text:
	I had never sat in a cafe and wrote before. It was a phenomenon of Portland and other easy going cities like it: young people, with nothing better to do, would just go to the local cafe and waste the day away at a computer (or typewriter, depending on how hip the cafe was). I had always enjoyed writing, but writer's block had always hit sooner or later, and not a single story was complete so far. So there I was, school had just finished and I felt aimless. I decided to go up to the corner cafe that just opened on my street. It was a cute little green building, hidden between two giant trees, leafless from winter. I stepped inside and instantly, the smell of warm coffee and sandwiches hit my nose. It was like a large living room, soft music was playing, there was a younger Asian guy reading on a green and yellow couch, and a young woman with an apron stood at a front desk. I examined the menu, chose some finger food, and set up my computer to write. Opening up the word program, I see the recent category, filled with the stories I've yet to finish. Looking at all this unfinished work, I promise myself that I will have made something by the end of the day. “I have to”, I tell myself, “I have to finish one damn story”.

	But what do I write about? That's the question I kept asking. Over and over and over, I could not think of one damn thing! I had never had this trouble with technical papers or papers for school, given a topic or general theme, I could do A work every time, but ask me to craft a story and I just can't. It's like my mind hits a brick wall, so much momentum but no progress. I looked for inspiration everywhere, and found none. How do I write about the guy walking his dog past the window I'm sitting at? What is funny or interesting about that?  Nothing, that's what. So I sat there, eating the fries I ordered, trying to get past this mental wall. I put on my headphones, kicked on some MGMT, and thought.

	Time passed, I don't know how long, and I hadn't written a thing. I sat there defeated, the simple objective of writing a story had beat me. I started to gather my things to leave when I noticed something... odd. Everyone was gone. At first I thought that I was simply the last customer, so I packed everything up and went to walk out the door, but it was locked. I didn't remember seeing the waitress lock it, so was puzzling. I tried to undo the bolt, but it was stuck and didn't want to budge. I didn't want to break the lock, so I went to find the waitress, but she was nowhere to be found. In fact, nobody was here, I was the only person in the cafe. Not caring about a stupid lock anymore, I pushed the lock to the breaking point and it finally slid to the open position. I swung the door open.... but there was nothing there. No street, no houses, no trees, just a huge, blank space. I couldn't tell what was up or down, or how far the end was, I had to close the door to keep from throwing up. I was in shock, how could I be seeing everything normal through the window and then... nothing....

	It's been a few days here, and I still don't know what happened. I can't leave, as the outside world only exists through these panes of glass now. Stepping out the front door puts me at the back door, and vice versa.  I can't explain the physics, or what/who put me here, but I know it has something to do with my stories. I have this... I don't know how to explain it.... nagging sensation in the bag of my head. I feel compelled to finish the story I set out to write, 2 days ago, before this all started happening. I set my computer back up, opened up the file, and stared at the page. Before I had come to wherever “this” is, I had deleted everything I had wrote so far, so the page was blank. Once again I asked myself that question: What do I write about?
	I sat and thought about the past two days, all that had happened. It was crazy, like a horror story... story....the realization dawned on me like a sack of hammers, I should write about what had happened! It had everything that I needed for a story, rising action, falling action, plot twists! It just needed two things, an introduction and a conclusion. So I clicked on the word page, flexed my hands, and began to write.

	“I had never sat in a cafe and wrote before.”

title: [MF] The Cafe

question: Summarize the narrator's struggles.

answer: The narrator had always enjoyed writing and had a knack for technical papers and school papers. However, when it came to writing stories, he had writer's block. He was so stuck that he couldn't think of anything to write about. He had deleted everything he had written. In fact, he had even forgotten that he had wanted to write a story.

critique: The response includes information that is not useful for the task.

critique: It is not stated that he had forgotten that he had wanted to write a story.

critique: The narrator never forgot that he wanted to write a story.

critique: The narrator is not someone who has forgotten they wanted to write a story.

critique: The narrator's struggles are not described in the passage.

critique: The narrator's struggles are not that he had forgotten that he wanted to write a story.

critique: The narrator's struggle is not that he had forgotten that he wanted to write a story, but that he couldn't think of anything to write about.

critique: The narrator's struggles are not limited to writing stories.

question: Summarize how this struggle is resolved.

answer: The narrator is struggling to write a story. They are stuck on what to write about. They are the only person in the cafe. They swing the door open and see that everything disappeared. They are in a huge, blank space. They can't explain the physics or what/who put them there. They feel compelled to finish the story they set out to write. They realize that they should write about what had happened. It had everything that they needed for a story.

critique: The narrator sees a huge, blank space. "An" isn't needed before the blank space.

critique: The narrator is not struggling to write a story.

critique: The narrator is not struggling to write a story. They are struggling to write a story.

critique: The narrator is compelled to write about what happened because it has all the elements of a story.

critique: The narrator is not the only person in the cafe.

critique: The narrator realizes that they should write about what happened because it has the elements of a story.

critique: The narrator swings the door open and sees that everything disappeared. They are in a huge, blank space. They can't explain the physics or what/who put them there. They feel compelled to finish the story they set out to write. They realize that they should write about what had happened. It had everything that they needed for a story.

question: Summarize this method of writing.

answer: The narrator is stuck on a story, so they decide to go to the cafe to write. They are the only one there, and the cafe is locked. They try to leave, but the door is locked. They swing the door open, and there is nothing there. They are in shock. They can't leave, as the outside world only exists through these panes of glass now.

critique: The narrator swings the door open and there is nothing there, not that they are in shock.

critique: The narrator is not stuck on a story. They are stuck on writing a story.

critique: The response misses to include the narrator's realization that they should write about what had happened.

critique: The story about being locked in the cafe was never mentioned anywhere in the story. This should be removed.

text: The response is incorrect and fails to answer the question. Replace with "That information can't be found."

question: Summarize what led the narrator to want to pursue writing in the first place.

answer: No answer

critique: The response misses to mention that the narrator is a student who enjoys writing.

critique: It isn't stated, but it can be guessed they were interested in the process of writing, and writing was a form a creative outlet in their life.

critique: The narrator is not pursuing writing, they are stuck writing a story.

critique: The narrator is a writer who is struggling with writer's block.

critique: The narrator wants to pursue writing because they enjoy it.

critique: The narrator has always enjoyed writing but had never sat in a cafe and wrote before.

critique: The narrator had always enjoyed writing, but writer's block always hit sooner or later and no single story was complete.

critique: The narrator's desire to write is mentioned in the passage.


split: train

text:
	When I was young, I once asked my grandparents, "How am I supposed to see the whole world, when time passes by so fast?" Granted I was still a child, and had no idea about the horrors of the real world, but they told me to close my eyes, and imagine what lay beyond the horizon, that way you will never be disappointed with what you find. I didn't really understand at the time, but I tirelessly tried multiple times, all with no luck. Eventually I forgot about their advice, until just recently, looking out my bedroom window trying to figure out what to do with myself. I closed my eyes for five seconds, and when I had opened them, time had stopped. My name is William Hale, and this is my story.
	Yeah, I know, its a cheesy way to start a story, but I'm new to this so give me a break. Anyway, it turns out I had the power to stop time, kind of. I couldn't interact with anything outside of my body, because my physical body was right there, standing there, blankly staring out the window at a still world. I moved down the stairs(I tried walking but soon discovered I had no legs, so it was more of a directional hover) and found my parents watching the television in the living room. The evening news was frozen and I let out a quiet laugh at the news anchor's face. It was frozen midsentence, making him look like  a clown.
	So, I could apparently move between the hands of time, and honestly, I was surprisingly underwhelmed. I returned to my room and stared at my body, thinking about what I could do now. I could see the world (traveling at the speedy pace of 2 miles an hour) but what else. I was alone, nobody to share the experience with. Hell, I'm socially awkward enough, I'm sure I would seem extremely sane describing a still-shot of perhaps the pyramids, or the Colosseum in Rome. That's when I realized, I don't know HOW to get back. My body was right there in front of me, yet I couldn't touch it, only move through it.
	Now I was faced with the challenge of returning. First try, retracing my steps. I closed my eyes, counted to five  and opened, no luck. In all honesty, it was my only thought. I walked through my physical body five different ways, but still no luck. I sighed and stood next to my body, rested my hands on the windowsill and looked at the frozen world. Then it sparked. I moved over until I was standing inside myself (weird) completely standing as it stood. Still nothing. So I closed my eyes and hoped I would return.
	It was the longest five seconds of my life. Just as I was about to give up I heard the A/C blowing air through the vent. My eyes shot open and the cars were moving down the road. I sprinted downstairs and my parents shot their gaze over to me. My mother asked, "What's wrong Will?"
	I opened my mouth as to answer them. I was going to tell them, how I stopped time, about the stupid news anchor's face a moment ago, about my fear of being stuck, but hearing it all in my head, I would definitely be committed to the nearest mental hospital. I let out the big breath I took and replied, "Nothing." I slowly retreated upstairs to my room. I shut the door behind me and slid to the ground, well aware of the giant grin on my face.
	I had a secret. Not just any secret though, a power, like a super-power. Granted it wasn't exactly efficient, but it was something nobody else had (to my knowledge).
	I decided to experiment with this power. I started simply enough, leaving and returning, just so I could get the hang of it. If so much as a finger was out of place when I tried to return, nothing would happen, so I used my computer chair as my starting point. An easy place to relax in, that isn't in an odd form.
	Next was testing my limits. I couldn't travel through walls or windows. I couldn't walk through most doors, unless there was some form of a window in the door. As for distance, I don't believe there was a limit. I hovered at first down the road, to the bend, then to the edge of town, and finally, when I was feeling brave enough, to the next town. (I feel its also worth mentioning that this was within an hour of discovering about my power.)
	Now, I was at a loss. I could stop time. Great. In due time, I could see the world(eventually), but all that time would account for nothing. I would exist as a ghost beyond time, and when I returned, nothing will have happened. No time will have passed, Nobody would be the wiser, and I couldn't tell anybody. I returned to my body and sat in my computer chair, watching the sun slowly set. It was odd, watching, almost feeling time pass.
	My mind wandered, wondering how I had unlocked this power, why it was me, and if there were others, and I couldn't help but think, what if I had finally lost it. Since I was young, my social anxiety put me in a kind of depression, so I wondered, did it finally snap? Have I gone insane?
	I went to sleep early that night. I was comforted by the fact that I was more tired than usual. At least there was some effect from this power, albeit a negative one. I had no dreams that night, but it was the best sleep I had gotten in a long time. Whether I was sane or not, I was just happy that my life had taken a step forward, for the first time in three years, but if it was a step in the right direction, or the wrong one has yet to be seen.

title: [RF] Blink

question: What new power has William Hale discovered

answer: He can stop time.

critique: It's omitted that William can also move through time.

question: What problem did William encounter when he'd had enough of his hovering travels?

answer: He couldn't return to his body.

critique: The answer should mention that William was afraid of being committed to a mental hospital.

critique: The answer should mention that William couldn't return to his body because he couldn't touch it.

question: What are the long-term problems that William faces?

answer: William is a socially awkward person who has a hard time making friends. He is also a person who is depressed. He has a hard time sleeping and has no dreams. He is also a person who is afraid of being committed to a mental hospital.

critique: The last sentence should be omitted to reflect the realities and reality checks William faces: his problems are ones of his own imagination, which might be helpful and relaxing.

text: The answer is highly inaccurate - William's main concern, as related in the passage, is whether his newfound power the result of him going insane.

category: accuracy

question: Do other people have the same powers as William?

answer: No answer

critique: There is no mention in the story whether any other people had the ability to stop time.

critique: The story does not answer this question.


text:
ALDRO THOMPSON HIBBARD (August 25, 1886 – November 12, 1972) was an American plein air painter known for his depictions of snowy landscapes, particularly of Vermont. Hibbard worked in oil, as watercolor couldn't be used in January and February in the mountains of Vermont. He lived most of his life in Rockport, Massachusetts.

Early life

Hibbard was born in Falmouth, Massachusetts to James Thompson Hibbard and to the former Katherine Swift. Hibbard's father sold sewing machines and his mother was a homemaker who had a fondness of nature and spiritualism. He had one older sister, Adeline. Hibbard was raised in the Boston suburbs of Roxbury and Dorchester and graduated from Dorchester High School in 1906. Hibbard was captain of the baseball team at Dorchester High School.[1] As a young man, he often spent summers visiting family in Falmouth,[2][3] and in 1911,[4] 1913,[5] 1915,[6][7][8] and 1916,[9][10][11] he played baseball for the “Cottage Club”, Falmouth's town team in what is now the Cape Cod Baseball League.

Hibbard enrolled in the Massachusetts Normal Art School which is now known as Massachusetts College of Art and Design (or MassArt) in 1906. Here he studied with Ernest Lee Major, Joseph DeCamp, Frederic Andrew Bosley all of whom were well known painters of portraits and still life. Hibbard was known for his work ethic at an early age. He worked his way through college, walking back and forth to Dorchester to attend classes six days a week and also attending night classes several times a week. He rarely arrived home before midnight. Due to his work ethic, Hibbard completed the four year normal art school program in three years and in 1909 enrolled at the school of Museum of Fine Arts, Boston (now known as School of the Museum of Fine Arts at Tufts) to continue his studies. Here he studied with Frank Weston Benson, Phillip Leslie Hale and Edmund Charles Tarbell who were instructors in the new school of American Impressionism at that time. Hibbard studied at the Museum of Fine Arts, Boston for an additional four years and upon graduation was awarded in 1913 with the Paige Traveling Scholarship, one of only four scholarships and the only American to receive the scholarship for this year. With the resources now to travel to Europe and study for two years, Hibbard departed Boston aboard the SS Arabic bound for Cobh, Ireland in September 1913. Hibbard spent time in England, France, Spain, Morocco, and Italy. He was able to study and sketch from many masters and had exposure to the life of Europe. He explored both town and landscape venues. Due to the declaration of War 29 July 1914 (Italy), Hibbard made his way back to England there boarding the SS Arabic in November of 1914 bound for Boston.[12]

Career

The National Academy of Design awarded Hibbard the 1922 First Hallgarten Prize for _Late February_, and the 1928 Second Altman Prize for _Snow Mantle_.

Hibbard traveled extensively early in his career across the United States and Canada seeking mountainous venues. He then gravitated to Rockport where many artists coalesced to form what is now known as the Rockport Art Association. Hibbard was president of the association for over 20 years. He also was an instructor for many years creating the Hibbard School of Painting in Rockport. He spent his summers instructing in Rockport and then painting in Vermont in the winter months.

Hibbard was a member of many American art organizations, including the Rockport Art Association, the North Shore Art Association, and others. He was a National Academician of the National Academy of Design granted Associate National Academician in 1923 and National Academician in 1933.

Legacy

Hibbard influenced Rockport artists including Emile Gruppe, Tom Nicholas, Paul Strisik, Marguerite Stuber Pearson, and Roger Curtis.

His paintings, which are associated with the Boston School of painting,[13] are in many museums including the Museum of Fine Arts Boston, Currier Museum of Art, Portland Museum of Art, Whistler House Museum of Art, corporations and other prominent private collections.

Aldro Hibbard's current record at auction occurred on February 3, 2012 at Skinner Auctioneers and Appraisers, when _Winter in New England, Probably a West River, Vermont View_, estimated at $25,000-$35,000, sold for $88,875. Along with Anthony Thieme, Hibbard is generally regarded as the most expensive Rockport painter at auction.

Notes

Sources

-   _A.T. Hibbard, N.A.: Artist in Two Worlds_, by John L. Cooley, published 1968.
-   _Rockport Sketchbook_, by John L. Cooley, published 1965.
-   “Aldro T. Hibbard, Painter of New England Winters”, _American Artist_, June 1940.
-   “The Legacy of Cape Ann,” by James Keny, _American Art Review_, Oct./Nov. 1995.
-   “A New View of Aldro Hibbard”, by Charles Movalli, _American Artist_, May 1979.
-   _Art For All, The Cape Ann School_, by Lisa B. Martin.
-   _The Inspiration of Cape Ann_, by Tom Davies, Rockport Art Association, 1993.
-   _Gloucester, Views of the Art Colony by American Masters_, by R.H. Love, R.H. Love Galleries, Oct./Nov. 1991

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title: Aldro Hibbard

question: How successful was Aldro Thompson Hibbard as an artist?

answer: He was a member of many American art organizations, including the Rockport Art Association, the North Shore Art Association, and others. He was a National Academician of the National Academy of Design granted Associate National Academician in 1923 and National Academician in 1933. He received the First Hallgarten Prize for Late February and the Second Altman Prize for Snow Mantle. His paintings are in many museums including the Museum of Fine Arts Boston, Currier Museum of Art, Portland Museum of Art, and the Whistler House Museum of Art.

critique: The response does not answer the question.


text:
_This article is part of DBA, a series on Mashable about running a business that features insights from leaders in entrepreneurship, venture capital and management._

There's a lot of science behind why change is so hard. But we shouldn't be so hard on ourselves; a large part of it is human nature. While what separates humans from many other animals is our frontal cortex and cognitive abilities, we still have an innate ability to follow known patterns. They tells us, "If doing something yesterday didn't kill us, then it must be safe to do today."

But our environment is constantly changing, and with the rapid pace of technology, there's never been more pressure to adapt or die.

Among the many facets of innovation, the one that intrigues me most is molding a culture of innovation, because getting this right is the key to sustained innovation. Without a culture of innovation, great ideas go unnoticed, or worse, get crushed.

Companies, like humans, gain comfort in patterns — doing what they've always done because it's considered safe. They're afraid to enter a new industry, offer a product outside their specialty or try a new approach to marketing because failing could be costly. Here are four tips to help your company foster a culture of innovation.

1. Start conversations with two simple words: 'What if'

[]

What if we could transmit data at the speed of light? What if every car could be turned into a taxi? What if vacant rooms could become mini hotels? What if unused CPU capacity could be put to other uses? Asking these questions paved the way for fiber, Uber, Airbnb and VMware. When you ask open questions, you invite new thinking.

"What if" is a powerful way to approach discussions because an invitation to think differently lives in the white space of the question.

To practice this simple method, follow this formula: Look at the way things are today — the status quo — and postulate the exact opposite. What if our pricing model is completely wrong? What if we should turn left rather than right? What if right now we're growing too fast?

2. Pay special attention when someone says, 'I have a crazy idea'

I've seen people's eyes roll when I start a sentence with "I have a crazy idea." I'm not offended. I know these people have a role; I look to them to defend processes. I know they value different things than I do, and that's a good thing, but I don't let them stop me.

Not all of us are as creative as others, but we all have crazy ideas, some big, some small. We'd be smart to pay attention to them. Think of crazy ideas as gifts from the cosmos. And they don't have to be big crazy ideas either. Sometimes, even the most innocuous observation or comment can become a springboard for a big idea.

Albert Einstein once said, "You can't solve a problem on the same level that it was created. You have to rise above it to the next level." Innovation is born from wanting to solve a problem in a new way and straying from the status quo. It's more than thinking outside the box; it's thinking like there is no box. Many people thought Einstein was crazy. He certainly looked the part. But it's just these attributes that made him so successful.

3. Approach life as if you were making stone soup

[]

Image: Mashable composite/ Stockphoto

If you haven't read the parable of "Stone Soup", it's a good read. And while there are many life lessons from the passage, I've witnessed how the power of this approach applies to innovation first hand.

About 15 years ago I met a brilliant technologist named Jeremie Miller. He had a seed idea for an instant messaging platform that could interoperate with every other instant messaging platform. He called it Jabber.

But Jeremie's true innovation wasn't his brilliant idea (the stone in stone soup). It was the way he invited others to contribute; he didn't approach his innovation as if it was a finished product, or a complete soup. In the white space around Jeremie, which he invited by not presuming he had the answer to everything, Jeremie attracted a team of brilliant contributors. Together, they did incredibly innovative things.

4. Create a new relationship with failure

Nothing will kill a culture of innovation and risk-taking faster than public humiliation from a past failure. "We're never going to do that again because when [insert name] took us down that road the last time, we lost a lot of money," you might hear.

We've all heard the mantra "No risk, no reward." Clearly the two are linked, but what we may not have realized is that the key to moving forward without fear lies in our relationship to failure.

We all make mistakes. The question isn't if we'll make them, but how we think about them and how that thinking impacts future choices. If the lesson we derive from failure is to stop trying, failure has defeated us. That relationship with failure keeps us from exploring the future, from taking risks. This is a toxic relationship to failure.

But here's the good news: I've found that only a small shift in thinking can turn our relationship with failure into something positive — something that will propel us into the sort of thinking and risk-taking that leads to innovation.

Here's how: Think of every failure as nothing more than a learning moment. Stop talking about things that didn't work in the past as failures, and start talking about them objectively. We did X, we learned Y. Therefore in the future, past experiences will help us pursue ideas that we have conviction in differently.

Removing fear of failure starts at the top. Senior leaders should promote smart risk-taking and explain the importance of learning from mistakes, whether that's done via email, town hall meeting or company kickoff event.

Encourage people to believe in themselves, make a bet and learn from mistakes. Put simply, cultures that promote risk-taking will also be the leading innovators.

[]

Andre Durand

In the past 20 years, Durand as help grow and build a number of successful, tech-focused companies. He started his career as an auditor at KPMG. In 1993 he co-founded and was CEO of Durand Communications, a bulletin board software company, which was ...More

question: What does the text say about why the science behind changing oneself is so hard?

answer: While humans are different from other animals due to our frontal cortex and cognitive abilities, they still follow known patterns. We follow them because they tell us that if something didn't kill us, it must be safe to do today. The science behind change and innovation is also discussed how our environment is constantly changing and with the rapid pace of technology, there's never been more pressure to adapt or die.

critique: The answer doesn't make it clear that it's the science behind change that is discussed.

critique: The answer is redundant. It should be rewritten.

critique: Revise this answer to get the answer at the heart of the question: no, the science behind changing oneself is hard due to human nature.

text:
The second sentence ought to read: "We follow them because they tell us that if something didn't kill us yesterday, it must be safe to do today."

Also, the final sentence of the response is irrelevant.

category: coherence

question: What does the text say about starting conversations with "What if".

answer: The text recommends starting conversations with "What if" to invite new thinking. The author says that "What if" is a powerful way to approach discussions because an invitation to think differently lives in the white space of the question. The author says that when you ask open questions, you invite new thinking. The author also says that asking "What if" paved the way for fiber, Uber, Airbnb and VMware.

critique: The answer should mention that the author is Andre Durand.

critique: The answer omits the importance of paying attention to people who say "I have a crazy idea".

critique: The author says that "What if" is a powerful way to approach discussions because an invitation to think differently lives in the white space of the question.

critique: The answer could mention the other questions.

critique: It is not the author who says this last bit of information, it should be omitted.

critique: The author says that asking "What if" paved the way for fiber, Uber, Airbnb and VMware, not that it paved the way for fiber, Uber, Airbnb and VMware.

question: What does the text say about paying attention to the person who says "I have a crazy idea".

answer: The author says that people who say "I have a crazy idea" are important because they defend processes. The author says that these people value different things than they do, and that's a good thing. The author says that crazy ideas are gifts from the cosmos and that they don't have to be big crazy ideas. Sometimes, even the most innocuous observation or comment can become a springboard for a big idea.

critique: The author also says that crazy ideas should be paid attention to.

critique: The answer should mention that the author says to pay attention to these people.

critique: The answer should mention that the author encourages people to pay attention to crazy ideas.

critique: The response should include that the author says that people who say "I have a crazy idea" should be listened to, because they are the people that defend processes.

text: People with crazy ideas do not defend company processes, at least according to the article.

question: What does the text say about the importance of fostering a culture of innovation in a company?

answer: The author says that fostering a culture of innovation is the key to sustained innovation. Without a culture of innovation, great ideas go unnoticed or get crushed. Companies gain comfort in patterns, doing what they've always done because it's considered safe. They're afraid to enter a new industry, offer a product outside their specialty, or try a new approach to marketing because failing could be costly.

critique: Remove the two sentences that repeat information that is contained in the first sentence that says that fostering a culture of innovation is the key to sustained innovation.

critique: The answer should mention the benefits of a culture of innovation.

critique: The answer should mention the four tips the author gives.

critique: The answer should mention the four tips to foster a culture of innovation.

critique: The answer should mention that fostering a culture of innovation is important to keep up with the rapid pace of technology.


text:
Everything started with her. She invited me to one of the biggest nights of the year, for a nerd anyway. It was N7, a convention where all of the biggest game developers came together to announce their upcoming games. There were giveaways and demos and specials, and it was especially difficult to get passes. Somehow, it doesn’t matter now; she got the passes for us to go. I was to go to her house, pick her up, and drive us there and have a good time.

When I got to her house, I immediately noticed the shape it was in. broken down, gloomy, and just plain creepy. I decided to not mention it. She came outside, and I was stunned. She only wore her normal, everyday clothes, so did I, but she still looked beautiful.

We went there, and I immediately saw a theater room for one of my favorite developers. I rushed inside, dragging her along beside me. The lights dimmed, and I saw a familiar face. It was the main protagonist of my favorite game as a kid. The name doesn’t really matter now, but I was excited. They were going to make another game! Throughout the rest of the night, I marveled at the new gaming systems and games that were coming out, but my mind still went back to that one game.

I then took her home, and that is when it all started. I insisted on bringing her to the door, and saw her in. What’s important is what I saw. I decided to step in, maybe meet her parents. One step and I was knee-deep in water. I was paralyzed. I felt weaker and weaker at the moment, as if my life force was being drained away. Then, I felt tendrils of seaweed brushing against my legs. You know the feeling of touching seaweed in the water? It was like that, but I couldn’t move. I fell into the water, sinking as the last bit of my life was draining away. Then, one powerful tendril of seaweed shot up and knocked me out of the water and onto the front porch. I sat up, and saw her. But it wasn’t her; it was her, covered in seaweed, with a strange green aura around her. She was almost floating in the air. I sat there for quite a while, and she hovered there for quite a while, and then, for the first time all night, I built up the courage to speak to her.

“So,” I said, “You’re seaweed.”

She nodded, and came over to sit by me. She explained it all to me, and I understood.

She fell in here as a little girl, and drowned. The magical properties of the swamp gave her life again, but as seaweed. The other human-seaweed hybrids took care of her, nurtured her, and protected her from predators. She was their child, in a way. Eventually she learned to morph between human and seaweed forms, but she had to be careful. The magic of the swamp was strong, and would pull her back to her seaweed form if she was gone too long. It was never explained to her why the swamp was in the house, or how the magic came to be, so don’t come asking for that.

“It’s alright,” I said, still not sure what was real anymore, but I decided to just go with it, “I understand.”

She pushed herself away from me and sobbed, “No, you don’t understand! I could die any day! I could get eaten by some fish or just of old age! I won’t know what life will be like! I won’t know love!”

And she was right. I didn’t understand a bit. But I decided to try to make it better. I pulled her in my arms and just held her there, stayed throughout the night. I did not say a word. Neither did she. When day came, she whispered “thank you” before letting herself drop into the swamp. I went home, told no one about it.

The next morning, I saw everything differently. There were fairies in the trees and music in the air. It was either my mind was opened to how the world really was, or the swamp water gave me hallucinations.

Either way, I kept seeing them, and I talked to them now and then.

Every day afterward, I went to the house. I looked in, relieved to find the swamp still there. I sat down, dipped my feet in. I felt my life draining instantly, but kept them there until I felt too weak. I looked down into the swamp, among the seaweed, and found one. I was certain it was her. I could always tell. After I was too weak, there was always a gentle nudge, pushing me back on to the porch.

After my many other adventures, when I was old and grey and saw everything the world had to offer, I went back to the house. It was gone. Demolished. In front of me stood a large plain house. I knocked, and a man and his wife came to the door. I explained that an old friend used to live there and asked if I could come in. They accepted. The house was obviously new, and as I walked down the hall I saw a room. I peeked in, the owners of the house looked cautious, but they decided what could an old man like me do?

There, in a crib, was a little baby girl, I looked at her, and saw her face. Her face. I told them she was beautiful, and then walked out without a word.

title: [FN] Seaweed

question: Summarize the positive emotions the narrator feels.

answer: When the narrator spends time with the woman covered in seaweed. The narrator feels an intense connection with her. They seem to be a good match at first and have their own natural energy to share. They don't feel like outsiders even when others stare or do also feel uncomfortable. A big part of this pleasant feeling comes from how beautiful she is once her physical standing is considered, her face.

critique: The narrator's seaweed lover is not human

critique: The narrator's emotions are not described.

critique: The narrator feels this way after they adopt the woman.

critique: The narrator never spends time with the woman. There's also no "energy" shared.

critique: The answer is written in the third person when it should be in the first.

critique: The narrator doesn't feel an intense connection with the woman.

critique: It is omitted that the narrator feels excited about the new games coming out at the convention.

critique: The narrator isn't sure who the woman is.

critique: The narrator is not the one who feels the good emotions.

critique: The narrator's feelings are not relevant to the question.

critique: The narrator's emotions are not relevant to the question.

critique: The narrator's feelings towards the seaweed woman are not positive.

critique: "when the narrator spends time with the woman covered in seaweed" - replace with "when the narrator spends a night at N7"

critique: The narrator is not described as being an outsider to the other humans, and a stranger to the woman, as well.

text: A lot of this answer is inference, and would be better replaced by actual content from the text.

refinement: When the narrator spends time with the woman covered in seaweed. The narrator feels an intense connection with her. They seem to be a good match at first and have their own natural energy to share. They don't feel like outsiders even when others stare or do also feel uncomfortable. A big part of this pleasant feeling comes from how beautiful she is once her physical standing is considered, her face.

question: Summarize everything relating to magic.

answer: The swamp was explained to be the magic responsible for making the woman seaweed. This make her life span much longer, but it is an unknown amount. There is a faint green aura around her, which signifies she may be magical. She can become a living human or a living plant.

critique: Did not find an explanation on the woman's long life

critique: There is no evidence that the seaweed woman's life span is longer than normal.

critique: There's no evidence that the swamp is the magic responsible for the girl becoming seaweed.

critique: This sentence is not explaining magic, but a facet of the story.

critique: The sentence about the woman being a living human or a living plant is not correct. Also, there is no information about the woman having a longer life span and the green aura around her.

critique: "She can become a living human or a living plant." - this is inaccurate and should be omitted.

critique: The story does not contain any information about the woman's life span.

critique: "and a living plant." - is unnecessary for the answer.

critique: The response misses to mention that the woman can morph between her human and seaweed forms.

critique: The woman's life span is not mentioned in the story.

critique: There is no evidence that the magic prolonged her life span.

text: The answer could include the narrator's newfound ability to see fairies and other magical aspects of the world after being exposed to the magical swamp.

category: coverage

refinement: The swamp was explained to be the magic responsible for making the woman seaweed. This make her life span much longer, but it is an unknown amount. There is a faint green aura around her, which signifies she may be magical. She can become a living human or a living plant.

question: What does the story say about rebirth?

answer: No answer

critique: There's a mention of rebirth in the story. The girl is reborn as a seaweed.

critique: The narrator sees seaweed growing in the swamp and realizes that the swamp resurrected his girlfriend who died that same night. This implies some sort of rebirth.

critique: The story does not explicitly say anything about rebirth. However, as the story progresses, it seems clear that the girl has been reborn as a human-seaweed hybrid.

critique: The response is empty. A response must be well-formed and properly spaced.

critique: This response is incorrect and does not answer the question.

critique: The answer should present some details about rebirth.

text: The baby at the end is implied to be the seaweed woman reborn.

refinement: No answer

question: Summarize the explanation give for why the swamp was in the house.

answer: No answer

critique: This does not express the summary response needed.

critique: It's incorrect that there was no explanation.

critique: This answer is incorrect. The girl says "It was never explained to her why the swamp was in the house, or how the magic came to be" which means that it is not mentioned in the story

critique: While the story doesn't explain it, the implication is that the swam formed around the little girl when she drowned

critique: The response misses to answer the question in the text.

critique: The narrator was told why the swamp was in the house.

critique: The reason is that the girl drowned in the swamp and was resurrected as a human-seaweed hybrid, which is why there is a swamp in her house.

text: The story explicitly states that no explanation can be given to or by the narrator for why the swamp was in the house.


text:
 Charles stumbles up the stairs mumbling complaints about his bad leg, the broken elevator and his good for nothing landlord who had procrastinated in fixing it. The leg that had carried him up the stairs solo now throbbed with agony of strain. Standing on the last platform before his floor he sweat and began hopping and tossing his body up each step. At last he reaches the flat floor and dramatically throws his hands in the air and rejoices for the flat ground he could now swagger upon. Charles opens the door to find a pair of shoes he hadn’t seen in a while. “At least she had the dignity to let me know she is here” he thought. He flipped the main room’s light on and immediately noticed one of the bulbs was out, “Just one more thing” he said aloud to nobody.
 Charles turned to find both the mother of his child and his sweet innocent Chloe sitting in a chair placed in the center of the room. It was unfair she had brought her now, at this time of night. Sharon was dressed in red and the dim light sketched her eyes with red. “The Devil in flesh” he thought. Even though he smelled of sweat and alcohol Chloe approached and hugged her father. He hated himself at that moment, for not being a better father; for not doing more with his life, his time, for not being sober. She looked up at him smiling and stood hugging his waist. They stood like that for a moment, “How was your day” he wanted to say. But his moment was lost when Sharon stood and approached the little girl. Gently yet sternly she said “Daddy and I are going to have to talk now ok? Why don’t you go try to sleep?” Chloe turned and said “Night daddy.” And ran to the part of his home he dedicated to her privacy.
Once she was out of earshot the apparently tender and loving mother turned into the biblical creature she reminded him of. With malice in her voice she said “What’s wrong with you? You haven’t said a word outside of the shout you gave outside and the mumble you made when you came in.” “Whaz it got to do with me and you?”  He said, not completely understanding why he had said it.  His eyes swam over her mocking smile and suddenly she had her hand out and was speaking. He realized she was demanding money and something about the car.
He sobered up pretty fast at that moment and said “That’s mine thank you, there’s a few things you can’t get your greedy hands on that’s mine, and my daughter and my car are completely beyond you.” Her face reddened matching her choice of clothing and suddenly she was ablaze full of anger and hate. “It’s our daughter actually!”, she screamed he had been blown away by how loud she suddenly got. “and she is more mine than yours simply because I birthed her you snotty, drunken, imbecile.” She raised her hand and smacked him square in the face making it more of a palm punch and less of a smack. In a flash of drunken stupor and adrenaline he threw his arm up and caught her in chin. She flailed her arms and screamed loudly as she stumbled over the chair, luckily the floor caught her.
He heard a sad sound that made his heart drop, he heard crying. “I’m so sorry I wasn’t even trying to..” he was cut off as she turned and said to him with dry eyes “Look what you’ve done now you idiot”. He turned and let his heart break. She stood huddled against the frame of the door crying and frightened, of him.

title: The Loser

question: Summarize Charles's views on his landlord.

answer: Charles gives a list of excuses about why his landlord had procrastinated in fixing the elevator. Charles believes that his landlord has discriminated against the bad leg he sustained from falling down the stairs.

critique: Charles does not believe his landlord discriminated against his leg, he simply feels that the landlord has discriminated against him.

critique: Charles' bad leg is not relevant to his views on his landlord.

critique: The landlord did not discriminate against Charles's bad leg.

critique: Charles does not believe that his landlord has discriminated against his bad leg.

critique: Charles' leg is not mentioned in the passage.

critique: The landlord didn't discriminate against his bad leg. The landlord didn't fix the elevator because it was broken.

text: The statements are altogether false. We do not know why the landlord refused to fix the broken amenities in his house. It could be due to money or laziness or something else.

refinement: Charles gives a list of excuses about why his landlord had procrastinated in fixing the elevator. Charles believes that his landlord has discriminated against the bad leg he sustained from falling down the stairs.


text:
One day while wondering through the long cold corridors of his new Victorian-era manor, a young boy ascended the steps towards the dreary and dull floor above him.  He had been quite interested to see what there was to see, what it was he couldn't say. Something seemed so endlessly fascinating about the dull and dreary and desolate demeanor of this house.  He found beauty where others looked away, smells even the rats couldn't taste. Vibrant colors burst out of the ancient murals of his new ancestors.  He never imagined the up-stairs would be this interesting.

A ringing cry crept into the boy's brain:

"Excuse me, Lord Stephen, would you care for your dinner now?"

The words felt bitter in the young man's ears, he had expected to be alone. He imagined himself as an explorer, searching the vast confines of the manor for a Holy Grail.  He convinced himself that when he saw it, he would know exactly what it was. The boy's search had been going poorly up to this point.  He couldn't suspend his disbelief, his imagination had been very dull for the vast majority of the day.  Being an only child in a massive manor isn't surprisingly lonely.

He shuddered thinking about the place he was before; fortunately, he had gotten very good at pushing thoughts from his mind, so he did.

"Excuse me, Lord Step..."

"I'm coming good Sir, give me a moment to compose my self will you?"

"You really are quite a bore Bernard"

"Yes Sir, Quite a bore."

Bernard had come to like Stephen, he had expected the boy to be an infant, not in size, but demeanor.  It was a pleasant surprise to see that the young man had grown so much throughout the very few years  he spent at that juvenile correctional institute down the road.  The place always brought chills to the old man's spine. The image of the place had been particularly frightening. Bernard still remembered the day it was constructed.

The perimeter housed a few watchtowers, although, the security systems surrounding the place seemed insignificant, driving to pick up grocery's for the mistress under the blaring light of the moon hadn't been one of his particularly favorite activities.  Bernard always felt like he may be in the midst of Poe's poems around the place. He couldn't understand how such a well-mannered boy could pose a threat to the State, yet he was more fascinated that the young one never seemed frightened by his horrific image.

"I'm a brute, a bulging-bellied brute of a man"

Bernard thought, yet he thought it prudent to silence his words with a grunt in front of the child.

Bernard felt comfortable around Stephen, and grew to enjoy the boys company during the lonely Summer days that always seem to precede  timeless summer nights, night-time, like it wasn't even present.  He had noticed himself noticing the fact he'd lost track of time more and more as the days drag--? or was it hours?

Nevermore, the young boy's arrival was particularly frightening though.  Where in the world had he come from?

Bernard had walked into the night, the moonless night, past the lights hovering over the street...From there the scene seems fuzzy, unreal, but on his return, through the rain, he had found a boy. Stephen lay on the side of the road, in a ditch, a looming shadow engulfed his image.

The only way Bernard knew anyone was there was because of the beleagured cries of pain.

PROPERTY OF THE STATE OF MASSACHUSETTS, read the boys jump-suit, but Bernard couldn't let him go.

He could never let him go.

"Bernard, may I have a cup of juice?"

A smile spread across the man's face,
"Of course young sir, of course."

title: Stephen and Bernard

question: Summarize Bernard's role in the story.

answer: Bernard is Lord Stephen's butler. He is a large, brutish man who has been serving Stephen since he was a boy. He is the one who brings Stephen his dinner. He seems to be fond of Stephen, and he is the one who finds Stephen lying in a ditch and takes him home.

critique: It is omitted that Bernard is the one who finds Stephen lying in a ditch.

critique: "He is the one who brings Stephen his dinner." - this is incorrect. It was Stephen who asked for his dinner.

critique: The answer omits that Bernard is the one who finds Stephen lying in a ditch.

critique: The response includes extraneous information not useful for the task.

critique: Bernard is not Lord Stephen's butler; he is the butler of Stephen's manor.

question: Summarize the details that show what type of person Bernard is.

answer: Bernard is a servant who cares for Stephen. He is a brute, but he tries to be gentle in front of Stephen. He is a man who cares for Stephen, and he seems to have a good relationship with the boy.

critique: The answer should mention that Bernard is a guard.

critique: "Bernard is a servant" - is inaccurate. He won't let the boy go when he encountered him on the side of the road. He is also Stephen's main caregiver.

critique: This doesn't necessarily show what type of person Bernard is, but it may be inferred that he is a good person.

critique: It is omitted that he is a man who cares for Stephen, and he seems to have a good relationship with the boy.

critique: "He is a man who cares for Stephen, and he seems to have a good relationship with the boy." - this is inaccurate. Bernard is not a man and he doesn't care for Stephen. He also doesn't have a good relationship with the boy.

critique: The answer should mention that he is also a guard.

critique: The answer omits that Bernard is a guard at a juvenile correctional institute.

critique: The answer should mention that Bernard is a guard at a juvenile correctional institute.

question: Summarize the supernatural elements in the story.

answer: The young boy is Lord Stephen, who is the only child in a massive manor. He is alone and exploring the house. He is called for dinner by Bernard, who is a brute of a man. The boy is frightened by Bernard's horrific image. The man is fascinated by the boy's lack of fear. The boy is found lying in a ditch by the side of the road. The boy's jump-suit reads "Property of the State of Massachusetts."

critique: The answer should mention the moonlight.

critique: The answer omits the supernatural elements of the story.

critique: The response inaccurately mentions that the boy is frightened by Bernard's horrific image, however the real intimidating figure is the juvenile correctional institute.

critique: The answer does not mention the supernatural elements.

critique: The answer omits the mention of the manor being haunted and the fact that the boy is looking for a Holy Grail.

critique: The response includes extraneous information not useful for the task.

text: The response is incorrect because the story has no supernatural elements.

question: Summarize the negative emotions the characters feel during the story.

answer: Stephen feels scared and anxious when he sees Bernard, who he believes to be a brute. Stephen is scared of the place he was before, where he had lived. He is also disappointed that his imaginary holy grail is not found. Bernard feels scared when he hears Stephen's cries of pain and he feels afraid that he might lose him. He also feels nervous when he is late returning to the manor.

critique: This is inaccurate. Bernard never feels scared.

critique: The first two sentences are not negative emotions.

critique: The response mentions all the negative emotions Stephen feels. The model can consider deleting the last two sentences to shorten the summary.

critique: The response contains inaccurate information.

critique: Stephen is not scared of the place he was before. He is disappointed that he couldn't find the holy grail.

critique: Stephen's disappointment is not a negative emotion.


text:
_LA QUINTA ESENCIA_ (“The Fifth Element”) is the fifth studio album by the power metal band WarCry, released on September 18, 2006, and distributed through Avispa Music. Front man, and lead vocals Víctor García said that this album is a mixture of all the works from their four previous albums.

_La Quinta Esencia_ was the last work to feature drummer Alberto Ardines and guitarist Fernando Mon, who left on August 29, 2007, the reasons remained between the members, as accorded from both sides.[1] They were replaced by Rafael Yugueros, an Asturian heavy metal drummer who had worked for the band on _Demon 97_,[2] and José Rubio[3] better known as the former guitarist of the band Trilogy.

Later, on February 18, 2008 keyboardist Manuel Ramil left the band due to the distance between his home in Galicia to the rest of the members in Asturias, it was also said that Manuel could only attend to the new album's recording in the studio just a 10% compared to the rest of the members.[4] All three members, along with vocalist Toni Amboaje reunited to form an alternative/power metal band, called Sauze.

Track listing

1.  “¡Que vengan ya!” (“[Let Them] Come Now!”) – 4:14
2.  “Ulises” (“Ulysses” or “Odysseus”) – 5:28
3.  “Tu Recuerdo me Bastará” (“Your Memory Will Be Enough for Me”) – 4:43
4.  “La Vieja Guardia” (“The Old Guard”) – 4:29
5.  “Un Poco de Fe” (“A Little Bit of Faith”) – 5:21
6.  “El más Triste Adiós” (“The Saddest Good Bye”) – 5:31
7.  “Buscando Una Luz” (“Looking for a Light”) – 5:04
8.  “Ha Pasado Su Tiempo” (“His Time Went By”) – 4:03
9.  “Redención” (“Redemption”) – 4:56
10. “Mirando al Mar” (“Staring at the Sea”) – 7:18
11. “Más Allá” (“Beyond”) – 4:53

Awards

+-------------+-------------+-------------+-------------+-------------+
| Type        | Nominated   | Award       | Result      | Position    |
|             | work        |             |             |             |
+=============+=============+=============+=============+=============+
| ROCKFERENDU | _La Quinta  | Best Album  | Won         | 1st Place   |
| M           | Esencia_    |             |             |             |
| 2007        |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| _La Quinta  | Best CD     | Won         | 1st Place   |
| Esencia_    | Coverbox    |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Ulises”    | Song of the | Nominated   | 2nd Place   |
|             | Year        |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Tu         | Song of the | Nominated   | 3rd Place   |
| Recuerdo Me | Year        |             |             |
| Bastará”    |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| METALZONE   | “La Vieja   | Best Song   | Nominated   | 2nd Place   |
| 2007        | Guardia”    |             |             |             |
+-------------+-------------+-------------+-------------+-------------+

Credits

Band

-   Víctor García – vocals
-   Pablo García – guitars
-   Fernando Mon – guitars
-   Roberto García – bass
-   Manuel Ramil – keyboards
-   Alberto Ardines – drums

Production

-   Sergio Blanco – Photos
-   Daniel Alonso – Design

[1] Ardines & Mon leave WarCry metallerium.com Retrieved August 29, 2007

[2] Yugueros as the new drummer rafabasa.com/ Retrieved August 30, 2007

[3] José Rubio becomes WarCry's new guitarist metalzone.biz Retrieved September 21, 2007

[4] Manuel Ramil leaves WarCry metalmas.com Retrieved February 18, 2008.

title: La Quinta Esencia

question: What does the article say about the lineup of the band?

answer: The band's lineup consists of Víctor García as the lead vocals, Pablo García as the guitars, Fernando Mon as the guitars, Roberto García as the bass, Manuel Ramil as the keyboards, and Alberto Ardines as the drums. The band's lineup changed when Ardines and Mon left the band in August 2007. They were replaced by Rafael Yugueros as the drums and José Rubio as the guitars. Manuel Ramil left the band in February 2008.

critique: The answer should be rewritten to reflect the fact that the band was formed by the three members who left WarCry, not the band.

critique: This is incorrect. Ramil did not leave the band in August 2007. He also was not replaced by Yugueros. The answer should state he left due to the distance between his home and the rest of the band.

critique: The answer should mention that the band's lineup changed because of Manuel Ramil leaving the band.

critique: The band's lineup and the departure of the percussionist, Manuel Ramil, are irrelevant to the question. They should be removed from the answer.

critique: The answer should mention that the band is a power metal band.

question: What does the article say about conflict between the band members?

answer: All three members, along with vocalist Toni Amboaje reunited to form an alternative/power metal band, called Sauze.

critique: The answer is not related to the question.

critique: The answer is not relevant to the question.

critique: The answer is totally unrelated. It should be rewritten.

critique: The answer doesn't mention what the conflict is.

critique: The answer does not address the conflict between the band members.


text:
_'Edmund (or EDMOND) Meyrick_' (or MEYRICKE) (1636 – 24 April 1713) was a Welsh cleric and benefactor of Jesus College, Oxford, where scholarships are still awarded in his name. He is a member of the Meyrick family.

Life

Meyrick was born at Garthlwyd, Llandderfel (near Bala, Merionethshire) and christened in Llandderfel on 11 June 1636. He attended four schools, including one year at Ruthin School, before matriculating at Jesus College, Oxford in 1656. He was elected to a scholarship in 1658 and obtained his BA degree in 1659.[1] He was ordained both deacon and priest by Robert Skinner, Bishop of Oxford, on 30 August 1660 in the chapel of New College, Oxford.[2] In 1662, he was elected to a probationary Fellowship of the college, but married in 1663 and became ineligible for a full fellowship. He became vicar of Eynsham on 10 August 1663.[3] He was chaplain to Richard, Earl of Carbery — the Meyricks and the Carberys being related – and this connection led to Meyrick's appointment to a number of lucrative positions in West Wales.[4] Meyrick became vicar of Llangathen in 1665, vicar of Llanegwad and a Canon of St David's Cathedral in 1667, rector of Burton, Pembrokeshire in 1670, treasurer of St David's in 1690 and rector of Penboyr in 1713. He was also a canon of Christ College, Brecon and vicar of Carmarthen; he held many of these positions at the same time. He died in Carmarthen, where he was then living, on 24 April 1713, and was buried in St Peter's Church; a memorial to him was placed on the north wall of the chancel.[5]

Bequests

Meyrick's wife and only child had predeceased him, enabling a more generous disposition of his assets.[6] He had extensive property interests, in both North and South Wales. The family seat was in Ucheldre, Gwyddelwern, Merionethshire and Meyrick also owned several houses in Carmarthen.[7] In 1708, he set up a charity school in Carmarthen but for some reason directed in his will that the school and master should be moved to Bala, where it became the Bala Grammar School.[8] The will provided for an annual payment of £15 to the schoolmaster together with the use of the schoolhouse, and £15 per year for clothing for the students.[9]

His will, dated 25 March 1712, said: He left family property in Denbighshire and Merionethshire, as well as his Carmarthen property after expiration of some life interests, to the college to provide six scholarships of £10 and six exhibitions of £8. The scholarships and exhibitions were to be awarded to Jesus College students from North Wales, until they obtained their Master of Arts degree or were receiving more than £40 per year from a parish appointment. Any surplus was to be used to buy advowsons so that the College might present one of the scholars (or in default of a suitable scholar, a Meyrick exhibitioner or a North Wales fellow of the College) to a parish position.[10] Whilst the estate produced a surplus, only one living was purchased by the trustees, that of the rectory of Llandow in 1735. Further increases in the surplus led to an increase in payments to Bala School and to the scholars and exhibitioners, and to the purchase of other property in Cheltenham and Carmarthen.[11][12] This proved to be a profitable investment since, by 1840, the college had received more than £10,000 through the sale of trust land near Cheltenham for railway purposes. Payments to Bala School ended in 1862, when the annual payments were commuted for a lump-sum payment of £5,333.[13]

Meyrick scholarships and exhibitions are still awarded to students at Jesus College, based on academic merit. Students performing consistently at a first-class standard during the year in the opinion of their tutors may be awarded a Meyrick scholarship, with consistent performance at upper second to first-class standard potentially leading to the award of a Meyrick exhibition.[14] The restriction in Meyrick's bequest that the scholarships were for students from North Wales only was relaxed in 1857 to cover students from all of Wales and Monmouthshire.[15][16] The restrictions have been further relaxed and students who were not born in Wales are also now eligible for a Meyrick scholarship or exhibition if they are the child of a native of Wales, are able to speak Welsh or they were educated for the last three years of secondary school in Wales.[17]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13] Baker, p. 62

[14]

[15]

[16] Hardy, p. 197

[17]

title: Edmund Meyrick

question: Describe Meyrick's relationship to Wales.

answer: He appears to have had strong ties to Wales. He attended schools there, was a clergyman there, and owned a house there.

critique: He is buried in Wales, which may be more indicative of the strength of the relationship to Wales.

critique: It is omitted that he was also a member of the Meyrick family.

critique: "He appears to have had strong ties to Wales" is not a very specific answer to the question. It would be better to rewrite the answer completely.

critique: Meyrick had extensive property interests in North and South Wales.

critique: He also held several positions in West Wales.

critique: The response misses to mention that he was also a benefactor of Jesus College, Oxford, where scholarships are still awarded in his name.

critique: It would help if it is stated that Meyrick was a clergyman based in West Wales.

critique: It should be pointed out that his most lucrative connections were in West Wales, not all of Wales

critique: Meyrick also received many lucrative positions in West Wales.

critique: He also seems to have had an extensive property portfolio in Wales.

critique: This is an accurate fact, but it does not show the extent of Meyrick's relationship to Wales.

critique: Meyrick was a clergyman in Wales, but the answer should mention that he was also a benefactor of Jesus College, Oxford.

critique: The response misses to mention that Meyrick was a Welsh cleric and benefactor of Jesus College, Oxford, where scholarships are still awarded in his name.

question: When did Meyrick live?

answer: 1636 to 1713

critique: The answer could be phrased as a complete sentence.

critique: The answer should give the dates in a proper format.

critique: He died in 1713, but this doesn't mean that he was born in 1636.

critique: The answer should be written in a full sentence.

critique: Include the month and year of Meyrick's death in the answer.

critique: It is omitted that he was born in 1636 and died in 1713.


text:
ZINC–COPPER COUPLE is an alloy of zinc and copper that is employed as a reagent in organic synthesis. The “couple” was popularized after the report by Simmons and Smith in 1959 of its application as an activated source of zinc required for formation of an organozinc reagent in the Simmons–Smith cyclopropanation of alkenes.[1] The couple has been widely applied as a reagent in other reactions requiring activated zinc metal. Zinc–copper couple does not refer to a rigorously defined chemical structure or alloy composition. The couple may contain varying proportions of copper and zinc; the zinc content is typically greater than 90%, although an alloy containing similar proportions of zinc and copper is used in some cases. The couple is frequently prepared as a darkly-colored powder and is slurried in an ethereal solvent prior to being used in slight excess relative to the substrate. Activation of zinc by copper is essential to the couple’s utility, but the origin of this effect is poorly documented. It is speculated that copper enhances reactivity of zinc at the surface of the alloy.[2]

Synthesis

Zinc–copper couple has been prepared by numerous methods, which vary mainly with respect to the source of copper, but also by the ratio of copper to zinc, the physical state of the zinc (e.g. powder or granules), the use of protic acids and other additives, and temperature of the preparation. Most often the couple is generated and isolated prior to use, but routes have been described to storable forms of the alloy. Most methods involve reduction of an oxidized copper species with zinc, which is used in excess.

An early method for the synthesis of zinc–copper couple entailed treatment of a mixture of zinc dust and copper(II) oxide with hydrogen gas at 500 °C.[3] A more convenient and cheaper method proceeds by treatment of zinc powder with hydrochloric acid and copper(II) sulfate.[4] Treatment of zinc powder with copper(II) acetate monohydrate in hot acetic acid is reportedly highly reproducible.[5] The couple may also be generated in situ by reaction of one equivalent of zinc dust with one equivalent of copper(I) chloride (or copper powder) in refluxing ether.[6]

The choice of method is dictated primarily by the application. The development of newer methods was motivated by the need for zinc–copper couple with reproducible behavior.

Application

Zinc–copper couple has found widespread use in organic synthesis, especially in the Simmons–Smith cyclopropanation of alkenes. In this process, the couple (typically a slurry in an ethereal solvent) reacts with methylene iodide to generate iodomethylzinc iodide, which is the intermediate responsible for cyclopropanation.

    {Zn_\mathit{n}(Cu)} + CH2I2 -> {IZnCH2I} + Zn_{\mathit{n}-1}(Cu)

    []

The couple has also been employed to generate alkyl zinc reagents for conjugate addition, as a dehalogenating reagent, as a promoter of reductive coupling of carbonyl compounds, and to reduce electron-deficient alkenes and alkynes. Sonication has been employed to enhance the rate of the zinc–copper couple-mediated cycloaddition of α,α’-dibromo ketones to 1,3-dienes.[7]

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[1]

[2]

[3]

[4]

[5]

[6]

[7]

title: Zinc–copper couple

question: What does the text say about nickel?

answer: No answer

critique: There is no answer to this question. Nickel is not mentioned in the text.

critique: Doesn't mention the lack of information about nickel in the article.

question: What does the text say about Zinc-copper couple?

answer: Zinc-copper couple is an alloy of zinc and copper that is used as a reagent. It has been used for decades for a variety for things including a cyclopropanation reagent, with an organozinc reagent used in certain reactions. Zinc-copper couple has been used as a dehalogenating reagent and an electron-deficient alkynes and alkenes reductant. One of its first use was by Simmons and Smith in 1959, using it as activated source of zinc required for its formation of an organozinc reagent it the "Simmons-Smith cyclopropanation of alkenes."

critique: The zinc-copper couple is not used for decades, but it has been used for decades.

critique: The first use of zinc-copper couple was not in 1959.

critique: 'Zinc-copper couple is an alloy of zinc and copper that is used as a dehalogenating reagent and an electron-deficient alkynes and alkenes reductant.' is not very significant in terms of how it is used hence should be removed.

critique: Remove the "a" from "a variety" and add a hyphen to "alkynes-alken"

question: What does the text say about how zinc-copper couple is synthesized?

answer: The zinc-copper couple has a large number of methods of synthesis, most of which are highly dependent on the source of copper used. The copper can be copper(II) oxide, copper(II) sulfate, or copper(II) acetate monohydrate. Methods are also available for in situ preparation by reaction of one equivalent of zinc dust with one equivalent of copper(I) chloride in refluxing ether. The choice of method is dictated primarily by the application. The development of newer methods was motivated by the need for zinc-copper couple with reproducible behavior.

critique: This doesn't explain that zinc-copper couple is synthesized by reducing an oxidized copper species with zinc.

critique: The zinc-copper couple can be prepared in situ by reaction of one equivalent of zinc dust with one equivalent of copper(I) chloride in refluxing ether.

critique: The zinc-copper couple is not synthesized by the methods mentioned.

question: What does the text applications for Zinc-copper couple?

answer: It has been used in organic synthesis, especially in the Simmons-Smith cyclopropanation of alkenes.

critique: It's omitted that it's also used as a dehalogenating reagent, as a promoter of reductive coupling of carbonyl compounds, and to reduce electron-deficient alkenes and alkynes.

critique: It is omitted that it has also been used to generate alkyl zinc reagents for conjugate addition, as a dehalogenating reagent, as a promoter of reductive coupling of carbonyl compounds, and to reduce electron-deficient alkenes and alkynes.

critique: It is omitted that it has also been employed to generate alkyl zinc reagents for conjugate addition, as a dehalogenating reagent, as a promoter of reductive coupling of carbonyl compounds, and to reduce electron-deficient alkenes and alkynes.

critique: It is omitted that the couple has also been employed to generate alkyl zinc reagents for conjugate addition, as a dehalogenating reagent, as a promoter of reductive coupling of carbonyl compounds, and to reduce electron-deficient alkenes and alkynes.

critique: The answer should mention the other applications.

critique: It's omitted that the zinc-copper couple has been applied as a dehalogenating reagent, as a promoter of reductive coupling of carbonyl compounds, and to reduce electron-deficient alkenes and alkynes.

critique: The answer should mention the other applications of the zinc-copper couple.


text:
It's been two years; Everyone's confused and no body knows what to do any more. Everyone is just begging praying, for someone else to have the answers. Even our governments have lost control; even they are crying in complete confusion; no plans or back up and the whole world is confused, even the doctors, psychiatrists themselves and that's what I mean, by 'everyone'.

But I'm trying to keep it together; I have done so for the last two years. There has to be someone out their or something, anything that has the answers. I'm driving, with my child at the back seat and I'm trying my best to keep her calm, because she is scared, looking at everyone else outside, being scared and worried.

I'm determined, I will find the answers and all I can hear from everyone else is "help me please help me I'm so confused" and all over the radios, media; just cries of confusion. My car has ran out of petrol and I start to walk with my child, in my arms to a hospital near by. There has to be at least, some doctors or professionals that have kept it together.

When I get to the hospital: it's just full of people, crying sobbing and mumbling, that they are confused and don't know what to do any more, even the doctors. My daughter starts getting scared and starts to cry and I take her outside somewhere quite.

"daddy why is everyone confused?" my daughter asked crying

"they are not well honey" I tell her

"but even the doctors and other proffessional looking people are also doing the same thing and mommy she is also one of them" my daughter cried out to me

"darling listen to me, the whole world might be confused but not me ok" I tell her firmly

"ok daddy" she replies

I steal another car and going past loads of crying people; hurling out "I'm so confused I don't know what to do any more help me!" wasn't really helping me at all. I drive for hours and hours trying to find anything and I needed a break; so I get out of the car, on my own, just for a moment though. to give my self some time to think.

"I feel so confused...NO NO NO I am not confused I refuse to be confused!" I shout to my self

I get back in the car and when I drive past the white house; so many politicians and leaders yelling, that they are confused and also yelling "the world is rudderless!" and I drive on. I break into a house; so me and my daughter can sleep in and rest for the night. My daughter a sleep soundly; I think to my self constantly, very hard that there has to be something out their, when everything goes upside down, there should be a secret organisation or group, that deals with this sort of thing or is that only in the movies?

The next day I just felt terrible; for some reason and I was in a bad mood. Wherever I went or found, it was always a dead end or a complete fail. Then suddenly: I couldn't take it any more and I got out of the car, screamed angrily and then softly and quietly; started to mutter "I don't know what to do anymore I've tried everything for the last two years can you help me please help me!" my daughter becomes very scared, hearing loud and clear, at what I am saying and not even she knows what to do, because she's just a child.

"Daddy your scaring me what's wrong daddy don't be confused please!" she yells

title: Rudderless

question: What does the story say about how everybody around the protagonist and his daughter feels?

answer: Everyone is confused and doesn't know what to do anymore. Even the governments have lost control. The protagonist's daughter is scared and worried.

critique: The answer should mention that the protagonist is the only one who is trying to keep it together.

question: What does the story say about how the narrator feels?

answer: The narrator is determined to find answers. He has been looking for answers for two years. He is trying hard to keep his daughter calm as she is afraid. The narrator breaks into a house to sleep in and rest. He wakes up the next day feeling terrible. He feels like he has tried everything for the last two years. He gets out of the car and screams that he has no idea what to do. He starts to mumble that he is so confused and his daughter is afraid of him.

critique: The narrator is the father, not the narrator.

text: The last sentence is incoherent and should be restructured.

question: What does the story say about why everybody is confused?

answer: No answer

critique: The response misses to mention that the story does not answer the question of why everyone is confused.

critique: The answer should mention the narrator's search for answers.

critique: The answer should mention that the story doesn't explain why everyone is confused.


text:
	I was a close friend of Ben Harper's for about 10 years, from playing legos, to shooting tin cans, to racing cars. I was there for him after his parents died, about to take him in until his aunt decided to stop being a bitch and let him live with her. Ben was never right after his parents died, but I could never put a finger on what exactly happened. It was like his mind was wrapped in a foggy black abyss, wrestling with itself, closing out everything he ever had. He went from constant chatter, to silent reluctance, and  from soccer practices to therapy sessions. But one thing was for certain, Ben Harper was always my good friend.
	As kids, we were always playing cops and robbers. I was always a cop, alongside our good friend Dennis, and Peter was always the first to volunteer himself to be the robber, most likely because he was  always so damn good at it. He'd sneak by with a certain level of stealth that made you think his feet weren't even on the ground. Even thinking  about it now...I'd say Peter's exceptional skills in cops and robbers is what has turned me and Dennis into such great cops. Always taking in the smallest details, always analyzing multiple times. Peter was a great catalyst to our career success.
	But one day in our sophomore year of highschool, Peter came to my house, unannounced. He asked if he could come in, his head tilted to the ground, hands shaking. He didn't walk in right away, but stood like a statue in an exhibit.
	“Can I come in...?”  Slightly monotone.
	Something was wrong.
	“Yeah dude, you alright?”
	He walked right passed me, sat on the couch his head in between his legs, cradled by his trembling hands.
	“My fucking aunt dude...”
	Peter's aunt was a bitch, everyone knew that. She treated Peter like a 6 year old, making him come home for dinner, making sure he was inside at night. I think she's part of the reason why he's fucked up, in fact, I'm almost sure of it. When I bring it up all he says is, “Dude, you have no idea...”
	I ask Peter what happened. He gets up, pacing, running a hand through his wild hair.
	“I get home, and there are boxes in my room. She gives me this smartass smirk that she's done my whole fucking life and just says, 'Be packed by next week. We're moving.'”
	He's reliving the moment as he explains it. I've never seen him this mad. I don't know what to say.
	“Fuck, dude.”
	“I'm losing it Tony, I'm really. Fucking. losing it.” He slams his hands on the wooden table as he says it.
	I keep trying to calm him down, but the brewing rage inside of him just keeps a continuous boil. I tell him maybe he could live with me for a while, to which his face turns blank. His rage turns to fear.
	“Do you know what she would do to me?”
	You're right, I don't...What the fuck happens at Peter's when no one is around?
	 I tell him to get in the car, and I drive off. I pick up Dennis, and we head to the shooting range.  Peter shot consistent bulls-eyes that night. That was one of the last memories I have of him, until he was gone.
	Dennis and I stayed close throughout our college years. We went to NYU together, were in the same frat, and lived together the whole four years. We tried to keep in touch with Peter as much as possible, but it was rough. He moved from New Jersey to Minnesota, and was going to college, but I don't think he ever told me what he was going for. Apparently his aunt restricted how much he could talk to people, so he could never talk for long. We eventually fell out of contact, but I hope he was at least living at college and moved out. *That fucking bitch.*

title: Blood Red Part I (feedback appreciated)

question: What does the story say about how Peter's (Ben) parents died?

answer: No answer

critique: It is suggested that Peter's parents were away or dead, and his aunt became his guardian.

critique: The answer should mention that the story doesn't say anything about how Peter's parents died.

critique: There is no answer because the story does not say how the parents died.

question: What is Peter's aunt's role in the story?

answer: Peter's aunt took him in after his parents died, but she was a bitch to him. She treated him like a 6 year old, making him come home for dinner, making sure he was inside at night. She was also the reason Peter was fucked up.

critique: It is not stated that she was also the reason Peter was fucked up.

critique: Peter's aunt did not take Peter in; she took him in after his parents died.

critique: The answer should mention that she is the one who sent Peter away.

critique: The answer could be clearer about the aunt's role in the story.

critique: She is also the reason Peter moved away.

critique: The answer is a little unclear. It would be better to just say that Peter's aunt took him in after his parents died.

critique: The answer should mention that she made him move.

critique: The answer should mention that she made Peter move.

question: What does the story say about the relationship between Tony and Dennis?

answer: Tony and Dennis were close friends since they were kids. They were always playing cops and robbers. Dennis was always a cop, and Tony was always the robber. They were also in the same frat in college. They were roommates for four years.

critique: The answer should mention that they were still close friends after college.

critique: The answer should mention that Tony and Dennis were always close friends.

critique: The relationship between Tony and Dennis was not explicitly mentioned in the story.

critique: The last two sentences are unnecessary. It is included because of a formatting issue with the answer box.

critique: The answer should mention that Tony and Dennis were close friends with Peter.

text: Peter was the one who always played the robber.

question: How did Tony's relationship with Peter change throughout the story?

answer: Tony and Peter were close friends from childhood. They played cops and robbers together. When they were in high school, Peter came to Tony's house and told him that his aunt was moving him to Minnesota, and he was very upset about it. Tony tried to calm him down, but Peter was too angry. Tony and Dennis took Peter to the shooting range. Tony and Dennis stayed close throughout their college years. They tried to keep in touch with Peter as much as possible, but it was rough. Peter eventually fell out of contact with Tony, but Tony hopes he was living at college and moved out.

critique: The answer is a summary of the story, not an answer to the question.

critique: The answer is a summary of the story, not a description of the changes in the relationship.


text:
SLINGSHOT is a water purification device created by inventor Dean Kamen.[1] Powered by a Stirling engine running on a combustible fuel source, it claims to be able to produce drinking water from almost any source[2] by means of vapor compression distillation[3], requires no filters, and can operate using cow dung as fuel.

The name of the machine is a reference to the slingshot used by David to defeat Goliath.[4]

Technical characteristics

In his TEDMED 2010 presentation, Kamen announced several goals for and characteristics of the machine:[5]

-   five years of operation without overhaul or maintenance
-   use less than a kilowatt of power (lower than the power consumption of a microwave oven)
-   generate 1000 litres of pure water/day, enough for 100 people for hygiene and cooking
-   meets the U.S. pharmacopoeic standard for water for injections
-   requires no pre-treatment, pipelines, engineers, consumables (osmosis membranes, charcoal, etc.), or installation permits

History

Kamen came to develop the device on the basis of statistics that showed lack of access to clean water as a public health crisis. Statistics from the World Health Organization show that there are 900 million people worldwide without a readily available supply of drinking water and that some 3.5 million people die annually because of diseases resulting from the consumption of unsanitary water. Despite the fact that over two-thirds of the Earth's surface is covered with water, only 1% of it is potable.[6]

Kamen sought to develop a technology that would transform the 97% of water that is undrinkable into water that can be used and consumed on the spot, readily and inexpensively. The device takes contaminated water and runs it through a vapor compression distiller that produces clean water, producing 250 gallons daily (~946 litres), enough for 100 people. The test devices have been used with “anything that looks wet”, including polluted river water, saline ocean water and raw sewage.[7] In a demonstration at a technology conference in October 2004, Kamen ran his own urine through the machine and drank the clean water that came out.[8]

Kamen built two machines — a power generator that would output one kilowatt from “anything that burns”, and the water distiller, which uses the electricity. In 2005, the power generator was tested for six months in a village in Bangladesh and generated enough electricity to light 70 energy-efficient light bulbs. The hand-made prototype cost each. [9]

By the end of 2005, a team of 200 at DEKA had produced 30 units, each the size of a compact refrigerator.[10] A pair of Slingshot devices ran successfully for a month in a village in Honduras during the summer of 2006. While the initial devices cost hundreds of thousands of dollars, Kamen hopes that increased economies of scale will allow production machines to be made available for $2,000 each.[11]

In 2008, Kamen demonstrated the device on The Colbert Report.[12]

In his TEDMED 2010 presentation, Kamen lamented throughout that when he asked for “a few million dollars” over a few months, no large global health organizations supported the development. Later in the presentation, he announced a partnership with The Coca-Cola Company.[13]

In 2011, field tests of Slingshot in five towns in Ghana proved their effectiveness and durability.[14]

In October 2012, Kamen and Coca-Cola CEO Muhtar Kent announced at the Clinton Global Initiative that in collaboration with DEKA Research, Africare and Inter-American Development Bank, they will start bringing the Slingshot to rural parts of Latin America and Africa. The first initiative will be testing the Slingshot technology in health centers and schools in remote communities in Latin America in 2013.

Proposed development

Kamen hopes to send thousands of the units with local village entrepreneurs, in much the same way independent cell phone businesses have thrived and gradually changed the face of many impoverished areas around the globe. Future target price for the device is in the $1,000 to $2,000 range.[15]

As of 2020, the product does not seem to be in commercial production or wide use. The systems appear to be distributed in partnership with Coca-Cola as a component of EKOCENTER kiosks, of which over 150 have been deployed worldwide.[16]

[1] Ulanoff, Lance. “Dean Kamen Honored by Popular Mechanics”, _PC Magazine_, October 9, 2009. Accessed October 20, 2009.

[2] Malnson, Donald. “Dean Kamen aims to clean water, generate electricity with Slingshot machine”, Engadget, April 23, 2008. Accessed October 20, 2009.

[3]

[4]

[5]

[6] Bergeron, Ryan. “Segway inventor takes aim at thirst with Slingshot”, _CNN_, September 11, 2009. Accessed October 18, 2009.

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15] Dean Kamen Unveils Slingshot, The Ultimate Water Regenerator, Impact Lab, April 22, 2008.

[16]

title: Slingshot (water vapor distillation system)

question: What does the text say about Slingshot?

answer: Dean Kamen invented the Slingshot water purification device. It can produce clean water from any source and can operate using cow dung as fuel. The device can produce 250 gallons of clean water daily, enough for 100 people. The device was tested in Bangladesh and Honduras. It is now used in partnership with Coca-Cola.

critique: The answer omits the device's characteristics.

critique: The answer should mention that the device is still in development.

critique: The answer should mention the device's proposed development.

critique: The answer should mention that the device is still not in wide use.

critique: The answer should mention the fuel source.

critique: The answer should mention the device's cost.

critique: The answer omits four other countries in which the device has been tested.

critique: The device is not used in partnership with Coca-Cola. It is used in partnership with Coca-Cola.

question: What does the text say about Kamen?

answer: Dean Kamen is the inventor of the Slingshot. He came to develop the device on the basis of statistics that showed lack of access to clean water as a public health crisis. He sought to develop a technology that would transform the 97% of water that is undrinkable into water that can be used and consumed on the spot, readily and inexpensively.

critique: Mention Kamen's TED presentation more in the answer.

critique: The answer should mention Kamen's TEDMED 2010 presentation.

critique: The answer should mention Kamen's education.

critique: The answer should mention Kamen's other inventions.

question: What does the text say about the history of Slingshot?

answer: Dean Kamen came to develop the device on the basis of statistics that showed lack of access to clean water as a public health crisis. Statistics from the World Health Organization show that there are 900 million people worldwide without a readily available supply of drinking water and that some 3.5 million people die annually because of diseases resulting from the consumption of unsanitary water. Despite the fact that over two-thirds of the Earth's surface is covered with water, only 1% of it is potable. Kamen sought to develop a technology that would transform the 97% of water that is undrinkable into water that can be used and consumed on the spot, readily and inexpensively. The device takes contaminated water and runs it through a vapor compression distiller that produces clean water, producing 250 gallons daily (~946 litres), enough for 100 people. The test devices have been used with “anything that looks wet”, including polluted river water, saline ocean water and raw sewage. In a demonstration at a technology conference in October 2004, Kamen ran his own urine through the machine and drank the clean water that came out.

critique: It is irrelevant that Kamen sought to develop a technology that would transform the 97% of water that is undrinkable into water that can be used and consumed on the spot, readily and inexpensively. The device takes contaminated water and runs it through a vapor compression distiller that produces clean water, producing 250 gallons daily (~946 litres), enough for 100 people. The test devices have been used with “anything that looks wet”, including polluted river water, saline ocean water and raw sewage. In a demonstration at a technology conference in October 2004, Kamen ran his own urine through the machine and drank the clean water that came out.

text: The answer can be shortened to contain the most relevant information instead of copying from the text.

question: What does the text say about the structure of Slingshot?

answer: The Slingshot is a water purification device powered by a Stirling engine. It can produce drinking water from almost any source. It requires no pre-treatment, pipelines, engineers, consumables, or installation permits. It can run for five years without overhaul or maintenance and uses less than a kilowatt of power. It can also generate 1000 liters of pure water a day. It meets the U.S. pharmacopoeic standard for water for injections.

critique: The answer is a bit of a summary and doesn't really answer the question.

text: It should be mentioned that the Slingshot works on a combustible fuel source and transforms water from any source into drinking water by vapor compression distillation.