text:
Holding onto a Heartbeat
Epigraph:
“If I told you that the crowd was all ears,
Could you find the words to say?
If I told you that you could take home the prize,
Would you know the game to play?
Would you laugh or would you fall to pieces?
Would you lie or would you run?”
-Mad at Gravity, Find the Words

The east window was still open. I sat on her bed and stared at the closet, the door propped open, folded back against the wall by a bronze cleat and ball, third place trophy to some tournament. Fifteen different jerseys and two different referee tops hung in rainbow order, though mostly the same racing green, ending with the single ref black and single ref yellow. I heard the click from the door to the bathroom that separated her and her younger sister’s room and waited for the door to open, wishing for a confrontation. Instead I heard another cracking click as the shower door slid shut followed by the sound of rushing water spraying and splatting against the glass and tub basin. The image of water over her skin was not what I wanted or needed, but my eyes struggled closed, flickering, as I took it in breathing. Pulsing and sometimes shaking hands ran over shoulders, neck, and through hair tingling my neck and chest while constantly struggling to find air in the lapsing ragged breathing. My heart rate accelerated well over one fifty. “We need to learn to be more than soccer,” she had said to me. I struggled to hold onto the words. Four pill bottles rested in her top left desk drawer.
***
My first soccer practice was at five. I was lying on the basement floor shag carpeting while watching television with two of my older brothers. I had just woken up from my post half-day pre-school nap. I’m not sure if I really understood after school cartoons at that point or not, but it didn’t really matter because if my brothers were doing it, I did it too or at least pretended to. I was lying on my back shirtless, thinly ribbed, heart beating over and over, blowing spit bubbles, and absentmindedly pulling at the thick gray carpet and swirling it with my hands while staring on at the tv when my mother knelt down next to me and asked a question I didn’t hear. I also liked to rub my feet, bare or otherwise, up and down, kicking my legs out and pulling them back for a slight fibrous foot rub. She asked me the question again and started tickling my feet.
My spit bubble burst, wetting my lips, and I screamed and kicked trying to roll away from her, but she held my leg with one hand while continuing to tickle with the other. My brothers yelled for her to stop because they couldn’t hear the tv over my piercing post toddler fully oxygenated sugary charged shrieking. She stopped and my breathing was all I could hear. I stared at her with eyes all moist, ready for another attack. I finally heard the question when her lips parted again, lined and slightly cracked and dry, turning wet.
“Honey, how would you like to go to the park?”
“Yea, park. Are ****** and ****** coming too?” I asked turning to look back at my brothers lounging on the couch all lazy eyed.
“Hell no pips, ” my twelve year old brother said.
“Actually, you are going to the park with a lot of other boys your age,” mother said almost at once but did not attempt to make a stand against the partial cursing and back talk from my older brother.
“Like ****** and ******?” I asked.
“Maybe, we’ll just have to go and see, now won’t we,” she said winking. “But first I need you to try these…” I was already falling back to staring at the tv when I felt a hand on my leg as my foot was stuffed into a sock. I looked back to see the long blue socks my feet were being forcibly stuffed into and the black shoes with spikes on the bottom like the ones my brothers wore for soccer.
“Ah, good. They fit perfectly,” she said smiling while tying the laces. Some of her soft golden hair had fallen in front of her face as she leaned back to stand up.
“I’m playing soccer at the park?” I said questioning, both in excitement and fear.
“Yes, honey, I already told you that,” she said. I hadn’t remembered it being mentioned any earlier. “Now go up stairs and put a shirt on and wait at the front door for your father to take you,” she said extending her arms away from the tv, towards the stairs.
Forty-seven minutes later.
I leaned my entire body weight against the heavy sedan door for it to close with a thunk and almost slipped on the pavement in my unfamiliar cleats. My father waved to a group of parents and other boys at the end of parking lot. He also shielded his eyes over black sunglasses looking into the orange September sun. I focused on the bits of gravel pavement, uniformly and infinitely different in the mix. My cleats made a clack scraping sound with each step as I held onto my father’s massive hand following his lead.
Thirteen boys, all five-years-old or nearly so, stood, leaned, and swayed, clinging to their respective parent’s legs or presence while still constantly looking around with a sort of rising frustration at being corralled in the park. The parents carried on light conversation punctuated by Sunday grill laughs and smiles. Three of the fathers wore matching green polo athletic shirts. My father shook each of their hands in turn, smiling, his gray-green slacks folding as leaned forward. His brown leather loafers looked overwhelmed in the rising September grass.
My father turned back to me and with a hand on my back pulled me in front of the three men. The tallest of the three half crouched a bit and extended his huge hand, “Hi there, I’m Mr. E****** and will be your new soccer coach.” I took his hand looking up but only saw the orange sun peeking out from behind his neck.
After meeting the other two coaches, my father clapped me on the back as we retreated. “All right, good luck, love you, be back to pick you up,” he said. He kissed me on the head and walked away toward the parking lot.
I watched as his pace quickened, pumping his arms slightly. A few parents trailed my father but still others remained to watch the practice. It wasn’t that I didn’t want my father to go; I just wanted to know why he left. I hesitated only slightly in returning my focus to Coach E******.

title: Before I go... I wrote a few books this is the beginning of them. I almost graduated with an BFA as a 2nd degree before the high horsing begins.

question: Describe the narrator.

answer: The narrator is described as a typical, hyper five year old. He's the youngest brother and gets into soccer.

text: It is wrongly stated that the narrator is a boy.

refinement: The narrator is described as a typical, hyper five year old. She is the youngest amongst the three siblings and gets into soccer.

text: The story mentions the narrator asking if her brothers were coming to the park too (one of them being twelve-years-old). This is evidence that the narrator is the youngest.

answer: The narrator is young, curious, and brave - ready to follow her father's lead into a new activity, even if she's uncertain about it. Despite her youth, she already possesses an air of independence that needs only to be nurtured.

text: It is wrongly stated that the narrator follows her father's lead when she is young. She starts her practice as a child.

refinement: The narrator is about five years old, curious, and brave - ready to follow her father's lead into a new activity, even if she's uncertain about it. Despite her youth, she already possesses an air of independence that needs only to be nurtured.

text: "Despite her youth" is incorrect since she was only a child when she started learning the game.

refinement: The narrator is about five years old, curious, and brave - ready to follow her father's lead into a new activity, even if she's uncertain about it. Despite being a child, she already possessed an air of independence that needs only to be nurtured.

answer: The narrator seems young, perhaps 5 or 6 years old. They are curious and adventurous yet easily intimidated. They respected and loved their father, who was likely a key motivating force in their lives.

text: Unnecessary use of a plural - "They respected and loved their father,"

refinement: The narrator seems young, perhaps 5 or 6 years old. They are curious and adventurous yet easily intimidated. She respected and loved her father, who was likely a key motivating force in her life.

question: Who are the narrator's brothers?

answer: The narrator's brothers are ****** and ******.

text: While this answer is taken verbatim from the passage, a more appropriate response would be that the information isn't mentioned.

refinement: This information isn't mentioned, but one of the brothers is twelve years old.

answer: That information can't be found, but the brothers are older than the narrator.

answer: The narrator's brothers are named ****** and ******.

text: While this answer is taken verbatim from the passage, a more appropriate response would be that the information isn't mentioned.

refinement: This information isn't mentioned, but one of the brothers is twelve years old.

question: How does the narrator feel about soccer?

answer: The narrator seems excited and apprehensive to try playing soccer for the first time.

text: There is no evidence that the narrator seems excited or apprehensive about playing the game.

refinement: The narrator's feelings about playing the game are unclear.

answer: Unclear

answer: The narrator likes soccer.

text: There is no evidence that the narrator likes the game.

refinement: The narrator's feelings towards the game are unclear.

question: Describe the narrator's relationship with their father.

answer: The narrator's relationship with their father is loving, but it's not typically long-lasting; the father will often leave soon after he's made contact with his son. The narrator admires and relies on their father, but is often left feeling a little vulnerable and confused when the father is no longer present.

text: There is no mention of what sort of a relationship the narrator shares with her father.

refinement: The narrator's relationship with her father is unclear.

answer: The narrator seems to admire their father, but they also want more interaction with him. Despite his departure, he seems to still be a loving and caring father, and he tries to make up for being away by spending time with his son during other parts of the week.

text: There is no evidence of the sort of relationship the narrator shares with her father.

refinement: It is unclear what sort of a relationship the narrator shares with her father. Although, it does seem like he is loves and cares for her.

text: “All right, good luck, love you, be back to pick you up, he said. He kissed me on the head." This si evidence that the father seems to be loving and caring.

answer: It's not clear what the state of the relationship is, but the narrator is confused when his father leaves him alone at soccer practice.

question: What season does the story take place in?

answer: It may be summer or fall because the story takes place in September.

answer: Fall

text: It isn't clearly stated that the season is fall. Although, it may be implied since the story mentions "looking into the orange September sun."

refinement: The story does not clearly state the season but it may be implied that it's either summer or fall.

answer: Autumn.

text: It isn't clearly stated that the season is fall. Although, it may be implied since the story mentions "looking into the orange September sun."

refinement: The story does not clearly state the season but it may be implied that it's either summer or fall.

question: Write a ~2 sentence summary.

answer: This is the story of a young boy who starts playing soccer after his mother asks him if he wants to go to the park with other boys his age. He quickly learns how challenging playing soccer can be, especially when he is put under the tutelage of a new coach.

text: The story does not mention the boy learning the game. It only mentions him being introduced to his new coach.

refinement: This is the story of a young boy who starts playing soccer after his mother asks him if he wants to go to the park with other boys his age. The father drives him to the park where he is introduced to his new coach.

text: It is wrongly stated that the main character is a boy.

refinement: This is the story of a young girl who starts playing soccer after her mother asks her if she wants to go to the park with other boys her age. The father drives her to the park where she is introduced to her new coach.

answer: The protagonist is a child who loves playing soccer. When he is five, his mother enrolls him in soccer practice and he meets his coach, who introduces the boys to the game.

text: There is no evidence that as a child, the protagonist loved playing soccer.

refinement: The protagonist is a child, who is describing how he went to his first soccer practice. When he is five, his mother enrolls him in soccer practice and he meets his coach, who introduces the boys to the game.

text: There is no evidence of the child being a boy.

refinement: The protagonist is a child, who is describing how she went to her first soccer practice. When she is five, her mother enrolls her in soccer practice and she meets her coach, who introduces them to the game.

text: "My first soccer practice was at five." This is evidence that the protagonist starts his soccer practice when he is five.

answer: In the passage, a young boy is taken to his first soccer practice by his father. He feels a little uncertain and embarks on the new experience with the hope that he'll soon have fun.

text: It is wrongly stated that the narrator is a boy.

refinement: In the passage, a young girl is taken to her first soccer practice by her father. She feels a little uncertain and embarks on the new experience with the hope that she'll soon have fun.

text: The narrator does not display many emotions about the parents' decision to enroll her in the practice. This shows that she feels a little uncertain about the experience.

answer: This book starts with the main character's love of soccer, and starts recounting their early experiences on a team. He/she is eventually instructed by their coach, and leaves their family to be on their own on the field.

text: It is wrongly stated that the main character leaves her family.

refinement: This book starts with the main character's love of soccer, and starts recounting their early experiences on a team. She is eventually instructed by their coach, and the father leaves.

text: There is no evidence that the coach 'instructs' her.

refinement: This book starts with the main character's love of soccer, and starts recounting their early experiences on a team. She is introduced to their coach, and the father leaves promising her he'll be back soon.

answer: The narrator describes the time his mom took him to his first soccer practice at five years old. The narrator is confused when his dad doesn't stay to watch the practice.

text: It is wrongly stated that the narrator is a boy.

refinement: The narrator describes the time her mom took her to her first soccer practice at five years old. The narrator is confused when her dad doesn't stay to watch the practice.

text: It is wrongly stated that the mother takes her to the practice.

refinement: The narrator describes the time her father took her to her first soccer practice at five years old. The narrator is confused when her dad doesn't stay to watch the practice.

answer: The protagonist's introduction to soccer begins with meeting her new coach. Despite her own initial concerns, she ultimately enjoys the experience - but is always eager to see her father return after practice.

text: There is no evidence that her father returns after practice.

refinement: The protagonist's introduction to soccer begins with meeting her new coach. Despite her own initial concerns, she ultimately enjoys the experience.


split: train

text:
The Scorching

“I remember one day of winter,” my grandfather looked mistily out the twelve inch synthesized window. He’s one of the few in our colony that knows of winter first hand. I have brought him to the observation point on the western end of The Dome at his request. This is his response to my request to tell us of how life felt in the days before artificial air and extreme heats of the wastelands. “The wind whisked down my neighborhood just as I stepped out into the white blanket on my porch. A chill ran up my legs but I hardly noticed, my friends were already playing across the street. Hmpff, I couldn’t have been taller than I am now.” He looks to me with a smile. “We spent the entire day by the hill behind Wilson’s house. We took sleds and lids down that hill, trying to guide it down to an alley so we could go the farthest. We didn’t stop till we saw a couple girls from school cutting through the alley. Linda Mould and Susan P. Cole,” He turns to me with a special grin. Susan P. Cole was my grandmother.

“I jumped line when I saw them, knew it was a special one the second I started. The boys whopped and hollered behind me, they knew it too. Susan and Linda had to leap from my way just as I flew by and crashed right into the Ralman’s garbage cans. Didn’t think about how I’d stop, never do at that age. No one did in those days.” Something in his voice changes. The mist in his eyes is more of a water haze now, he points to the empty horizon. “I use to see homes, grass, animals, and clouds. I never new that hope for the future was artificial till the mechanics of the world were stripped from us. It didn’t matter what we did to try and stop it neither.” I can see him slipping into more painful memories so I request him to point out when exactly he noticed the world changing first hand.

“Changes? Well them happen often and often.” (He means to say changes happen a great deal and always.) “Well, the first time I realized the talk was true was I woke up in some pain, not a good deal, but enough to shake you to. Round the time I was leaving college I suppose. I looked around my bed for whoever woke me, Susan hadn’t been over that night so I couldn’t figure out who’d hurt my arm. It was near midday and I had spent the better half of the morning sleeping off the night before. I wanted to sleep some more but the sun was slipping between my blinds and onto the side of my bed. I got up to close the drapes, but first to peak outside. I was looking for anyone of note when I noticed warmth and a near instant sting all over my face. I leapt back and closed the drapes. I felt relief right away. I knew it, right then, I knew it. The sun was burning like they said it was, hot and fast. My first thought was to call Susan and see if she was feeling it too.”

It’s not long after that our history lessons pick up, reminding those of us who weren’t yet here that the earth was becoming barren. My grandfather was one the first selected to one of the science division domes. The structures we all have been raised were in fact substitutes for an atmosphere we never knew, so we could have a life we never could have hoped for. “I broke through as a design engineer. Interning for the great Doctor Kepling. Now that man could work, spend entire months ruining chalk boards and burrowing floors with his pacing. I nearly didn’t sleep in my time there trying to keep up with him and the three kids at home. No one really knows his name anymore, yet his design saved what’s left of us.” His sigh holds a lot of weight out of his chest. I decide its time to broche a subject that has been refrained from in my family for years now.

I ask him as gently as possible, what happened in the evacuation. There is a long pause and silence before he can gather the breath to speak. The gruffness I had grown up knowing is back, he is the old man in the recliner I know again. “We…We only got the news of The Flare just as it started. I was at home sleeping in as I had the day off and Susan…Susan should have been shopping. The phone call came and the doctor himself was frazzled. I could tell before he said anything it was happening. I was to stunned to really hear him after that, he said he just wanted to make sure I made it and hung up. I forced myself out of bed and put these packs of necessities and valuables we had made in case it did come. I heard the kids downstairs playing, I yelled for them to get up and get there stuff ready. They knew what I meant but I don’t think they truly new what it meant.” My father swears it was all too quick to remember. One day your breathing humid air, the next day it’s artificial. Kids his age hardly caught on to the significance of things as they went.

“Once we were all packed I rushed the kids out to the car. It was so bright out I could hardly see my way to the car, still I had to find Susan. I had lugged her bag to car with mine. I was going to drive strait to the market to find her. I’ve sweat often before and since then, but I doubt any compared to that day. We got there and I can remember my sprint to the door seeming to last far to long to be a couple dozen feet. I burst through the door and screamed for her, Susan! Susan!” His outcry catches me off guard, “I ran back and forth through the aisles still she is not there. I looked to my watch, If I was to save my children I couldn’t wait any longer. I’d have to hope she received the message and caught the follow up busses to one of the others.

When I returned to car and began to head for my designated dome, it was clear the word was out. People we rushing all about in a frenzy. I don’t ever think I’ve seen such horror on so many men and women’s faces as on that day. I told the kids to duck down so they wouldn’t see. I speed out from our town into the dessert sands towards the dome. I think I was one of the last through, they closed those giant glass doors a little after we passed through.” After this he holds his head in his hands in silent hiding of his face. My Aunt recalls him braking down and crying over the wheel till some nice man came to get them from the back seat. They didn’t see him again for a week. My grandmother was never found, nor has our family ever discussed her final whereabouts.

From there the rest of the word documents well our methods to survival. Two generations of struggle-less survival, made us able to be complacent again. We should stay vigilant in pursuit of the solution; we should never allow ourselves to simply survive, but also to live. Even if it is only our grandchildren who will truly be unscathed. Never may we forget what great human loss we suffered in the Scorching.

title: The Scorching

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

Explain who the narrator is talking about.

answer: The narrator is talking to her grandfather.

text: Revise 'to' to 'about'

refinement: The narrator is talking about her grandfather.

answer: The narrator is talking about their grandfather

answer: The narrator is talking about his grandparents and his grandmother, Susan P. Cole. The narrator's grandfather woke up with pain and discovered that the sun had begun to burn hotter and faster. As a scientist, his grandfather was part of an effort to create shelters for the humans that remained unaffected by the changes to the earth. The evacuation of humanity from earth was quick, and his grandmother was not found after being lost in the chaos. The narrators grandfather is recounting the event and the sorrow and fear that were evident on the people's faces.

text: Only the detail that the narrator is talking about their grandfather and his history is necessary

refinement: The narrator is talking about their grandfather's past.

answer: The narrator is talking about his grandfather, who was one of the first people selected for a science-division Dome when the Scorching began. The Scorching is what happened when the sun began to emit a higher frequency of heat, causing the Earth to change irrevocably. His grandfather ran out to find his wife, but was forced back to the Dome by the time he arrived.

text: Only the first sentence is necessary.

refinement: The narrator is talking about his grandfather, who was one of the first people selected for a science-division Dome when the Scorching began.

answer: The narrator is explaining his grandfather's life and how he was selected and evacuated to one of the science division homes.

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

What does the text say about artificial air?

answer: The text describes artificial air as a solution providing shelter from the Scorching caused by The Flare. This Flare caused the earth to become barren, removing grass, animals, and clouds for humans to live in. Artificial air provided a solution for these effects of The Flare.

text: Revise grammar, the humans did not live in clouds.

refinement: The text describes artificial air as a solution providing shelter from the Scorching caused by The Flare. This Flare caused the earth to become barren, removing grass, animals, and clouds. Artificial air provided a solution for these effects of The Flare.

answer: The artificial air is what replaced the pollution when the sun switched to scorching, causing the natural air to be very polluted. The artificial air substitute was used to give humanity a life they deserved.

text: The trouble with the air is not that it is polluted but simply that it doesn't exist outside of the domes.

refinement: The artificial air is what replaced the air when the sun switched to scorching, causing the natural air to be burnt away. The artificial air substitute was used to give humanity a life they deserved.

answer: Our ancestors inhaled artificial air made by the mechanisms of the world. According to the narrator's grandfather, people would wake up every day to breathing humid air and soon go to sleep every night breathing pseudo-atmosphere using the machinery.

text: The response is incoherent, as it doesn't correctly explain the situation in words that can be understood, or that connect to the text.

refinement: The artificial air is what replaced the air when the sun switched to scorching, causing the natural air to be burnt away. The artificial air substitute was used to give humanity a life they deserved.

answer: When "The Flare" came, it was the last time they would breathe humid air and begin breathing artificial air from the science dome.

text: The response could be written more clearly to reflect the text.

refinement: When "The Flare" came, it was the last time they would breathe humid air, humans created artificial air, breathable in the domes so that humans could live.

answer: The text discusses how the environment changed due to The Scorching, and that in order to adapt, one of the solutions was the development of artificial air. Artificial air provides humans with a climate they would not otherwise have been able to survive in.

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

Explain the horror that was seen on the men's and women's faces

answer: Three generations of the narrator's family from his grandfather to his children were born and raised in a domed environment. It is also implied that a mass exodus is taking place as people are rushing from built-up domains. Cities are visible from the dome, but that any trips outside aren't advisable. It seems that most people long for being able to spend time in the bright scorching sun.

text: The response doesn't make reference to the prompt - it should mention why people were horrified.

refinement: The people in the story are horrified due to the world ending natural disaster that is taking place, as they rush to reach their families, and get to safety. The story suggests that 'the scorching is to blame for the fear.

answer:
during the evacuation.

The horror seen on the men and women's faces during the evacuation was the result of realizing that their entire lives were going to change. The entire planet was in upheaval. The Flare had begun and they now faced the prospect of living without the comforts of natural air and excessive heat. Fear and pure anguish filled their faces as they realized they had no way of knowing what would come next. Their lives were now turned upside down and they could not see any hope after that.

text: Remove the first incomplete sentence.

refinement: The horror seen on the men and women's faces during the evacuation was the result of realizing that their entire lives were going to change. The entire planet was in upheaval. The Flare had begun and they now faced the prospect of living without the comforts of natural air and excessive heat. Fear and pure anguish filled their faces as they realized they had no way of knowing what would come next. Their lives were now turned upside down and they could not see any hope after that.

answer: Once the narrator's grandfather got into their car and went to his designated home, everyone already knew about "The Flare". People were rushing in a frenzy while most people were left behind in the extreme heats of the wastelands. The glass doors closed behind them.

text: The response doesn't make reference to the prompt - it should mention why people were horrified.

refinement: The horror seen on the men and women's faces during the evacuation was the result of realizing that their entire lives were going to change. The entire planet was in upheaval. The Flare had begun and they now faced the prospect of living without the comforts of natural air and excessive heat. Fear and pure anguish filled their faces as they realized they had no way of knowing what would come next. Their lives were now turned upside down and they could not see any hope after that.

answer:
in the evacuation.

People in the evacuation were frantic as they realized that their very existence was under threat by the Scorching, which caused extreme heat. The drastic change in temperature from what they were used to would have been horrifying for anyone. Some people may have had loved ones that remained behind, making their decisions all the more difficult. The reality is that many people wouldn't have made it out if it wasn't for the effort of everyday citizens grabbing their loved ones and heading for safety.

text: Remove first incomplete sentence.

refinement: People in the evacuation were frantic as they realized that their very existence was under threat by the Scorching, which caused extreme heat. The drastic change in temperature from what they were used to would have been horrifying for anyone. Some people may have had loved ones that remained behind, making their decisions all the more difficult. The reality is that many people wouldn't have made it out if it wasn't for the effort of everyday citizens grabbing their loved ones and heading for safety.

answer: The "Scorching" most likely refers to The Flare, an event that changes Earth's atmosphere, forcing all humans to rely on mechanical means of surviving.

text: The response doesn't make reference to the prompt - it should mention why people were horrified.

refinement: The horror seen on the men and women's faces during the evacuation was the result of realizing that their entire lives were going to change. The entire planet was in upheaval. The Flare had begun and they now faced the prospect of living without the comforts of natural air and excessive heat. Fear and pure anguish filled their faces as they realized they had no way of knowing what would come next. Their lives were now turned upside down and they could not see any hope after that.


text:
_By Annie Aggarwal_

_Photography: Courtesy World Wide Web_

_READ TIME: 1 MIN 30 SECS_

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| ["living room hyderabad residence moriq architects indiaartndesign"]  |
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| _©Moriq Architects_                                                   |
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Have your needs outdone your space? Or are you just plain bored with the way your spaces look and feel? Basically, do you feel the strong urge to redecorate but don’t know how? Check out what we have in store for you…

‘Uplift the humdrum areas of your home into enriching everyday spaces’ is no longer easier said than done. Whilst choices are aplenty, especially with internet baffling you with supposedly ‘new’ designs, a little pragmatic assistance can go a long way in picking furniture, floors and walls to create spaces that reflect individual aesthetic sensibilities.

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| ["living room paris apt diff studio indiaartndesign"]                 |
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| _©Diff Studio_                                                        |
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| ["Felix Leicher beach house natural light indiaartndesign"]           |
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| _©Felix Leicher_                                                      |
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We are surrounded by countless choices - some chic, some rustic, some pop and yet others subtle and elegant! Here’s how we can narrow them down:

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  ["office design the orange lane indiaartndesign"]
  _©The Orange Lane_
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| ["redecorate dipen gada indiaartndesign"]                             |
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| _©Dipen Gada & Associates_                                            |
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COLOUR: Throw a splash of colour using accent pieces, pillows, or paint on a wall, amidst subtle investment furniture. And you have a room fresh as new. __

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| ["atrium hpa indiaartndesign"]                                        |
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| _©HPA_                                                                |
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  -----------------------------------------------------------
  ["redecorate texture play shabnam gupta indiaartndesign"]
  _©The Orange Lane_
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TEXTURE adds to the feel of a space. An exterior surface finish can give an organic feel to your interiors, while adding sleek, smooth-finish metallic furniture can lend that touch of sophistication. Mixing a variety of materials – glass and acrylic with exotic woods, can give the space a dimension of eclectic.

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  []
  _©The Orange Lane_
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| []                                                                    |
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| _©The Orange Lane_                                                    |
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You can always count on FABRICS to add the warmth and comfort you crave in your rooms.  A plush oversized chair or a restful couch can account for a functional makeover of a space. Play with rich drapes and luxurious upholstery to create a more formal setting.

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  ["living dining ansa interiors indiaartndesign"]
  _©Ansa Interiors_
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| ["art in interiors goregaokar indiaartndesign"]                       |
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| _© Goregaokar Architects_                                             |
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LIGHTING can effectively highlight or understate. With the variety of lighting options available, the fixtures themselves may act as central focal pieces or they may be subtle, drawing attention to a particularly interesting corner.

The smallest details have the potential to add significant character. A traveller’s home can be an ode to his adventures, a collector’s passion may reflect on his walls, adorned with rare pieces, and a nature enthusiast’s living space can sport a fresh green tinge and flowers changing with the seasons.

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| ["art in interiors hpa indiaartndesign"]                              |
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| _©HPA_                                                                |
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| ["art in interiors seza indiaartndesign"]                             |
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| _©SEZA Architects_                                                    |
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A piece of ART here, a bit of ACCESSORY there, can add intrigue and interest to an otherwise mundane space.

All these elements in harmony with each other can create inspired areas. Possibilities are endless. The best path to choose is the one that leads you to a space you would be delighted to call your own.

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

Summarize how you can narrow down a style.

answer: At first, there are limitless choices. In simplifying your choices, trim down your options to organic and geometric styles, and then something in for colour.

text: This doesn't actually provide how the text describes narrowing down a style. All of the ways to narrow down style are omitted except for color.

refinement: At first, there are limitless choices. According to the narrator, you can add colour via accent pieces, pillows or paint on a wall. A twist on the look can be added by blending textures, while fabric at home can add the warmth and comfort you crave. Lighting, art, and accessories can also help. A traveller's home can be an ode to his adventures, while a collector's passion can be revealed on his walls. There is plenty one can choose from to set a space to suit their personality.

answer: According to the narrator, you can add colour via accent pieces, pillows or paint on a wall. A twist on the look can be added by blending textures, while fabric at home can add the warmth and comfort you crave. A traveller's home can be an ode to his adventures, while a collector's passion can be revealed on his walls. There is plenty one can choose from to set a space to suit their personality.

text: It's omitted that lighting, art, and accessories can also help narrow down a style.

refinement: According to the narrator, you can add colour via accent pieces, pillows or paint on a wall. A twist on the look can be added by blending textures, while fabric at home can add the warmth and comfort you crave. Lighting, art, and accessories can also help narrow down a style. A traveller's home can be an ode to his adventures, while a collector's passion can be revealed on his walls. There is plenty one can choose from to set a space to suit their personality.

answer: You should aim to feel like you can do something great in the room. You can start with the amount of light, accent pieces, coloring, textures, styles, and fabrics. There is no wrong or right way when it comes to the style of the home. You can choose from a variety of great options. Pick what will bring you the most joy in your home.

text: This sentence doesn't really add to the answer. It would be better to omit.

refinement: You can start with the amount of light, accent pieces, coloring, textures, styles, and fabrics. There is no wrong or right way when it comes to the style of the home. You can choose from a variety of great options. Pick what will bring you the most joy in your home.

text: This doesn't add to the answer. It would be better to omit.

refinement: You can start with the amount of light, accent pieces, coloring, textures, styles, and fabrics. You can choose from a variety of great options.

text: It's omitted that art and accessories can help narrow down a style.

refinement: You can start with the amount of light, accent pieces, coloring, textures, styles, and fabrics. Art and accessories can help narrow down a style.You can choose from a variety of great options.

text: It's omitted that looking at one's own hobby can help narrow down a style.

refinement: You can start with the amount of light, accent pieces, coloring, textures, styles, and fabrics. Art and accessories can help narrow down a style. Looking at one's own hobby can help narrow down a style. A house can reflect a traveler, a collector, or a nature enthusiast. You can choose from a variety of great options.

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

Summarize everything relating to furniture.

answer:
Practical assistance in picking furniture, floors, and walls is recommended. Colours and textures add to the richness of a space. Throw a splash of color using accent pieces, pillows, or painted walls, alongside investment furniture. Materials like glass and acrylic with exotic woods, combined with textures like glass, fabric, metal, and other natural elements like wood can be mixed to give a space a particular dimension.
Fixtures themselves can either be central focal pieces or subtle, drawing attention to a particularly interesting corner.
Bright light can enhance or de-emphasize elements of a space. A traveller's home could be an ode to their adventures and a collector's passion could reflect on the walls. Environmental green-tinting and flowers could be used to reflect a nature person's likings. A bit of art here, a piece of accessory there, can also add a unique character. Pick and choose what fits you best and reflects your taste.
A template for a house can be found in any area with some effort and ingenuity.

text: This is all irrelevant to the question and should be omitted.

refinement: Practical assistance in picking furniture, floors, and walls is recommended. Throw a splash of color using accent pieces, pillows, or painted walls, alongside investment furniture.

text: The majority of info about furniture is omitted.

refinement: Practical assistance in picking furniture, floors, and walls is recommended. Throw a splash of color using accent pieces, pillows, or painted walls, alongside investment furniture.The author mentions smooth-finish metallic furniture as a way of adding texture in the home. They also suggest that fabrics on furniture can help account for a functional makeover of a space.

answer: The text implies that furniture is the final stage after you make all of your other decisions. It references the importance of accent pieces like pillows, decorative items and furniture in a nice location in your room. "Acutely practical" describes how you should match up the furniture. Other materials are mentioned like polished metallic furniture, glass and acrylic and exotic woods.

text: This should say that the author suggests textures like smooth-finished metallic furniture in the house. The author doesn't pair up glass, acrylic and exotic woods with furniture necessarily.

refinement: The text implies that furniture is the final stage after you make all of your other decisions. It references the importance of accent pieces like pillows, decorative items and furniture in a nice location in your room. "Acutely practical" describes how you should match up the furniture. The author mentions smooth-finish metallic furniture as a way of adding texture in the home.

text: The text does not imply this, it should be omitted.

refinement: It references the importance of accent pieces like pillows, decorative items and furniture in a nice location in your room. "Acutely practical" describes how you should match up the furniture. The author mentions smooth-finish metallic furniture as a way of adding texture in the home.

text: This isn't what the text says about furniture. This is about accent pieces. It would be better to say that the text suggests understated investment furniture looks good amidst various accent colors.

refinement: The text suggests understated investment furniture looks good amidst various accent colors. "Acutely practical" describes how you should match up the furniture. The author mentions smooth-finish metallic furniture as a way of adding texture in the home.

text: It's omitted that the text says fabrics on furniture can help enhance a space.

refinement: The text suggests understated investment furniture looks good amidst various accent colors. "Acutely practical" describes how you should match up the furniture. The author mentions smooth-finish metallic furniture as a way of adding texture in the home. They also suggest that fabrics on furniture can help account for a functional makeover of a space.

text: It's omitted that the text says that pragmatic assistance can go along way in picking furniture.

refinement: Pragmatic assistance can go along way in picking furniture. The text suggests understated investment furniture looks good amidst various accent colors. "Acutely practical" describes how you should match up the furniture. The author mentions smooth-finish metallic furniture as a way of adding texture in the home. They also suggest that fabrics on furniture can help account for a functional makeover of a space.

text: The text doesn't say this, so it should be omitted.

refinement: Pragmatic assistance can go along way in picking furniture. The text suggests understated investment furniture looks good amidst various accent colors. The author mentions smooth-finish metallic furniture as a way of adding texture in the home. They also suggest that fabrics on furniture can help account for a functional makeover of a space.

answer: The text implies that furniture is the final stage after you make all of your other decisions. It references the importance of accent pieces like pillows, decorative items, and furniture in a nice location in your room. "Acutely practical" describes how you should match up the furniture. Other materials are mentioned like polished metallic furniture, glass and acrylic, and exotic woods.

answer: The article details several design styles for furniture, noting that the color, fabric and how furniture appears are three key elements to consider when furnishing a space. Throw a splash of color through accent pieces and pillows, while adding exotic woods, exotic metals, and glass and acrylic with finishes ranging from sleek, smooth finishes to more organic textures like fabric.

text: This is off topic from the question.

refinement: The article details several design styles for furniture, noting that the color, fabric and how furniture appears are three key elements to consider when furnishing a space.

text: The article does not detail several design styles for furniture.

refinement: The article details that the color, fabric and how furniture appears are three key elements to consider when furnishing a space.

text: This should be changed to say "the texture".

refinement: The article details that the color, fabric and the texture are three key elements to consider when furnishing a space.

text: furniture color isn't discussed. It would be more accurate to say that subtle investment furniture can be used amongst pops of colors to create a fresh makeover.

refinement: The article details that fabric and texture are elements used to consider for furnishing a place. Additionally, subtle investment furniture can be used amongst pops of colors to create a fresh makeover.

text: It's omitted that pragmatic assistance can go a long way when picking out furniture.

refinement: Pragmatic assistance can go a long way when picking out furniture. The article details that fabric and texture are elements used to consider for furnishing a place. Additionally, subtle investment furniture can be used amongst pops of colors to create a fresh makeover.

answer: The article details several design styles for furniture, noting that the color, fabric and the materials furniture is made of are three key elements to consider when furnishing a space. Throw a splash of color through accent pieces and pillows, while adding exotic woods, exotic metals, and glass and acrylic with finishes ranging from sleek, smooth finishes to more organic textures like fabric.

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

Summarize everything relating to color.

answer: Choose a color that contrasts with the accent walls, if you are trying to make an impact. Choose a color for your accessories such as pillows, that compliments the main color scheme of your room. Bring in a splash of color using accent pieces or painting accessories. You can also invest in metallic furniture to give a room a sophisticated feel.

text: Most of this is not discussed in the text or is irrelevant to the question.

refinement: Choose a color for your accessories such as pillows. Bring in a splash of color using accent pieces or painting accessories.

text: This is written awkwardly. It should be reworded.

refinement: Color can be used in accent pieces, pillows, or paint on the wall.

text: It's omitted that these colors can be used amidst subtle accent furniture

refinement: Color can be used in accent pieces, pillows, or paint on the wall amidst subtle accent furniture.

text: It's omitted color can help you narrow down a style and to freshen up a room.

refinement: Color can be used in accent pieces, pillows, or paint on the wall amidst subtle accent furniture.  Color can help you narrow down a style and to freshen up a room.

answer:
Below is a list of things that should be avoided color-wise:
- Black on blue spaces if your furniture or accent color
- Colors in the pastel and floral categories if the main color of the room is blue, - Red rooms don't go well with prints, rugs, and black
- Fluorescent-bright shade in rooms with natural light
- Change your flooring fuchsia to white/gold.
- Choose a sunny yellow shade vs. coral if the main color of the room is blue

text: The whole answer is completely inaccurate. There is no mention of colors to avoid.

text: Blank response

refinement: Throw a splash of color using accent pieces, pillows, or paint on a wall amidst subtle investment furniture. Doing this will help you make a room fresh as new and narrow down your style.

answer: Color can set a particular mood. Throw a splash of color using accent pieces or pillows.

text: The text doesn't say this so it would be better to omit.

refinement: Throw a splash of color using accent pieces or pillows.

text: It's omitted that a splash of color can also be used with paint on a wall amidst subtle investment furniture.

refinement: Throw a splash of color using accent pieces, pillows, or paint on a wall amidst subtle investment furniture.

text: It's omitted that color can help make a room fresh as new and to narrow down a style.

refinement: Throw a splash of color using accent pieces, pillows, or paint on a wall amidst subtle investment furniture. Doing this will help you make a room fresh as new and narrow down your style.

answer: Lighting can bring attention to a particularly interesting corner. A traveler's home can be an ode to his adventures, a collector's passion may reflect on his walls, adorned with rare pieces, and a nature enthusiast's living space can sport a fresh green tinge. Color can set a particular mood. You can throw a splash color. Throw a splash of color using accent pieces or pillows.

text: This is not said in the text so it would be better to omit.

refinement: Lighting can bring attention to a particularly interesting corner. A traveler's home can be an ode to his adventures, a collector's passion may reflect on his walls, adorned with rare pieces, and a nature enthusiast's living space can sport a fresh green tinge. Throw a splash of color using accent pieces or pillows.

text: This is irrelevant to the question and should be omitted.

refinement: Throw a splash of color using accent pieces or pillows.

text: It's omitted that a splash of color can also be used with paint on a wall amidst subtle investment furniture.

refinement: Throw a splash of color using accent pieces, pillows, or paint on a wall amidst subtle investment furniture.

text: It's omitted that color can help make a room fresh as new and to narrow down a style.

refinement: Throw a splash of color using accent pieces, pillows, or paint on a wall amidst subtle investment furniture. Color can help make a room fresh as new and to narrow down a style.

answer:
Below is a list of things that should be avoided colorwise:
- Black on blue spaces if your furniture or accent color

text: This entire answer is inaccurate. The text does not discuss colors to avoid.

text: Blank response

refinement: Throw a splash of color using accent pieces, pillows, or paint on a wall amidst subtle investment furniture. Color can help make a room fresh as new and to narrow down a style.

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

What does the text say about rugs?

answer: No answer

answer: Nothing in the article explicitly mentions the use of a rug, but it may be implied to be a backdrop tool used to add effect to a room and can play with light and color.

text: The text doesn't say anything about rugs. The answer should be no answer.

answer: Rugs can help with texture, but in an abstract way.

text: The text doesn't mention anything about rugs. There should be no answer.

answer: No answer


text:
[_Portrait of Peeter Symons_ by Anthony van Dyck]

PEETER SYMONS or PEETER SIMONS (_fl_ 1629–1636) was a Flemish painter only known for his collaboration with Rubens in 1636 on the commission from the Spanish king Philip IV of Spain to create a series of mythological paintings to decorate the Torre de la Parada, a hunting lodge of the king near Madrid.[1]

Life

Very little is known about the life of Peeter Symons. He was possibly the son of Michiel Simons the Elder. He was registered in 1629 in the Guild of Saint Luke of Antwerp as the son of a master.[2] He received various pupils including Michel de Rudder, Balthasar Willebeeck and Daniel Verbraken.[3] In the Guild year 1636-1637 he was recorded for the last time as a master of the Guild.[4]

Anthony van Dyck painted a portrait of Symons (Museum of Fine Arts, Boston) around 1630-1632. The portrait was made to be engraved and included in van Dyck’s _Iconography_ (Icones Principum Virorum), a collection of engraved portraits of leading personalities of van Dyck’s time. The painting was engraved by possibly Jacobus de Han. The inclusion of Symons in this project of van Dyck demonstrates that Symons was held in high esteem by his fellow artists.[5]

Work

[_Cephalus and Procris_]

The work of Peeter Symons is virtually unknown. An inventory of 1644 mentions a painting of a fish by Symons, which could be an indication that the artist painted still lifes.[6]

Symons collaborated with Rubens in the mid 1630s. Rubens received in 1636 a commission from the Spanish king Philip IV of Spain to create a series of mythological paintings to decorate the Torre de la Parada, a hunting lodge of the king near Madrid. The mythological scenes depicted in the series were largely based on the _Metamorphoses_ of Ovid. Rubens realized this important commission with the assistance of a large number of Antwerp painters such as Jacob Jordaens, Cornelis de Vos, Jan Cossiers, Peter Snayers, Thomas Willeboirts Bosschaert, Theodoor van Thulden, Jan Boeckhorst, Jacob Peter Gowy, Jan Baptist Borrekens and others, who worked after Rubens' designs. Peeter Symons was also involved in this project as a collaborator.[7] Two of the canvases which Symons created after designs by Rubens for this project are recorded. One representing _Cephalus and Procris_ (Museo del Prado, Madrid) is based on a sketch by Rubens also in the collection of the Museo del Prado in Madrid. This painting shows his formal dependence on Rubens, although Symons never achieved in his works the freshness of the master, since his figures are much more rigid and lack the dramatic tension of Rubens. A second canvas painted by Symons representing Neptune and a nymph for the Torre de la Parada is documented but now considered lost.[8]

[1] J. J. Pérez Preciado, '' Symons, Peeter'' in: Enciclopedia del Museo Nacional del Prado, 2006, volume IV, p. 1183

[2] Peeter Symons at the Netherlands Institute for Art History

[3]

[4]

[5]

[6]

[7] Javier Portús Pérez, _Torre de la Parada_ on the Prado website

[8]

title: Peeter Symons

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

Who was Peeter Symons?

answer: He was a Flemish painter only known for his collaboration with Rubens in 1636 on a series of mythological painting to decorate the Torre de la Parada near Madrid.

answer: A Flemish painter only known for his collaboration with Rubens in 1636

text: The sentence lacks a period.

refinement: A Flemish painter only known for his collaboration with Rubens in 1636.

answer: He was a Flemish painter.

answer: Peeter Symons was a Flemish painter who collaborated with Rubens in 1636 on a commission from the Spanish king Philip IV.

answer: Peeter Symons was a Flemish painter active in Antwerp in the 1630s. Symons collaborated with Rubens in 1636 on a commission from the Spanish king Philip IV of Spain to create a series of mythological paintings. Symons style was rigid and lacked the drama of Rubens, and he was dependent on Rubens' designs for his series of paintings.

text: "He was registered in 1629 in the Guild of Saint Luke of Antwerp as the son of a master" is evidence that Peeter is active in Antwerp.

text: "Two of the canvases which Symons created after designs by Rubens for this project are recorded" is evidence that Peeter is dependent on Ruben's designs.

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

How was Symons seen among his fellow artists?

answer: Peeter Symons was held in high esteem by his fellow artists, based on his inclusion in Anthony van Dyck's project of a collection of portraits of leading personalities.

answer: Due to his inclusion in certain projects, it was deducted that Symons was probably held in high esteem by his fellow artists.

text: It's a bit vague to say that he was included "in certain projects." The project he was included in was Dyck's painted portraits of leading personalities.

refinement: Due to his inclusion in van Dyck's portraits of leading personalities, it was deducted that Symons was probably held in high esteem by his fellow artists.

answer: Peeter Symons was held in high esteem by his fellow artists likely based on his collaboration with Rubens.

text: It was Peeter's inclusion in van Dyck's portraits of leading personalities that shows how he was seen among his fellow artists.

refinement: Peeter Symons was held in high esteem by his fellow artists, demonstrated by how he was included in van Dyck's portraits of leading personalities.

answer: He was held in high esteem by his fellow artists.

answer: Peeter Symons was held in high esteem by his fellows

text: The sentence lacks a period.

refinement: Peeter Symons was held in high esteem by his fellows.

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

What type of paintings did Symons do?

answer: It's not clear, but Symons was a painter of still-life.

text: It is omitted what indicated that he painted still-lifes.

refinement: It's not clear, but his painting of a fish indicated that he painted still-life.

text: "Still-life" should be "still lifes."

refinement: It's not clear, but his painting of a fish indicated that he painted still lifes.

text: "Very little is known about the life of Peeter Symons" is evidence that Symon's type of work is not clear.

answer: Due to an inventory of 1644 that mentions a painting of a fish by Symons, some believe that meant he painted still lifes.

answer: The text does not say. Because Symons only painted the Cephalus and Procris painting for a commission by Rubens, this is not something he painted for himself.

text: The text actually did say something about Symons' possible type of paintings: "A painting of a fish by Symons, which could be an indication that the artist painted still lives." Also, he created mythological paintings.

refinement: Peeter created mythological paintings, and his painting of a fish could also be an indication that he painted still lifes.

answer: Peeter Symons collaborated with Rubens in the creation of mythological paintings.

text: The text also mentions that he probably painted still lifes, as indicated by his painting of a fish.

refinement: Peeter Symons collaborated with Rubens in the creation of mythological paintings. There is also an indication that he painted still lifes.

answer: Peeter Symons was a collaborator on a series of mythological paintings that were created by Rubens for the Torre de la Parada near Madrid. The paintings are based on the _Metamorphoses_ of Ovid. Symons' contribution to the project was mainly in his role as a collaborator on the series. As such, Symons primarily created paintings of mythological subjects.

text: "Symons' contribution to the project was mainly in his role as a collaborator on the series" is redundant info, as this info is already expressed in the first sentence.

refinement: Peeter Symons was a collaborator on a series of mythological paintings that were created by Rubens for the Torre de la Parada near Madrid. The paintings are based on the _Metamorphoses_ of Ovid. As such, Symons primarily created paintings of mythological subjects.

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

What is Symons relationship with Rubens?

answer: They collaborated on the commission from the Spanish King Philip IV of Spain to create a series of mythological paintings to decorate the Torre de la Parada, a hunting lodge near Madrid.

answer: Peeter Symons collaborated with Rubens in the mid 1630s to create the series of mythological paintings commissioned by Philip IV of Spain. Symons seemed to be held in high esteem by other artists and followed Rubens' designs closely.

text: Although the second sentence is accurate, it is unnecessary info that does not answer the question.

refinement: Peeter Symons collaborated with Rubens in the mid 1630s to create the series of mythological paintings commissioned by Philip IV of Spain.

answer: Peeter Symons collaborated with Rubens in the mid 1950s.

text: Mid 1950s incorrect. It's 1636.

refinement: Peeter Symons collaborated with Rubens in 1636.

text: It is not mentioned what they collaborated on, which would have made it clear that he was a painter.

refinement: Peeter Symons collaborated with Rubens in 1636 to create the series of mythological paintings commissioned by Philip IV of Spain.

answer: He collaborated artistically with Rubens and a certain painting showed his formal dependence on Rubens.

answer: Peeter Symons collaborated with Rubens on the commission for a series of mythological paintings for the Torre de la Parada near Madrid. Symons appears to have been strongly influenced by Rubens, although he was not as successful in his work as the master.

text: "Although he was not as successful in his work as the master" seems to imply that Peeter is the master, which is inaccurate. Rubens is the one described as the master in the passage: "Symons never achieved in his works the freshness of the master, since his figures are much more rigid and lack the dramatic tension of Rubens."

refinement: Peeter Symons collaborated with Rubens on the commission for a series of mythological paintings for the Torre de la Parada near Madrid. Symons appears to have been strongly influenced by Rubens, although he was not as successful in achieving the same quality of work as the master.

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

What is the important commission that Rubens realized?

answer: He received a commission from the Spanish king to create a series of mythological paintings to decorate the Torre de la Parada, a hunting lodge of the king near Madrid.

answer: The important commission that Rubens realized was creating a series of mythological paintings to decorate the Torre de la Parada near Madrid.

answer: It was a commission from the Spanish king Philip IV to create a series of mythological paintings to decorate the Torre de la Parada.

answer: Rubens received a commission from the Spanish king Philip IV of Spain to create a series of mythological paintings to decorate the Torre de la Parada near Madrid.

answer: The commission was to create a series of mythological paintings to decorate the Torre de la Parada, a hunting lodge of the king near Madrid with the assistance of a large number of Antwerp painters.

question: Write a ~2 sentence summary.

answer: Peeter Symons was a Flemish painter of only moderate renown. He collaborated with Rubens on a series of mythological paintings for the Torre de la Parada in Madrid in the mid 1630s. His work generally lacks the freshness and drama of Rubens, and he is best known for this collaboration.

text: The passage says that Peeter is "only known for his collaboration with Rubens," which is evidence that he is only moderate renown.

answer: This article discusses the work and collaborations of Flemish painter Peeter Symons. He was only known for his collaboration with Rubens in 1636 on a series of mythological painting to decorate the Torre de la Parada near Madrid.

text: The article only mentioned one collaboration, the one Peeter did with Rubens, and nothing else.

refinement: This article discusses the work of Flemish painter Peeter Symons. He was only known for his collaboration with Rubens in 1636 on a series of mythological painting to decorate the Torre de la Parada near Madrid.

text: It should be "paintings," not "painting."

refinement: This article discusses the work of Flemish painter Peeter Symons. He was only known for his collaboration with Rubens in 1636 on a series of mythological paintings to decorate the Torre de la Parada near Madrid.

answer: Tony van Dyck created a noticeable portrait of Peeter Symons, a Flemish painter of the seventeenth century, for going in his gallery. Symons is most known for their series of video about Ovid for the Torre de la Parada in Madrid.

text: Symons is known for his series of mythological paintings, not a series of videos.

refinement: Tony van Dyck created a noticeable portrait of Peeter Symons, a Flemish painter of the seventeenth century, for going in his gallery. Symons is most known for his series of mythological paintings about Ovid for the Torre de la Parada in Madrid.

text: The paintings are not about Ovid. They were based on the Metamorphoses of Ovid.

refinement: Tony van Dyck created a noticeable portrait of Peeter Symons, a Flemish painter of the seventeenth century, for going in his gallery. Symons is most known for his series of mythological paintings based on the Metamorphoses of Ovid for the Torre de la Parada in Madrid.

text: Van Dyck painted Peeter's portrait not because he went in his gallery. This information is not in the passage.

refinement: Tony van Dyck created a noticeable portrait of Peeter Symons, a Flemish painter of the seventeenth century. Symons is most known for his series of mythological paintings based on the Metamorphoses of Ovid for the Torre de la Parada in Madrid.

text: It's Anthony, not Tony.

refinement: Anthony van Dyck created a noticeable portrait of Peeter Symons, a Flemish painter of the seventeenth century. Symons is most known for his series of mythological paintings based on the Metamorphoses of Ovid for the Torre de la Parada in Madrid.

text: It is omitted that van Dyck's portrait of Peeter showed that Peeter's fellow artists respect and admire him. "The inclusion of Symons in this project of van Dyck demonstrates that Symons was held in high esteem by his fellow artists" is evidence that other artists recognize him.

refinement: Anthony van Dyck created a noticeable portrait of Peeter Symons, a Flemish painter of the seventeenth century, and this shows that Symons's fellow artists respect and admire him. Symons is most known for his series of mythological paintings based on the Metamorphoses of Ovid for the Torre de la Parada in Madrid.

answer: This article details the life, work, and contributions to the arts of Flemish painter Peeter Symons. Very little is known about the man because only little information is known about his life and the few works he contributed to were largely overshadowed by works completed by his more famous contemporaries.

text: The article did not say that Peeter's works were largely overshadowed by works completed by his more famous contemporaries.

refinement: This article details the life, work, and contributions to the arts of Flemish painter Peeter Symons. Very little is known about the man because only little information is known about his life.

text: It is omitted that he collaborated with Rubens to create a series of mythological paintings to decorate the Torre de la Parada.

refinement: This article details the life, work, and contributions to the arts of Flemish painter Peeter Symons. Although very little is known about the man, he is known as a collaborator in Rubens's project to create a series of mythological paintings to decorate the Torre de la Parada.

answer: Peeter Simons was a Flemish painter, primarily known for his collaboration with Rubens on a series of mythological paintings commissioned by Philip IV of Spain in the 1630s. Simons' paintings tended to follow Rubens' predecessors closely in terms of form, resulting in stiffer, less dynamic figures.

text: It's Rubens's designs that Peeter followed, not Rubens's predecessors. "Two of the canvases which Symons created after designs by Rubens for this project are recorded" is evidence that Peeter tended to follow Rubens's designs.

refinement: Peeter Simons was a Flemish painter, primarily known for his collaboration with Rubens on a series of mythological paintings commissioned by Philip IV of Spain in the 1630s. Simons' paintings tended to follow Rubens' designs closely in terms of form, resulting in stiffer, less dynamic figures.

text: Peeter's tendency to follow Rubens's designs is not the reason Peeter's figures are stiffer and less dynamic. "Symons never achieved in his works the freshness of the master" is evidence that his works were just not as good as Rubens's.

refinement: Peeter Simons was a Flemish painter, primarily known for his collaboration with Rubens on a series of mythological paintings commissioned by Philip IV of Spain in the 1630s. Simons' paintings tended to follow Rubens' designs closely in terms of form, but his figures are stiffer and less dynamic.


text:
_In this ongoing series, Sam Irvine, SponServe’s Territory Manager, Australia and New Zealand, ponders his past life as a commercial manager at a rights holder and what he wishes he knew. Then, he pens a letter to his younger self. _

------------------------------------------------------------------------

14 March 2018

RE: WHY SPONSORSHIP AND MEMBERSHIPS ARE A MARRIAGE MADE IN HEAVEN

Dear Sam,

It’s that fantastic time of the year again in Australia when football clubs (AFL, NRL, and Rugby Union, in particular) send out their membership packs. You will have just received the pack for your family membership for the Sydney Swans and you will be planning which games you could potentially attend.

At the same time, you will notice that QBE (insurance sponsor) play a really big part in this membership program and you’ll wonder why you don’t take out your insurance with them.

This year, instead of just enjoying the token Swans branded items you and the kids receive, I have taken the time to point out five key reasons as to why you should have involved commercial partners more in previous membership programs during your time working at a rights holder.

1. Engaged demographic

A club’s membership group is almost guaranteed to be the most engaged demographic segment; what better group for your partners to want to talk to?

The brand loyalty this group has towards the club should be built on to create a sense of loyalty with the partner’s brand.

This group is going to be open to receiving communication from your partner (as long as it has a connection to your club). They have already opted-in on a number of fronts, so make sure you use this openness and level of engagement without simply spamming them.

2. Cross-promotion of partner’s assets

This is the perfect opportunity for you to play another key role in your partner’s marketing and communications plan and, at the same time, an opportunity to help them distribute some products or services. How can you use a special offer or actual product of a partner in the membership?

This could be a simple way to provide another touch point for a partner’s service or a way to get their product into the member’s hands. Utilise the services or products of a sponsor as rewards for members, using money can’t buy experiences brought to you by a sponsor or, better yet, involve the opportunity for your members to become a customer of the partner e.g. sign up to Qatar Airways Frequent Flyer Program to receive a signed Swans Jersey.

By working with the partner in this space, and tailoring this to a variety of levels (not everyone has an international airline as a sponsor), you are giving your members another reason to connect with your partners.

3. Multiple touch points

The variety of memberships available nowadays are so varied and flexible and they cater for the complex group that make up club members. Club memberships are no longer just for the die-hard fans and are now also for anyone who wants to feel a real connection with their club and a further sense of belonging, and this should be a key demographic your sponsors want to connect with.

By tailoring the different member offerings available (think pet memberships for example) and working with your partners on these different levels of memberships, you can provide a whole new group of consumers for your partners to talk to while, at the same time, opening up the opportunity to work with multiple partners on these new membership levels.

Involving your partners in the membership program creates multiple touch points for them through opening up a wide variety of communication opportunities and broadening your member database.

4. Continual brand recognition

Watching Harvey run around the house with a Swans flag or cape, or using his favourite A-League team drink bottle, really hits home the continual brand recognition available for your sponsors. By providing branded items that are useful, fun, different, or just simply a core part of the sport (think mini football or member card) you and your partners will position yourselves as a key player in the member’s daily routine.

This continual brand recognition and awareness is a priceless opportunity to have a year long (or potentially even longer) involvement with the member rather than just individual interactions. Work directly with your partners to be able to provide a meaningful connection with the member, ensuring they play a role in product decisions where appropriate, but most importantly communicating the key role your partners play in making that membership a special one for the members.

5. Life-long connection

Memberships tend to be life-long commitments and, as such, your sponsors now have an opportunity to create life-long connections with your members. This is an excellent opportunity to demonstrate the benefits of a long-term partnership with your sponsors. By providing them a long-term communication channel to a dedicated and committed group that you can help grow together, you are truly providing value for money to the partner and executing a meaningful partnership.

If done right, through mutual desired outcomes and a sense of community engagement, a partner’s involvement with a club membership program allows for a prolonged engagement with your fan base.

Sam, hopefully this letter helps motivate you in engaging your partners more in the membership program and provides a little bit of inspiration for future seasons.

Now it’s time to go and get a quote from QBE.

Yours sincerely,

[]

Sam Irvine, the older one.

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Sam Irvine // Territory Manager – Australia & New Zealand

Sam is passionate about helping organisations maximise their sponsorship programs and has worked with brands and rights holders at all levels. Sam is always looking for ways to improve himself and loves working with people who give as much as they take.

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

What does the text say about some of the importance of including commercial partners, that is, sponsors, in membership programs?

answer: The text points out that an organization's membership group is the most engaged demographic segment, and that it makes sense for sponsors to want to connect with this group. It also argues that through a comprehensive membership program, there can be multiple touch points between sponsors and members, and members can have a long-term relationship with a sponsor. It is these valued benefits that make the inclusion of sponsors an important means for an organization to reach its members.

answer: Including a partner’s product in the membership stipends a way for the club members to experience and use the partner’s product or service. This gives the sponsors a broader opportunity to earn marketing value.  When a club does this, it can make the most of an opportunity to add a life-long ongoing relationship to a group of committed members.

answer: The text argues that including commercial partners in membership programs allows for continual brand recognition, cross promotion of partner's assets, opportunities for multiple touch points, and a life-long connection. By working directly with the partner, the text argues that sponsors are able to create a meaningful connection with the members, helping to grow both the partner and club. The partnership also increases a sponsor's exposure to a dedicated and committed group of members. The text concludes by stating that this is a priceless opportunity and that clubs should work with their partners to communicate the key role partners play in making membership special.

answer: The author suggests that this is an opportunity to build up the brand loyalty of both the given club and its sponsors. He tries to explain how important it is to tailor the different membership offerings so that the commercial partners can become a part of the unique experience. The author also tries to explain how the cooperation between the club and its commercial partners can pave the way for lifelong connections with the members.

answer: Sam Irvine, who helps people maximize their sponsorship programs, penned a letter to a colleague called Sam to advise him on the importance of having partners in a membership program. This importance includes having an engaged demographic in the membership program for open communication with partners, promoting partner's products and services to members, thereby allowing members to reach out to these partners one on one, and getting to establish a life-long relationship between members and sponsors and also providing value for their money through a meaningful partnership.