people. Though the narrator considers himself nice, Darren is even nicer. The narrator and Darren got stoned and observed a tin can in the street, and the narrator eventually urinated against a white shed, which caused someone to honk their car horn and scare the narrator. The narrator does not mind the resulting urine on their leg, which is indicative of their generally good-hearted nature.

text: The answer fails to mention the narrator's grandma as part of his family.

refinement:
The narrator's great aunt Margret died, and the viewer attendees discussed the body and other mundane topics. The narrator then noticed the funeral home's Christmas tree and found the decorations morbid and strange.

The narrator's family consists of the narrator and their brother, as well as their grandma. The family is predominantly composed of older people and the narrator's brother is nervous around dead people. Though the narrator considers himself nice, Darren is even nicer. The narrator and Darren got stoned and observed a tin can in the street, and the narrator eventually urinated against a white shed, which caused someone to honk their car horn and scare the narrator. The narrator does not mind the resulting urine on their leg, which is indicative of their generally good-hearted nature.

text: The model's response ought not to mention Darren and their adventure after the funeral in its answer because it's irrelevant to the question. It should be eliminated from the answer.

refinement: The narrator's great aunt Margret died, and the viewer attendees discussed the body and other mundane topics. The narrator then noticed the funeral home's Christmas tree and found the decorations morbid and strange. The narrator's family consists of the narrator, his brother, as well as their grandma. The family is predominantly composed of older people, and the narrator's brother is nervous around dead people.

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

Summarize the narrator's movements after he meets up with Darren.

answer: After meeting up with his friend Darren, the narrator goes to the cemetery and smokes a joint, then goes for a walk afterward. While walking, the narrator finds a tin can in the street, and as he is peeing behind an empty car, the car's horn is accidentally blown, causing him to piss on himself.

answer: After the narrator and Darren meet, they meet up with his friend at the cemetery to smoke a joint. They walk a bit and when they leave the cemetery, go to kick a tin can back to Darren's place until the narrator needs to go to the bathroom.

text: The story does not mention that the narrator and Darren met with anyone to go and smoke at the cemetery. The model needs to give accurate answers by paying attention to details from the story.

refinement: After the narrator and Darren meet, they head down to the cemetery to smoke a joint. They walk a bit when they leave the cemetery and kick a tin can down the alley until the narrator needs to go to the bathroom.

answer: The narrator meets with Darren at Darren's house. They go to the cemetery. Once they exit the cemetery, they kick a can down an alley. The narrator goes behind an old white shed to pee. When the narrator realizes there is someone in the car parked on the other side of the alley, he and Darren run away as fast as they can.

answer: The narrator went to Darren's house and smoked a joint together. While walking back from the cemetery, the narrator sees a funeral home Christmas tree and is disturbed by it. After kicking a tin can around an alley, the narrator ends up pissing down his leg when a car honks at him. Despite the pee, the narrator doesn't mind too much.

text: The first line of the response indicates that the narrator smokes a joint in Darren's house, which is inaccurate. It also mentions that he spots a funeral home Christmas tree on their way from the cemetery. These sentences need to be rewritten accurately and clearly.

refinement: The narrator goes to Darren's house after the funeral service of his great aunt Margret. They go down to the cemetery, smoke a joint together, and discuss the oddness of the Christmas tree in the funeral home. While walking back from the cemetery, the narrator and Darren kick a tin can around an alley. Later, the narrator feels the urge to pee and ends up accidentally pissing down his leg in fear when a car honks at him. Despite the pee, the narrator doesn't mind too much.

answer: The two go to a cemetery directly after visiting the funeral home and smoking a joint. Darren convinces the narrator that his drug-use and bad behavior "isn't that bad" while encouraging him to follow in those footsteps. After visiting the cemetery, the two hang out kicking a tin can until the narrator pisses and causes it to fall, causing the narrator to pee himself.

text: The model's answer is mostly inaccurate and needs to be rewritten to conform with the details in the story.

refinement: The narrator goes to Darren's house after the funeral service of his great aunt Margret. They go down to the cemetery, smoke a joint together, and discuss the oddness of the Christmas tree in the funeral home. While walking back from the cemetery, the narrator and Darren kick a tin can around an alley. Later, the narrator feels the urge to pee and ends up accidentally pissing down his leg in fear when a car honks at him. Despite the pee, the narrator doesn't mind too much.


text:
The most comprehensive archive of the artist Vaginal Creme Davis is on YouTube, where fans have uploaded hundreds of clips of her videos and performances. “That Fertile Feeling,” a video from 1986, follows Davis and her close friend, Fertile LaToya Jackson, after Fertile’s water breaks while the two women are watching television. At the hospital, Fertile is turned away because she doesn’t have state health insurance. Eventually, at the apartment of Fertile’s boyfriend (who is always naked), Davis coaches Fertile through giving birth to eleven-tuplets. After a successful delivery, Fertile rides away on a skateboard down a Los Angeles street, Davis calling after her.

“I was always too gay for the punks and too punk for the gays. I am a societal threat,” the artist Vaginal Davis, seen here in 2002, said.Photograph by John Vlautin

“Fertile!” Davis yells, “You’re so fertile! You’re the first woman in the world to give birth to eleven-tuplets!”

Fertile’s delivery is an ambiguous miracle: both because of the large quantity of babies, and how Davis and Fertile perform an uncertain womanhood. Are they mocking the fact that they have bodies that may not be able to give birth, and that are turned away at hospitals? Or are they mocking a cultural fixation on pregnancy as the marker of womanhood? Either way, the two artists parody an entire epoch of divine births. Maybe Mary was a virgin; just as possible, perhaps, is that she was trans.

Davis’s new exhibition at Invisible-Exports, “Come On Daughter Save Me,” includes sixteen blood-red wall sculptures. Like her performance and video work, Davis’s sculptures do not ascribe to distinctions between artist and hobbyist, sacred and amateur. She made these objects in Berlin, where she has lived for almost a decade, out of quick-drying clay and whatever else was lying around: red nail polish, hydrogen peroxide, perfume, witch hazel. Some are melted faces; others look like genitals that you’ve never seen before. All could be the work of an ancient-maker or an obsessive child. She doesn’t consider herself “a sculptress like Louise Nevelson” but has always made objects to keep herself amused.

The show’s title, “Come On Daughter Save Me,” is taken from a phrase the artist’s mother said to her often when she was a child. According to Davis, her black Creole mother—then forty-five years old—met her twenty-year-old Mexican-American father only once: under the table at a Ray Charles concert at the Hollywood Palladium, sometime in the early nineteen-sixties. The artist was born from this encounter.

Davis was born intersex, at a time when doctors assigned children with her anatomy a gender of “male” or “female” through surgical intervention. (These procedures persist today, though at lower rates.) Her mother refused to let doctors operate. So Davis grew up with the word “male” on her birth certificate but with her mother and four older sisters referring to her by female pronouns. Their household in South Central Los Angeles, Davis said, was a “Druid Wiccan witches’ coven” where her identity as a daughter was not questioned but affirmed.

Davis got her start in L.A.’s predominately white punk scene as the front woman of an art-punk band called the Afro Sisters, where she referenced and drew inspiration from iconic black radicals like Angela Davis, after whom she named herself. Throughout the eighties, Vaginal Davis developed multiple personas and performed incongruous identities. She was a black revolutionary drag queen, a teen-age Chicana pop star, a white-supremacist militiaman. These characters often referred to one another: against her better judgment, Vaginal Davis pined for Clarence, a rabid white supremacist; Clarence, too, harbored secret affections. Their dynamic caricatured that illicit desire that exists despite—or, perhaps, because of—racism. This kind of political critique, simultaneously absurd and hyper-real, made Davis a muse to a generation of queer writers and critics, like the late José Esteban Muñoz, who died in 2013.

Muñoz was the first person to use the term “terrorist drag” to describe the work of Davis—in particular, the way she interrogated rather than obscured her cultural otherness. Referring to herself as a drag queen, a hermaphrodite, and a “sexual repulsive,” Davis used her performances to critique the many contexts in which she was undesirable. “I don’t fit into mainstream society, but I also don’t really fit into ‘alternative culture,’ either,” she told me recently. “I was always too gay for the punks and too punk for the gays. I am a societal threat.”

“Terrorist drag,” as performed by Davis and theorized by Muñoz, feels especially relevant in a security age when people continue to be surveilled due to their gender identities. In 2003, amid post-9/11 overhauls, the Department of Homeland Security warned the Transportation Security Administration that “male bombers may dress as females in order to discourage scrutiny.” In airports, trans people continue to be pulled aside at far higher rates than cis people: body parts like a trans woman’s penis or a trans man’s chest-binder register on body scanners as “anomalies.” Just last week, the Republican Presidential candidate Ted Cruz incorrectly suggested in a press conference that the attacker behind a recent mass shooting at a Colorado Planned Parenthood was “a transgendered leftist activist.”

Concurrent with this rhetoric and policy, a generation of gay Americans appears to be benefitting from rights and protections that were an impossibility for previous generations. The laws that didn’t save the elders, it seems, are going to save some of the children. The title of Davis’s show, “Come On Daughter Save Me,” is a bittersweet plea, and a cautionary warning. As she told me last week, “You can’t change institutions from the inside, as they always wind up changing you.” This is why she is content with her place as an outsider of the institutional art world, and of culture at large. She does what she wants, makes what she wants, and mocks who she wants; she rejects inclusion, and its limiting factors.

Davis continues to be prolific: in addition to the sixteen wall sculptures, “Come On Daughter Save Me” included a radical re-staging of Mozart’s “The Magic Flute” at N.Y.U.’s 80WSE Gallery, in collaboration with the director Susanne Sachsse. “The Magic Flute” was the first opera Davis saw, at the age of seven, at the famed Shrine Auditorium, in South Central Los Angeles. Around this time, she was an active youth member at the Theocratic Ministry School, a division of the Jehovah’s Witnesses. There, she learned what she liked (the historical significance of the Bible, the principles of rhetoric) and rejected what she didn’t: namely, any doctrine that did not make room for her entire existence. Davis is not religious, but her work is a sacred mythology for the outsider.

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

Summarize a very important message found in this article.

answer: A very important message found in this article is how a generation of gay Americans appear to be benefitting from rights and protections that were an impossibility for previous generations. The article describes the rhetoric and policy of how gay Americans are treated now. There are laws now that can save elders. The article emphasizes how you can't change institutions from the inside, because they end up changing you.

text: This sentence means nothing

refinement: A very important message found in this article is how a generation of gay Americans appear to be benefitting from rights and protections that were an impossibility for previous generations. The article describes the rhetoric and policy of how gay Americans are treated now. The article emphasizes how you can't change institutions from the inside, because they end up changing you.

answer: The artist Vaginal Davis challenges the expectations and institutions of culture, politics, and religion through subversive performances. She pulls from iconic figures like Angela Davis and uses her work as a critique of racism, perceived "abnormality," and institutional authority. Her shows draw attention to the dangers of being consistently surveilled and targeted in a security age. This critical message urges audiences to consider the broader social implications of valuing certain bodies and identities over others.

answer: The important message of the article is that the important and radical work of artist Vaginal Creme Davis transcends the distinctions between sacred and amateur, institutional and outsider. Her performances ridicule societal fixations on borders and boundaries, particularly as they relate to gender. In a security age when trans people continue to be singled out, Davis's work serves as a potent reminder of the necessity to protect identities that are still threatened.

answer:
The most prominent message from the article that is not a political statute is the frustration and social injustice caused by the labeling of being trans or genderfluid or even nonbinary. Vaginal Davis had to live with the name assigned to her by doctors. It is implied that when she was born, her mom also rejected the doctors taking her genitals and simply opting to live her daughter as a girl, because she deemed it to be more accurate. I assume Davis relayed the importance of this to her mom, considering the title of her show was a request of her mother.

This article also seems to imply that the strict gender binaries and the organization of "normal" is a classist concept that is promoted on high income populations, ones where it is of utmost importance but is only marginally important when determining a lower class's life. One of Davis's earlier art pieces is an imitation of a sushi kitchen running as a race in which everyone is assigned one of seven Japanese characters as identification. Comparatively, it is important to read the history and standards of civilization, but the reader will come to realize that Davis was critiquing the limitations of culture.

text: This is not a summary but a long rambling discussion much of which is not relevant

refinement: The artist Vaginal Davis challenges the expectations and institutions of culture, politics, and religion through subversive performances. She pulls from iconic figures like Angela Davis and uses her work as a critique of racism, perceived "abnormality," and institutional authority. Her shows draw attention to the dangers of being consistently surveilled and targeted in a security age. This critical message urges audiences to consider the broader social implications of valuing certain bodies and identities over others.

answer: The most important message found in this article was the sentence, "You can’t change institutions from the inside, as they always wind up changing you." This pertains to the article by how Davis actively tries to be an outsider of the institutional art world, and of culture at large.

text: This doesn't answer the question fully

refinement: The artist Vaginal Davis challenges the expectations and institutions of culture, politics, and religion through subversive performances. She pulls from iconic figures like Angela Davis and uses her work as a critique of racism, perceived "abnormality," and institutional authority. Her shows draw attention to the dangers of being consistently surveilled and targeted in a security age. This critical message urges audiences to consider the broader social implications of valuing certain bodies and identities over others.

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

Summarize how Davis's work was perceived.

answer: Her work is considered to be both exquisite and vulgar. It escapes the institution.

text: Incomplete answer

refinement: Davis is an artist whose work is largely characterized by provocation and subversion. Her work mocks convention while referencing both popular culture and politics. Her persona as a black drag queen mixes binaries and critiques accepted ideas of normativity. Her work is subversive and sacrilegious and is revered by a generation of queer writers and critics.

answer: Davis's work is seen as subversive, critiquing institutions like the medical establishment and mainstream culture while challenging institutional categorization. Her work functions both to critique power structures while often being outside of them. She is lauded by queer writers and critics like Muñoz who see her performance work as in part religiously motivated, giving space to the outsider.

answer: Davis is an artist whose work is largely characterized by provocation and subversion. Her work mocks convention while referencing both popular culture and politics. Her persona as a black drag queen mixes binaries and critiques accepted ideas of normativity. Her work is subversive and sacrilegious, and is revered by a generation of queer writers and critics.

answer: Davis's work was seen as "terrorist drag." Munoz was the first person to describe Davis's work that way. This term encompasses how people continued to be surveilled due to their gender identities.  Davis said she used her performances to critique the many contexts in which she was found undesirable.

answer: She is a punk-rocker who mocks both genders and all sexual orientations. Plenty of people, gay and straight alike, saw her work as queer activism. While some saw it for what it was without much dressing up, others would go out and see her as belonging to other groups of varying identities. Davis made a name out of her personas and her rebellious attitude, making people view her as a threat in their area of art, poetry, and music.

text: This sentence makes little sense.

refinement: She is a punk-rocker who mocks both genders and all sexual orientations. Plenty of people, gay and straight alike, saw her work as queer activism. Davis made a name out of her personas and her rebellious attitude, making people view her as a threat in their area of art, poetry, and music.

text: According to the piece, people see her as a societal threat

refinement: She is a punk-rocker who mocks both genders and all sexual orientations. Plenty of people, gay and straight alike, saw her work as queer activism. Davis made a name out of her personas and her rebellious attitude.

text: This doesn't answer the question

refinement: Davis is an artist whose work is largely characterized by provocation and subversion. Her work mocks convention while referencing both popular culture and politics. Her persona as a black drag queen mixes binaries and critiques accepted ideas of normativity. Her work is subversive and sacrilegious, and is revered by a generation of queer writers and critics.


text:
STANISLAW TILLICH (; ; born 10 April 1959) is a German CDU politician. He served as the 3rd Minister President of Saxony from 2008 to 2017. From 1 November 2015 until 31 October 2016 he was President of the Bundesrat and _ex officio_ deputy to the President of Germany. Tillich is of Sorbian ethnicity and lives in Panschwitz-Kuckau (Pančicy-Kukow), which is 35 kilometres north-east of Dresden near Kamenz.

Early life and education

Born in Neudörfel (Sorbian: _Nowa Wjeska_) near Kamenz (Sorbian: _Kamjenc_), Tillich studied construction and drive techniques at the Dresden University of Technology after finishing his Abitur at the Sorbian Gymnasium in Bautzen in 1977. He graduated from university with a Diplomingenieur degree in 1984. Tillich was an employee of the district administration of Kamenz between 1987 and 1989. Later he became an entrepreneur.

Political career

Stanislaw Tillich joined the Christian Democratic Union (East Germany) in 1987 and became a member of the CDU after German reunification in 1990. He was a member of the Volkskammer in 1990 and was delegated as an observer of the European Parliament between 1991 and 1994. He joined the European People's Party and was a member of the European Parliament between 1994 and 1999 where he was the Parliament's rapporteur on the 1998 EU budget.[1]

Tillich has been a minister in the government of Saxony since 1999. He was State Minister for Federal and European Affairs until 2002 when he became State Minister and head of the _Staatskanzlei_. In 2004 he became the Saxon State Minister for Environment and Agriculture. He became State Minister of Finance in 2007 and has been a member of the Landtag of Saxony since 2004.

Minister-President of Saxony, 2008-2017

Tillich was proposed by Georg Milbradt on 14 April 2008 to become his successor as the Minister-President of Saxony. The Landtag of Saxony elected him on 28 May 2008. He is the first Sorbian head of government in more than thousand years of Sorbian-German coexistence in Saxony.

In the negotiations to form a coalition government of the Christian Democrats (CDU together with the Bavarian CSU) and the Free Democratic Party (FDP) following the 2009 national elections, Tillich was part of the CDU/CSU delegation in the working group on economic affairs and energy policy, led by Karl-Theodor zu Guttenberg and Rainer Brüderle.

Since 2010, Tillich has been a member of the Christian Democratic Union's 20-strong executive board.[2] By 2012, opinion polls put the backing of Tillich's CDU at 44 percent, at the time the highest level of support in any of the 16 German federal states; this made commentators describe him as “Germany’s second most-powerful politician from the formerly Communist East“ after Chancellor Angela Merkel.[3]

Tillich participated in the exploratory talks between the CDU, CSU and SPD parties to form a coalition government under Merkel following the 2013 federal elections.[4]

Tillich won reelection in the 2014 state elections. Ahead of the elections, he had soon put an end to speculation that he might team up with the newly founded AfD, which the CDU instead attempted to characterize as a fringe movement that flirts with the far right.[5] At the time, Saxony was the first of three eastern regions to hold elections in a two-week span, with Brandenburg and Thuringia later rounding off the first set of electoral since Merkel won a third term.

As one of Saxony's representatives at the Bundesrat, Tillich served as chairman of the Committee on Foreign Affairs from October 2016. In addition, he was a member of the German-Russian Friendship Group set up in cooperation with Russia's Federation Council.

When the AfD overtook the CDU for the first time to emerge as Saxony's most popular party in the 2017 national elections, Tillich resigned and Michael Kretschmer took over.[6]

Life after politics

From 2018 until 2019, Tillich co-chaired the German government's so-called coal commission, which was tasked to develop a masterplan before the end of the year on how to phase-out coal and create a new economic perspective for the country's coal-mining regions.[7]

Other activities

Corporate boards

-   Mitteldeutsche Braunkohlengesellschaft (MIBRAG), chairman of the supervisory board (since 2019)[8]
-   Volga-Dnepr Airlines, Advisor (since 2019)[9]

Non-profit organizations

-   ZDF, deputy chairman of the board of directors
-   Committee for the preparation of the Reformation anniversary 2017, ex officio member of the board of trustees (-2017)
-   _Leipzig 2015_ – 1000th anniversary, member of the board of trustees
-   Endowment for Culture of the Free State of Saxony (KdFS), ex officio chairman of the board of trustees (-2017)
-   Frauenkirche Dresden Foundation, ex officio member of the board of trustees (-2017)
-   Deutsches Museum, member of the board of trustees
-   Development and Peace Foundation (SEF), deputy chairman of the board of trustees
-   German Children and Youth Foundation (DKJS), member of the board of trustees
-   Max Planck Society, member of the senate[10]
-   Peace of Westphalia Prize, member of the jury[11]
-   Rotary International, member

Personal life

Besides his native language Upper Sorbian, Tillich speaks fluent German, Czech and Polish. His wife, Veronika, is half-Polish, half-Sorbian. Her father was a forced laborer from Poland who settled in Lusatia after World War II and married a Sorbian woman. Tillich and his wife have two children.

[1] Simon Coss (January 1, 2014), Member states urged to support plan to boost small business funding _European Voice_.

[2] Leon Mangasarian (October 23, 2012), Merkel’s Tough Love Crisis Stance Key to 2013 Vote, Tillich Says _Bloomberg News_.

[3] Leon Mangasarian (October 23, 2012), Merkel’s Tough Love Crisis Stance Key to 2013 Vote, Tillich Says _Bloomberg News_.

[4] Arne Delfs and Patrick Donahue (September 30, 2013), Germany Sets Coalition Talks Date as Weeks of Bartering Loom _Bloomberg News_.

[5] Stephen Brown and Annika Breidthardt (August 31, 2014), Merkel's conservatives set to hold Saxony, euroskeptics make breakthrough _Reuters_.

[6] Guy Chazan (August 30, 2019), The premier taking on Saxony’s populists with grilled sausage _Financial Times_.

[7] Andreas Franke (June 6, 2018), Germany launches commission tasked to develop coal exit masterplan _S&P Global Platts_.

[8] Sachsens Ex-Ministerpräsident Tillich wird Chef des Mibrag-Aufsichtsrats BILD, September 24, 2019.

[9] Steffen Höhne (July 2, 2019), Lobbyist für russische Airline: Stanislaw Tillich soll Volga-Dnepr bei Expansion helfen _Mitteldeutsche Zeitung_.

[10] Senate, as of February 2019 Max Planck Society.

[11] Members of the Jury Wirtschaftliche Gesellschaft für Westfalen und Lippe.

title: Stanislaw Tillich

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

Summarize everything related to positions Tillich held in the 2000s.

answer:
In the years between 2004 and 2008, Tillich was a member of the Landtag of Saxony. On March 14, 2008, Georg Milbradt proposed Tillich as the successor to the position of Minister-President of Saxony. Tillich was elected by the Landtag of Saxony on May 28 of the same year. Tillich led the negotiations to form a coalition government of the Christian Democrats (CDU together with the Bavarian CSU) and the Free Democratic Party after 2009 national elections consisting of the CDU/CSU delegation in the working group on economic affairs and energy policy. Tillich was a member of the Christian Democratic Union's executive board. He was one of the members of the German-Russian Friendship Group set up in cooperation with the Russian Federation Council.

From 2018 through 2019, Tillich co-chaired the Federal German government's coal commission to develop a masterplan before the end of the year on how to phase-out coal and create a new economic perspective.

text: April, not March.

refinement:
In the years between 2004 and 2008, Tillich was a member of the Landtag of Saxony. On April 14, 2008, Georg Milbradt proposed Tillich as the successor to the position of Minister-President of Saxony. Tillich was elected by the Landtag of Saxony on May 28 of the same year. Tillich led the negotiations to form a coalition government of the Christian Democrats (CDU together with the Bavarian CSU) and the Free Democratic Party after 2009 national elections consisting of the CDU/CSU delegation in the working group on economic affairs and energy policy. Tillich was a member of the Christian Democratic Union's executive board. He was one of the members of the German-Russian Friendship Group set up in cooperation with the Russian Federation Council.

From 2018 through 2019, Tillich co-chaired the Federal German government's coal commission to develop a masterplan before the end of the year on how to phase-out coal and create a new economic perspective.

text: It is irrelevant that from 2018 through 2019, Tillich co-chaired the Federal German government's coal commission to develop a masterplan before the end of the year on how to phase-out coal and create a new economic perspective

refinement: In the years between 2004 and 2008, Tillich was a member of the Landtag of Saxony. On April 14, 2008, Georg Milbradt proposed Tillich as the successor to the position of Minister-President of Saxony. Tillich was elected by the Landtag of Saxony on May 28 of the same year. Tillich led the negotiations to form a coalition government of the Christian Democrats (CDU together with the Bavarian CSU) and the Free Democratic Party after 2009 national elections consisting of the CDU/CSU delegation in the working group on economic affairs and energy policy. Tillich was a member of the Christian Democratic Union's executive board. He was one of the members of the German-Russian Friendship Group set up in cooperation with the Russian Federation Council.

text: It is omitted that he was State Minister for Federal and European Affairs until 2002 when he became State Minister and head of the _Staatskanzlei_. In 2004 he became the Saxon State Minister for Environment and Agriculture. He became State Minister of Finance in 2007 and has been a member of the Landtag of Saxony since 2004.

refinement: In the years between 2004 and 2008, Tillich was a member of the Landtag of Saxony. He was State Minister for Federal and European Affairs until 2002 when he became State Minister and head of the Staatskanzlei. In 2004 he became the Saxon State Minister for Environment and Agriculture. He became State Minister of Finance in 2007 and has been a member of the Landtag of Saxony since 2004. On April 14, 2008, Georg Milbradt proposed Tillich as the successor to the position of Minister-President of Saxony. Tillich was elected by the Landtag of Saxony on May 28 of the same year. Tillich led the negotiations to form a coalition government of the Christian Democrats (CDU together with the Bavarian CSU) and the Free Democratic Party after 2009 national elections consisting of the CDU/CSU delegation in the working group on economic affairs and energy policy. Tillich was a member of the Christian Democratic Union's executive board. He was one of the members of the German-Russian Friendship Group set up in cooperation with the Russian Federation Council.

answer: Tillich was a member of the Volkskammer in 1990 and was delegated as an observer of the European Parliament between 1991 and 1994. He joined the European People's Party and was a member of the European Parliament between 1994 and 1999 where he was the Parliament's rapporteur on the 1998 EU budget. Tillich was a minister in the government of Saxony since 1999. He was State Minister for Federal and European Affairs until 2002 when he became State Minister and head of the Staatskanzlei. In 2004 he became the Saxon State Minister for Environment and Agriculture. He became State Minister of Finance in 2007 and has been a member of the Landtag of Saxony since 2004.

text: 'Tillich was a member of the Volkskammer in 1990 and was delegated as an observer of the European Parliament between 1991 and 1994. He joined the European People's Party and was a member of the European Parliament between 1994 and 1999 where he was the Parliament's rapporteur on the 1998 EU budget. ' describes his activities before the 2000s.

refinement: Tillich was a minister in the government of Saxony since 1999. He was State Minister for Federal and European Affairs until 2002 when he became State Minister and head of the Staatskanzlei. In 2004 he became the Saxon State Minister for Environment and Agriculture. He became State Minister of Finance in 2007 and has been a member of the Landtag of Saxony since 2004.

text: It is omitted that Tillich was proposed by Georg Milbradt on 14 April 2008 to become his successor as the Minister-President of Saxony. The Landtag of Saxony elected him on 28 May 2008.

refinement: Tillich was a minister in the government of Saxony since 1999. He was State Minister for Federal and European Affairs until 2002 when he became State Minister and head of the Staatskanzlei. In 2004 he became the Saxon State Minister for Environment and Agriculture. He became State Minister of Finance in 2007 and has been a member of the Landtag of Saxony since 2004. Tillich was proposed by Georg Milbradt on 14 April 2008 to become his successor as the Minister-President of Saxony. The Landtag of Saxony elected him on 28 May 2008.

answer: Tillich was a member of the Volkskammer in 1990 and was delegated as an observer of the European Parliament between 1991 and 1994. He joined the European People's Party and was a member of the European Parliament between 1994 and 1999 where he was the Parliament's rapporteur on the 1998 EU budget. Tillich was a minister in the government of Saxony since 1999. He was State Minister for Federal and European Affairs until 2002 when he became State Minister and head of the Staatskanzlei. In 2004 he became the Saxon State Minister for Environment and Agriculture. He became State Minister of Finance in 2007 and has been a member of the Landtag of Saxony since 2004.

answer: He was a member of the Volkskammer in 1990 and was delegated as an observer of the European Parliament between 1991 and 1994. He joined the European People's Party and was a member of the European Parliament between 1994 and 1999 where he was the Parliament's rapporteur on the 1998 EU budget. He joined the government of Saxony in 1999 as State Minister for Federal and European Affairs, and later as State Minister and head of the Staatskanzlei. He became State Minister of Finance in 2007.

answer: He was State Minister for Finance from 2007. He became the Saxon state minister for Environment and Agriculture in 2004. Tillich held the position of State Minister for Federal and European Affairs until 2002. Tillich was part of the CDU/CSU delegation in the working group on economic affairs and energy policy, led by Karl-Theodor zu Guttenberg and Rainer Brüderle during the negotiations to form a coalition government of the Christian Democrats and the Free Democratic Party. Tillich was one of 12 people who formed the exploratory talks between the CDU, CSU and SPD parties to determine a coalition government. Tillich won reelection in the 2014 state elections.

text: 'Tillich was one of 12 people who formed the exploratory talks between the CDU, CSU and SPD parties to determine a coalition government. Tillich won reelection in the 2014 state elections.' describes his activities after the 2000s.

refinement: He was State Minister for Finance from 2007. He became the Saxon state minister for Environment and Agriculture in 2004. Tillich held the position of State Minister for Federal and European Affairs until 2002. Tillich was part of the CDU/CSU delegation in the working group on economic affairs and energy policy, led by Karl-Theodor zu Guttenberg and Rainer Brüderle during the negotiations to form a coalition government of the Christian Democrats and the Free Democratic Party.

text: It is omitted that Tillich was proposed by Georg Milbradt on 14 April 2008 to become his successor as the Minister-President of Saxony. The Landtag of Saxony elected him on 28 May 2008.

refinement: He was State Minister for Finance from 2007. He became the Saxon state minister for Environment and Agriculture in 2004. Tillich held the position of State Minister for Federal and European Affairs until 2002. Tillich was proposed by Georg Milbradt on 14 April 2008 to become his successor as the Minister-President of Saxony. The Landtag of Saxony elected him on 28 May 2008. Tillich was part of the CDU/CSU delegation in the working group on economic affairs and energy policy, led by Karl-Theodor zu Guttenberg and Rainer Brüderle during the negotiations to form a coalition government of the Christian Democrats and the Free Democratic Party.

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

What does the article say about Tillich's political career during the 1970s?

answer: Tillich's political career during the 1970s can't be found.

answer: No answer

answer: No answer

answer: No answer

answer: Tillich finished his Abitur at the Sorbian Gymnasium in Bautzen in 1977. He then studied construction and drive techniques at the Dresden University of Technology.

text:
'Tillich finished his Abitur at the Sorbian Gymnasium in Bautzen in 1977. He then studied construction and drive techniques at the Dresden University of Technology'  does not describe his political career.
There is no answer.

answer: He studied construction and drive techniques at the Dresden University of Technology after finishing his Abitur at the Sorbian Gymnasium in Bautzen in 1977. He graduated from university with a Diplomingenieur degree in 1984.

answer: No answer


text:
EXCORPORATION is the process through which mass cultural commodities are changed or remade into one’s own culture. The theory of Excorporation was popularized by sociologist John Fiske, in order to explain the ongoing struggle between the dominant and subordinate groups in popular culture.

Definition

The term excorporation was highlighted by sociologist John Fiske in his 1989 book, _Understanding Popular Culture_. Fiske states that excorporation is “the process by which the subordinate make their own culture out of the resources and commodities provided by the dominant system”.[1] Fiske believes this idea to be central to the study of popular culture. He argues that in an industrialized world, the subordinated group has only the use of resources supplied to them by the dominant group from which to create their own subcultures and social commodities. In his theory, Fiske refutes the idea of folk culture, any sort of ‘authentic’ culture, saying that it does not exist in such a society. In other words, the subordinate deals with what is available. This requires the study of popular culture to not only look at the various cultural commodities, but the ways in which the individual uses them as well. Fiske sees the different uses of commodities to be most interesting. The excorporation of resources is generally more varied and creative than the original.

Fiske states that the subordinate’s ability to create originality and thus oppose the dominant “results in the producers having to resort to the processes of incorporation or containment”.[2] By reincorporating the differences made by excorporation, the dominant group strips the subordinate group from any opposition that the latter may have created. This ensures the stability of the dominant system.

Criticism

Several sociological authors have criticized Fiske's theory of excorporation, primarily for its overarching simplicity and its unfocused basis.

Deborah Cook, in her 1992 article _Ruses de Guerre: Baudrillard and Fiske on Media Reception_ argues that excorporation is not necessarily a political or even meaningful activity, as Fiske claims. Under Fiske’s theory, the process of excorporating creates meaning, be it as simple as personalizing a commercial commodity. However, Cook argues that Fiske attempts “to locate resistance in a set of largely unconscious, unfocused, and apolitical activities...Fiske’s analyses are undisciplined by any interpretive methods,” [3] therefore implying that not every act of excorporation necessarily contains meaning.

Ray Browne, of Bowling Green University, agrees with Cook’s assertion, explaining that Fiske “looks upon popular culture as a portion of the life actions and fluids which constitute all of society, and in so doing, Fiske seems to limit the totality of culture, or to misunderstand it.” [4] Fiske’s detractors seem to find the theory of excorporation too simplistic and overarching to be effective.

Examples in Modern Society

Blue denim jeans have become a product of excorporation. Levi Strauss was the founder of the garment. Strauss was a German Immigrant who immigrated to San Francisco during the California Gold Rush in 1853. He coined the blue denim jean due to a need from prospectors in the area for strong work pants in the mines. The material was used because it did not cause chafing, unlike the typical canvas pants that were worn during the time by workers.[5]

Through the decades of the past century, the cultural meaning of blue jeans has changed. For example, the 1930s were the times of western films, propelling the character of the American cowboy and their Wrangler jeans into the public limelight. The 1940s resulted in jeans being introduced to the world based on the start of globalization and World War II. In the 1950s, denim became a popular garment that symbolized rebellion, such as in James Dean’s movie Rebel Without a Cause. During this time, some public schools in the United States banned students from wearing blue jeans.

The 1960s and the 1970s were the start of crafting jeans for individual taste, based on the fashion and social movements at the time. Examples of these include embroidered jeans, painted jeans, and psychedelic jeans.[6] John Fiske describes this as “the raggedness is the production of the choice of the user; it is an excorporation of the commodity into a subordinates subculture and a transfer of at least some of the power inherent in the commoditization process.”[7] In the 1980s jeans became designer fashion, labels such as Guess jeans. More recently, the focus on personalization of jeans includes finish, styles, cuts, shapes, aged, authentic, and vintage jeans. John Fiske is quoted as saying “the wearer of torn jeans is, after all, wearing jeans and not, for instance the Buddhist derived robes of the orange people."[8]

[1] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman.

[2] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman.

[3] Cook, D. (1992). Ruses de Guerre: Baudrillard and Fiske on Media Reception. Journal for the Theory of Social Behaviour , 22 (2), 227-238.

[4] Browne, Ray. Journal of Popular Culture ; Winter90, Vol. 24 Issue 3, p188, 1/2p

[5] Levi Strauss and Company. (2008, April 24). Retrieved April 18, 2008, from Levie Strauss and Company Heritage: http://www.levistrauss.com/heritage/

[6] Design Boom. (2008, 24 04). Retrieved 04 15, 2008, from Design Boom: http://www.designboom.com/eng/education/denim2.html

[7] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman. p.15

[8] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman. p.4

title: Excorporation

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

Summarize the criticisms of Fiske's theory.

answer:
Cook sees the different uses of commodities to be uninteresting and unmotivated by politics or authenticity. She argues that Fiske attaches social meaning to pointless actions. She believes the empirical evidence for Fiske's claims is inconclusive.
Ray Browne supports Cook's argument and describes Fiske's popular culture as an embedded part of all life action. Browne doesn't believe Fiske's theory is effective.

text: There's no mention of evidence or empiricism in the article.

refinement:
Cook sees the different uses of commodities to be uninteresting and unmotivated by politics or authenticity. She argues that Fiske attaches social meaning to pointless actions.
Ray Browne supports Cook's argument and describes Fiske's popular culture as an embedded part of all life action. Browne doesn't believe Fiske's theory is effective.

text: Browne agrees with Fiske's assertion, not his theory or views in general.

refinement:
Cook sees the different uses of commodities to be uninteresting and unmotivated by politics or authenticity. She argues that Fiske attaches social meaning to pointless actions.
Ray Browne supports Cook's assertion and describes Fiske sees popular culture as an embedded part of all life action. Browne doesn't believe Fiske's theory is effective. He thinks Fiske limits the totality of culture or misunderstands it.

answer: Some authors find the theory to be overly simplistic and to have an unfocused basis. Deborah Cook argues that excorporation is not necessarily politic. Ray Browne agrees and thinks Fiske limits or misunderstands the tonality of culture.

text: Browne says Fiske misunderstands the totality of culture, not tonality.

refinement: Some authors find the theory to be overly simplistic and to have an unfocused basis. Deborah Cook argues that excorporation is not necessarily politic. Ray Browne agrees and thinks Fiske limits or misunderstands the totality of culture.

text: Cook says excorporation isn't meaningful or political as an action. Calling it not "politic" is somewhat confusing.

refinement: Some authors find the theory to be overly simplistic and to have an unfocused basis. Deborah Cook argues that excorporation is not necessarily political or meaningful. Ray Browne agrees and thinks Fiske limits or misunderstands the totality of culture.

answer: Critics of Fiske's theory of excorporational argue that it is too simplistic and unreflective of the complexity of popular culture. Additionally, some argue that excorporation may not necessarily be politically or meaningful in its existence. Lastly, others believe it to overlook how various cultural commodities contribute to the whole of popular culture.

text: The name of Fiske's theory is "excorporation"

refinement: Critics of Fiske's theory of excorporation argue that it is too simplistic and unreflective of the complexity of popular culture. Additionally, some argue that excorporation may not necessarily be politically or meaningful in its existence. Lastly, others believe it to overlook how various cultural commodities contribute to the whole of popular culture.

text: "political or meaningful" is misquoted

refinement: Critics of Fiske's theory of excorporation argue that it is too simplistic and unreflective of the complexity of popular culture. Additionally, some argue that excorporation may not necessarily be political or meaningful in its existence. Lastly, others believe it to overlook how various cultural commodities contribute to the whole of popular culture.

text: The name of the person saying excorporation isn't necessarily political or meaningful should be mentioned.

refinement: Critics of Fiske's theory of excorporation argue that it is too simplistic and unreflective of the complexity of popular culture. Additionally, Deborah Cook argues that excorporation may not necessarily be political or meaningful in its existence. Lastly, others believe it to overlook how various cultural commodities contribute to the whole of popular culture.

text: Cook criticizes excorporation as an action. Directing her criticism to its existence is confusing phrasing.

refinement: Critics of Fiske's theory of excorporation argue that it is too simplistic and unreflective of the complexity of popular culture. Additionally, Deborah Cook argues that excorporation may not necessarily be political or meaningful action. Lastly, others believe it to overlook how various cultural commodities contribute to the whole of popular culture.

text: There's no criticism of excorporation saying it overlooks the contribution of cultural commodities.

refinement: Critics of Fiske's theory of excorporation argue that it is too simplistic and unreflective of the complexity of popular culture. Additionally, Deborah Cook argues that excorporation may not necessarily be political or meaningful action.

text: The answer should mention Browne's criticism.

refinement: Critics of Fiske's theory of excorporation argue that it is too simplistic and unreflective of the complexity of popular culture. Additionally, Deborah Cook argues that excorporation may not necessarily be political or meaningful action. Browne says that Fiske either misunderstands or limits the totality of culture.

answer: Critics believe that Fiske's theory of excorporation is too simplistic and doesn't take enough into account. They believe that excorporation is not necessarily meaningful, and that it does not accurately describe every act of incorporating resources. Others find the theory to be uninformed and unfocused, limiting the totality of culture.

text: There's no criticism saying excorporation doesn't describe incorporating resources.

refinement: Critics believe that Fiske's theory of excorporation is too simplistic and doesn't take enough into account. They believe that excorporation is not necessarily meaningful. Others find the theory to be uninformed and unfocused, limiting the totality of culture.

text: The answer should mention the people offering criticisms.

refinement: Critics believe that Fiske's theory of excorporation is too simplistic and doesn't take enough into account. Deborah Cook believes that excorporation is not necessarily meaningful. Others find the theory to be uninformed and unfocused, and Ray Browne says it's limiting the totality of culture.

answer: Cook argues that Fiske's arguments are unfocused and not politically motivated. Ray Browne has similar concerns. He calls the aspects of Fiske's theory that focus on the commodity process to look upon it as a social activity "arbitrary". In response to Browne's criticisms Fiske states that they are only delegating meaning to the elements of the process, in much the same way as one may "give one's time over to meditation."

text: The answer is made up entirely.

text: The answer is empty.

refinement: Deborah Cook says excorporation isn't necessarily a meaningful or political activity, calling Fiske's analyses undisciplined. Ray Browned thinks Fiske misunderstands or limit the totality of culture. Overall criticisms say incorporation is overarchingly simple and unfocused.

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

Summarize the shifting cultural meaning of jeans.

answer: In the 1930s denim was worn by cowboys, who were popular in Western films. In the 1940s denim was a global phenomenon embraced by the world and was adopted as the uniform of World War II militias. In the 1950s jeans became a symbol for rebellion, especially to public schools that banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, mostly recently, the focus has been on personalization of jeans including types, cuts, shapes, finishes, worn-in looks, colors, and two favorite colors: orange and blue.

text: The article doesn't say World War 2 militias used denim uniforms, that's made up.

refinement: In the 1930s denim was worn by cowboys, who were popular in Western films. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol for rebellion, especially to public schools that banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, mostly recently, the focus has been on personalization of jeans including types, cuts, shapes, finishes, worn-in looks, colors, and two favorite colors: orange and blue.

text: There's no mention of favorite colors in the article.

refinement: In the 1930s denim was worn by cowboys, who were popular in Western films. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol for rebellion, especially to public schools that banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, mostly recently, the focus has been on personalization of jeans including types, cuts, shapes, finishes, worn-in looks, and colors.

text: The answer omits the earliest parts of denim's history.

refinement: The denim jeans were invented by Levi Strauss because miners needed strong garments that didn't chafe. In the 1930s denim was worn by cowboys, who were popular in Western films. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol for rebellion, especially to public schools that banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, mostly recently, the focus has been on personalization of jeans including types, cuts, shapes, finishes, worn-in looks, and colors.

text: In the 1930s denim was popular in cowboy films. It's a bit silly to say cowboys were popular in Westerns since Westerns are usually about cowboys.

refinement: The denim jeans were invented by Levi Strauss because miners needed strong garments that didn't chafe. In the 1930s denim was worn by cowboys in Westerns, changing the meaning of the fabric. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol for rebellion, especially to public schools that banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, mostly recently, the focus has been on personalization of jeans including types, cuts, shapes, finishes, worn-in looks, and colors.

text: Some schools banned jeans because they were symbols of rebellion. The answer confuses this.

refinement: The denim jeans were invented by Levi Strauss because miners needed strong garments that didn't chafe. In the 1930s denim was worn by cowboys in Westerns, changing the meaning of the fabric. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol for rebellion, and some public schools banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, mostly recently, the focus has been on personalization of jeans including types, cuts, shapes, finishes, worn-in looks, and colors.

text: There are several writing mistakes. "Symbol for rebellion" should be "of rebellion". "Now, mostly recently" should be "Now, most recently". There's a missing "the" before "personalization of jeans".

refinement: The denim jeans were invented by Levi Strauss because miners needed strong garments that didn't chafe. In the 1930s denim was worn by cowboys in Westerns, changing the meaning of the fabric. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol of rebellion, and some public schools banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, most recently, the focus has been on the personalization of jeans including types, cuts, shapes, finishes, worn-in looks, and colors.

text: Denim color isn't mentioned to be a matter of personalization in the article.

refinement: The denim jeans were invented by Levi Strauss because miners needed strong garments that didn't chafe. In the 1930s denim was worn by cowboys in Westerns, changing the meaning of the fabric. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol of rebellion, and some public schools banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, most recently, the focus has been on the personalization of jeans including types, cuts, shapes, finishes, and worn-in looks.

answer: In the 1930s jeans became a sign of the American cowboy during western films, giving way to affiliation with the western idiom. They also came to represent all of the characteristics of the American male figure, including rugged masculinity and rugged individualism. The war effort during their time longed made jeans a uniform-like garment and the general consensus was that they signified rebellion. Blue jeans developed a rebellious association and staying power that would go on to percolate its way through the culture until the current conception of them as fashionable denim paired with a stylish cut and wearer.

text: The answer is wildly inaccurate and nonsensical in its entirety.

text: The answer is empty.

refinement: The denim jeans were invented by Levi Strauss because miners needed strong garments that didn't chafe. In the 1930s denim was worn by cowboys in Westerns, changing the meaning of the fabric. In the 1940s denim was a global phenomenon embraced by the world. In the 1950s jeans became a symbol of rebellion, and some public schools banned students from wearing jeans. In the 1960s and 1970s jeans became an individual taste based on the fashion and social movements of the time. Starting in the 1980s, denim shifted toward designer fashion labels. Now, most recently, the focus has been on the personalization of jeans including types, cuts, shapes, finishes, and worn-in looks.

answer: Blue jeans originally emerged as work pants used by prospectors during the California Gold Rush. Over the course of the past century, the cultural meaning of jeans has evolved from simple workwear to a fashion statement and a symbol of rebellion. Today, tradition jeans are often designed for personalization, including a variety of finishes, styles, cuts, and shapes with focus on authenticity and vintage.

answer: Jeans started out as work pants for workers in the mines. In the 30s, they represented the American cowboy. In the 50s, they came to represent rebellion. By the 60s and 70s, they began to be crafted to individual taste to reflect fashion and social movements, such as psychedelia. They transitioned to designed fashion in the 80s.

text: Jeans transitioned into "designer fashion", not "designed fashion".

refinement: Jeans started out as work pants for workers in the mines. In the 30s, they represented the American cowboy. In the 50s, they came to represent rebellion. By the 60s and 70s, they began to be crafted to individual taste to reflect fashion and social movements, such as psychedelia. They transitioned to designer fashion in the 80s.

text: The answer should give more details about how jeans are in the 80s and afterward.

refinement: Jeans started out as work pants for workers in the mines. In the 30s, they represented the American cowboy. In the 50s, they came to represent rebellion. By the 60s and 70s, they began to be crafted to individual taste to reflect fashion and social movements, such as psychedelia. They transitioned to designer fashion in the 80s. They now focus on personalization, including finish, styles, cuts, etc.

answer: The cultural meaning of blue jeans has shifted throughout history, with the garment first used by prospectors in the California Gold Rush in 1853. Since that time, jeans have become a symbol of rebellion, western fashion, and creative expression. Nowadays, jeans have become a symbol of designer fashion, and individuals make multiple choices in terms of fit, finish, cuts, and shapes.


text:
A DEPARTURE CARD, also known as an OUTGOING PASSENGER CARD or EMBARKATION CARD, is a legal document used by immigration authorities to provide passenger identification and an effective record of a person’s departure from certain countries.[1] It also serves as a declaration in relation to health and character requirements for non-citizens entering a particular country.[2] The departure card can come attached with its corresponding arrival card with the former being retained in the passport after passport control clearance. The card is then surrendered to passport control upon departure.

Information on the card itself

[Outgoing Passenger Card from Australia] [The Singapore embarkation card contains a warning to visitors about the death penalty. Warning signs are found at the Malaysia-Singapore border and airports] Typically the information on the departure card includes

-   Full name
-   Nationality
-   Passport number
-   Flight number or name of aircraft, ship or vehicle
-   Purpose of trip: vacation, education/study, visiting relatives/families, business, diplomatic
-   Duration of stay
-   Destination (next stop of disembarkation)
-   Address in country

Travelers are also required to sign, date and declare the information is true, correct and complete.

Passengers on international flights required to fill in departure cards need a valid boarding pass and Passport to proceed through immigration checkpoints.

Retirement, exemption and integration with arrival card

ASEAN

Depending on the jurisdiction, an immigrant will be issued a card that both has an arrival and departure portion where both share a common serial/control number to facilitate identification. The traveller is usually required to retain the latter in his passport and use that same card to exit the country. Some jurisdictions that have this system are Hong Kong, Macau, Malaysia, Singapore, Indonesia, USA, Brazil and Thailand. Hong Kong and Macau have the departure portion as a carbon copy of the landing card but the flight number, next destination and signature are left blank while the latter six have a shorter portion for departure cards which require less information, but they are joined together as with other to enable immigration officers to tear off one portion as with most ASEAN nations.

For a short time between 2009 and 2010, the Philippines also had a card with portions pertaining to arrival and departure. All passengers, regardless of nationality, are required to fill out the arrival portion and immigrants were required to retain the departure portion. Filipino citizens on the other hand would fill out a separate departure card on their next flight leaving the Philippines. Later in 2011, the Bureau of Immigration reverted to the older cards. In 2014, the Bureau of Immigration switched to the new color-coded cards, with the arrival card being blue, and the departure card being red. In 2018, the looks of the card, along with the color-coding was changed, with the arrival card being red, and the departure card being green. Since 2014, the Bureau of Immigration only required Filipino citizens to complete departure cards, while foreigners/visitors to only complete arrival cards.

From September 16, 2017, departure/arrival card are no longer required for Thais to leave/enter Thailand through immigration check-points.[3][4]

Australia

Departure cards were completely retired across Australia on 1 July 2017 marking the end of a procedure that has been in place for aircraft and ship departures since the 1960s. Before that in March 2015 Brisbane Airport offer its passengers to use an app to print departure cards at Departure Card Kiosks within its international terminal.[5] Over the years the cards were refined (made smaller) and used different designs. Up until the 2000s departure cards were also stamped with an immigration departure date and port stamp along with the travellers passport.[6]

India

From July 2017, Indians flying out of India are exempted from filling the departure card. The exemption is only applicable for travel through airports only.[7]

USA

In the United States, the most common example of this is the Form I-94. Prior to its digitization in 2013, the departure portion of a paper I-94 form must be retained by the passenger at all times during their stay (passport control officers would usually staple this portion to the passport). As the US is one of the few countries that doesn't have a formal passport control for departing passengers, visitors would need to return the card through the staff at the departing carrier's check-in counter at the airport (if leaving by air) or to border officers (if leaving by land). After its digitalization in 2013, the paper I-94 is phased out for all air and sea arrivals, while at the land border officers continue to issue paper I-94 which is now linked to the database.

[1]

[2] New Zealand Passenger Departure Card - Questionnaires and Forms - Statistics New Zealand

[3] http://www.ratchakitcha.soc.go.th/DATA/PDF/2560/E/227/1.PDF

[4] http://www.ratchakitcha.soc.go.th/DATA/PDF/2560/A/095/1.PDF

[5]

[6]

[7] http://timesofindia.indiatimes.com/india/departure-cards-for-indian-passengers-flying-abroad-to-be-discontinued-from-july/articleshow/59206036.cms

title: Departure card

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

Why are citizens sometimes exempted from filling departure cards when traveling?

answer: This information is not mentioned.

answer: This information is not mentioned.

answer: The reasons are not stated in the article.

answer: It is unclear from the article why citizens are exempted from filling departure cards.