text:
The sand was blowing so hard it was difficult to see anything.  Even the tanks parked just a few feet away seemed insubstantial. The goggles I wore did little to keep the sand out.  I felt filthy.  My eyes ached and felt as if they could produce no more tears. My hands and all other exposed skin were raw and tender from the biting sand. I huddled in as close as I could to my battle buddy, Mike.  Outer discomfort was only part of the reason we kept so close to each other.  Fear dictated most of our actions. The need to hold on to something familiar. Mark and I had become good friends during our training. Our shared struggles in infantry and airborne schools had developed a trust that only deepened when we both washed out of the Ranger Indoctrination Program. Our faith in each other had become the only stable thing we had. Training was over and we were going to war.

We stood in that storm for what felt like hours before a wiry man stepped up to us and shouted in our ears to be heard over the wind “you fags follow me!”

Unquestioningly, Mark and I did as we were told and were lead through the sandblaster to a small tent where we could wait out the storm. As the storm failed we found that a meal and some water had been left for us. We had not had anything to eat or drink since landing in Kuwait at least sixteen hours prior to arriving at our little tent. Our hunger and thirst helped make short work of the food and water, but as we finished a wave of nausea washed over me and I ran outside to purge myself in the sand.

 “Why do I always throw up when I’m nervous?” I asked Mark after rinsing the bile from my mouth.
“I don’t know” he shrugged.
“That’s just the faggot coming out of you” barked a deep nasally voice with a hint of a southern drawl.

Mark and I both turned to the speaker ready to throw insults back in return.  Fortunately for us, our eyes were quicker than our tongues, and our words never quite reached the air. We both snapped-to upon seeing the same wiry soldier who had shown us to our tent.  Without the sand swirling between us we could clearly see the stripes on his collar.

“You privates want to say something?” he asked.
“No, First Sargeant.” we replied in unison.
“Good” said the First Sargeant.  “You two see that group of vehicles circled up about four yards to your twelve o’clock?”
“Roger, First Sargeant”
“Then double time over there and report to Lieutenant Black.”
 “And for fuck sake don’t salute” he yelled at our backs as we hurried off to follow his instructions.

We found Lieutenant Black playing spades in the back of a Bradley. He did not acknowledge our presence until he and the other soldiers with him had finished their hand. When he finally did look up he pointed at Mark and said “you first.”
“PFC Mark Strunk reporting for duty, sir” Mark replied.
“Sound like stump” grunted one of the soldiers who had been playing cards.
“Where you from Strunk” asked the Lieutenant
“Denver, Colorado, Sir.”
“Good. And who is this turd with you?”
Barely recognizing my cue, I stumbled over both my feet and my words and said “PFC Brandon McNair reporting for duty, sir.

“Alright, listen close Stumpy and Mcturd.” Said Lieutenant Black “The president is going to declare war any day now.  We are currently sitting less than a mile from the border. When he does declare war we are to be the point of the spear going into Iraq. You two are a liability to me. We don’t have time to train you up on unit SOP and I won’t have you getting someone killed by being in the way. So what that means to you is stay on the hip of the team leader I assign to you, keep your head down, and do what you are told.”

To be continued...

title: Stormcoming

question: Summarize what the narrator is preparing for.

answer: Narrater and PFC Brandon McMcNair are getting ready for a war. Lieutenant Black says the president is about to declare war. When he does an invasion is to happen. McMcNair is a liability.

critique: The response is not fully accurate and needs to be re-written to better suit the question.

critique: "McMcNair is a liability." - this is not in the article.

critique: "McMcNair is a liability." - this is inaccurate and should be omitted.

critique: Response could provide more details about their current activities

critique: The narrator and PFC Brandon McNair are getting ready for a war. Lieutenant Black says the president is about to declare war. When he does an invasion is to happen.

critique: The narrator and PFC Brandon McNair are getting ready for a war.

critique: Missing things like their relationships with others other than their sergeant.

critique: "McMcNair is a liability." - this is incorrect information. Lieutenant Black said they were a liability.

critique: The narrator and his friend, McNair, are preparing for the war.

critique: "McMcNair is a liability." - this is inaccurate. He was assigned to someone as a liability, he's not a liability in general.

critique: "McMcNair is a liability." - this is incorrect. Lieutenant Black said they were a liability.

critique: The phrase "warrant" is misspelled in the beginning of the response.

critique: "McMcNair is a liability." - the narrator is not a liability.


split: train

text:
ASHBURNHAM and PENHURST are civil parishes in the Rother district of the local government county of East Sussex, England, within historic Sussex, situated to the west of Battle. The two parishes share a joint parish council which also covers the settlements of Brownbread Street, Ponts Green and Ashburnham Forge. Neither of the parishes have many dwellings, Ashburnham having a population of 303, whilst Penhurst has just 52 inhabitants.[1]

Governance

At a local level, Ashburnham and Penhurst are governed by a joint parish council which is responsible for street lighting, allotments and recreational areas. They provide a local voice to the district and county councils. The parish council consists of seven councillors, split into two wards: five councillors from Ashburnham ward and two from Penshurst ward.[2] The May 2007 election had six candidates standing in the Ashburnham ward.[3] The Penshurst ward was uncontested.

Rother District council provides the next level of government with services such as refuse collection, planning consent, leisure amenities and council tax collection. Ashburnham and Penhurst are within the Crowhurst ward, along with the parishes of Catsfield, Crowhurst, and part of Battle. In the May 2007 election Crowhurst ward was won by the Conservative candidate.[4]

East Sussex county council is the third tier of government, providing education, libraries and highway maintenance. Ashburnham and Penhurst falls within the Battle and Crowhurst ward. Kathryn Margaret Field, Liberal Democrat, was elected in the May 2005 election with 48.8% of the vote.[5]

The UK Parliament constituency for Ashburnham and Penhurst is Bexhill and Battle. Gregory Barker was re-elected in the May 2005 election.

At European level, Ashburnham and Penhurst are represented by the South-East region, which holds ten seats in the European Parliament. The June 2004 election returned four Conservatives, two Liberal Democrats, two UK Independence, one Labour and one Green, none of whom live in East Sussex.[6]

Ashburnham

In 1086, Ashburnham was known as _Esseborne_, a settlement in the ancient hundred of Foxearle.[7] Ashburnham takes its contemporary name from Ashburnham Place, a country house built by the Ashburnham family (now a Christian conference and prayer centre), a name which derived from the local stream named the _Ashbourne_. The 14th-century parish church, dedicated to St Peter, was rebuilt in 1665. The village was in the iron making district of the Weald, and its blast furnace was, in 1813, the last in Sussex to be closed.

Until 2006, Ashburnham was the home of musician James “Tate” Arguile, guitarist in the alternative band Mumm-Ra.

Penhurst

PENHURST is a village located on the Weald, four miles (7 km) west of Battle. In 1086, Penhurst was in the hundred of Hailesaltede; the Abbey of Battle was its tenant-in-chief.[8]

Penhurst Manor is now a Christian retreat centre and is used much in the support of missionaries from overseas.

The 14th-century parish church is dedicated to St Michael the Archangel. The actor Harry H. Corbett (1925–82) lies buried in the rear churchyard. His daughter Susannah lives in Ashburnham.

Landscape

Ashburnham and Penhurst are located in the heart of the Sussex Weald within the designated High Weald Area of Outstanding Natural Beauty.

Landmarks

Ashburnham Park falls within the area and is a Site of Special Scientific Interest. It comprises ancient woodland and medieval deer park, containing a wide spread of flora and avian fauna.[9] Part of the park lies in the neighbouring Catsfield parish.

Several features of the old iron industry can be found along the track from the hamlet of Ashburnham Forge up to the furnace site near Lakehouse Road.[10]

[1] Census 2001

[2]

[3]

[4]

[5]

[6]

[7] Open Domesday: Ashburnham, Sussex. Accessed September 2020.

[8] Open Domesday: Penhurst. Accessed September 2020.

[9]

[10] Pearce, H, _Hammer and Furnace Ponds_, Pomegranate Press, 2011

title: Ashburnham and Penhurst

question: What are Ashburnham and Penhurst?

answer: They are civil parishes in the Rother district of East Sussex, England,  situated to the west of Battle.

critique: The answer should give the population of the parishes.

critique: The answer should mention the population of the parishes.

critique: The answer misses to mention the two parishes share a joint parish council which also covers the settlements of Brownbread Street, Ponts Green and Ashburnham Forge.

critique: Some useful/relevant information is omitted (the name of the district, the county in which it resides, and more about the villages).

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

question: How are Ashburnham and Penhurst governed?

answer: They are governed by a joint parish council.

critique: Does not mention the next level of government.

critique: It is omitted that the joint parish council is responsible for street lighting, allotments, and recreational areas.

critique: The answer would be more complete if it described the responsibilities of the joint parish council.

critique: The answer should mention the other levels of government.

critique: The answer should mention the other two tiers of government.

critique: The answer could be more specific about the council's duties.

critique: The answer omits the other levels of government in the area.

question: What is the history of Ashburnham?

answer: It was known as Esseborne in 1086. It is named after Ashburnham Place, a country house built by the Ashburnham family. The 14th century parish church dedicated to St Peter was rebuilt in 1665.

critique: The answer should mention the blast furnace.

critique: "It is named after Ashburnham Place, a country house built by the Ashburnham family." - this is irrelevant and should be deleted.

question: What is the history of Penhurst?

answer: Old Age documents show that it is habitually frequented by religious pilgrims. Its name comes from the fact that it was in the dedicated in Anglo Saxon times to St Peter.

critique: The article does not mention anything about Penhurst being habitually frequented by religious pilgrims.

critique: The first sentence is unrelated and confusing.

critique: The article doesn't mention anything about Penhurst being habitually frequented by religious pilgrims.


text:
Hybrid is the dominant cloud model, and it requires new management tools from a new crop of vendors, Forrester says

[hybrid cloud thinkstock]
 Thinkstock

As organizations increase their use of cloud services, Forrester principal analyst Dave Bartoletti says they're coming to this realization: No one platform can provide everything developers and IT operations professionals need.

According to a poll of global technology users, nearly two-thirds said they’re using more than one public and/or private cloud at the same time. As has been predicted for years, hybrid cloud has become a dominant deployment methodology. Organizations are combining public cloud resources with private cloud infrastructure, or multiple public clouds, or multiple private clouds. When they do so, an overlay management software for controlling all those assets can be very helpful, Bartoletti says.

For the first time Forrester has produced a Wave report examining the leading vendors in this hybrid cloud management market, and the crop of providers leading the pack could come as a surprise.

Bartoletti breaks the market down into two major categories. There’s a relatively new collection of vendors selling agnostic management platforms. Tools from RightScale, CliQr, Dell and Scalr do not have affinity to any one cloud vendor, so they can manage many different clouds. The second category includes pre-existing software from classic management vendors like VMware, Red Hat and IBM. These vendors have extended their virtualization management software to now include cloud management.

Perhaps most surprising about this list is that vendors like Amazon Web Services, Microsoft (Azure) and Google (Cloud Platform) – who dominate the IaaS public cloud market, aren’t atop this list of cloud management tool providers. After all, why would they want to sell customers management software for competitors’ clouds?

Bartoletti says he sees two major use cases for these hybrid cloud software packages. The first is a multi-public cloud environment. It’s not uncommon to see an organization using Amazon Web Services in certain departments or developer teams. Perhaps the marketing department has a new mobile or Java app that needs to be able to scale quickly. AWS is a great fit. There may be other developers who are more used to working in a Windows environment and prefer to use Azure. A single cloud management platform can provision virtual machines and storage to both these clouds and give IT central control and visibility into how the clouds are being used.

There’s another use case for hybrid cloud software in which teams within an organization are all using the same public cloud, for example AWS. These hybrid cloud products can act as a central portal for users to access AWS resources and for IT to monitor the use.

These tools are “still in the maturing phase” though, Bartoletti says. The “nirvana” is to get to a point where users have a “single pane of glass” to manage multiple clouds and dynamically move workloads across clouds. We’re not quite there yet. Typically, the most functionality for dynamic usage across clouds comes within a homogenous environment: Users can do some cool stuff with vMotion in an all-VMware environment that combines vSphere with vCloudAir, for example. Managing applications across AWS and Azure is still a cumbersome process though, so expect more innovation in this market.

Despite their shortfalls, these can be incredibly helpful tools for users. “At their core, hybrid cloud management solutions are automation and orchestration platforms. They automate manual or scripted tasks to request, change, or deploy standardized cloud services, and they orchestrate the execution of these tasks across a range of cloud platforms, often leveraging other automation tools like configuration management or provisioning,” Bartoletti wrote in the report.

Rounding out the list of vendors who made the cut were Hewlett Packard Enterprise, BMC, Microsoft and Citrix.

This story, "It’s a hybrid cloud world, and we’re all just living in it" was originally published by Network World.

Senior Editor Brandon Butler covers the cloud computing industry for Network World by focusing on the advancements of major players in the industry, tracking end user deployments and keeping tabs on the hottest new startups.

Copyright © 2016 IDG Communications, Inc.

question: Summarize the historical context around using cloud technology to store files.

answer: No answer

critique: The answer should mention the historical context of cloud technology.

question: Summarize how and why technology users utilize cloud storage.

answer: No answer

critique: The answer should mention the two main use cases for cloud storage.

text: It is omitted that no one platform can provide everything developers and IT operations professionals need. Organizations are combining public cloud resources with private cloud infrastructure, or multiple public clouds, or multiple private clouds. When they do so, an overlay management software for controlling all those assets can be very helpful. That is why the hybrid cloud has become a dominant deployment methodology.

category: coverage

question: Describe how, then, hybrid technology could be favorable.

answer: Hybrid technology is favorable for those who wish to save money by utilizing different types of cloud services from different providers, while staying central and in control in order to monitor and manage the need they have. This can be done in a public or a private cloud, including multi public clouds as well.

critique: Does not mention the flexibility of having different cloud servers.

critique: The answer is a bit confusing. The last sentence is unnecessary.

question: Summarize what hybrid management is and provide an example.

answer: Hybrid management is a tool that allows users to manage the use of multiple clouds. For example, a marketing department may use AWS in certain departments, while other teams may prefer to use Azure. A hybrid management tool can provision virtual machines and storage to both of these clouds and give IT central control and visibility into how the clouds are being used.

critique: The answer should mention that the tool is agnostic.

critique: The answer should mention that the hybrid management tool is agnostic.

critique: The answer mentions the example of the marketing department, which is not relevant.

critique: The answer could mention that the tool is sold by a vendor.

critique: The answer should mention that the marketing department is just one example.

critique: The answer does not mention the use of a hybrid management tool to control a single cloud.


text:
JESSE DREW is an American artist, author, media activist, and educator.

Biography

Jesse Drew was born at St. Vincent's Hospital in Greenwich Village, New York. He spent his early childhood in Queens, before the family moved to Hicksville, New York, home of Levittown. He became a teenage runaway at age 15, and lived on communes in Vermont and California. In 1974, he was a candidate for the State Legislature of Vermont on the Liberty Union Party ticket with Bernie Sanders. Because of his runaway status, he ran under the name of Jesse Clemens. In 1975, he was recruited by Fred Ross to work for the United Farmworkers Union in California. He was a boycott organizer in San Francisco before moving into industrial organizing in the San Francisco Bay Area[1]

In 1982, he moved to Paris, France with his wife and child and became involved in media production. Upon returning to the United States in 1984, he joined the nascent video collective Paper Tiger TV, and started a West Coast branch. At the same time, he began working as an electronics technician at several start-ups and then Dolby Laboratories. He worked with the 'zine collective Processed World as a writer, editor and collective member. In 1986, he helped to organize the first public access television network, Deep Dish TV and in 1989, formed Mission Creek Video with Carla Leshne in San Francisco's Mission District.

He is a professor in the Cinema and Technocultural Studies (CaTS) program at the University of California at Davis.

Media work

Drew has worked extensively on community media projects including the San Francisco Community Television and Paper Tiger Television. He has also been an advocate for Low-power broadcasting and helped found KDRT-LP radio, a low power FM station in Davis, California.[2][3] His work has shown at the 1993 Whitney Biennial, the Mill Valley Film Festival, Artists' Television Access, Yerba Buena Center for the Arts, American Film Institute, and others.

_Manifestoon_ is one of Drew's best known works. The film is a collage of classic cartoons edited to illustrate the narration: Karl Marx and Friedrich Engels' Communist Manifesto. When the clips are re-contextualized, the subversive nature of “the trickster” character in classic cartoons is presented in a new perspective. The video has been shown at large institutions such as Yerba Buena Center for the Arts, Museum of Contemporary Art, Chicago, and Barcelona Cultural Center and uploaded to web sites like the Internet Archive[4] and YouTube.[5] Nicole Brenez, the curator of Cinematheque in France listed Manifestoon as one of the top ten films of the 1990s.[6]

_Newe Segobia is Not for Sale_ was produced by Drew in 1993, documenting the land. struggle between Western Shoshone sisters Mary Dann and Carrie Dann and the BLM.

Writing

In 2013, Jesse Drew wrote the book “A Social History of Contemporary Democratic Media.” His work has been published in _Resisting the Virtual Life_ (City Lights Press) and _Reclaiming San Francisco: History, Politics, Culture_ (City Lights Press) as well as Processed World, and _Collectivism After Modernism: The Art of Social Imagination After 1945_ (University of Minnesota Press).

[1] “San Francisco Labor in the 1970s” in Carlsson, Chris, ed., _Ten Years That Shook the City_, City Lights Books, 2011

[2] Video Data Bank page on Jesse Drew

[3] Jesse Drew's bio

[4] Manifestoon at Internet Archive

[5] https://www.youtube.com/watch?v=NbTIJ9_bLP4

[6] http://cineticle.com/lists/105-90s/1060-nicole-brenez.html

title: Jesse Drew

question: Judging from the passage (his artistic and political contributions), what kind of political leanings does Jesse Drew have?

answer: This information is not mentioned.

critique: The answer is incorrect. The passage mentions that Drew was a candidate for the State Legislature of Vermont on the Liberty Union Party ticket with Bernie Sanders.


text:
A short white flash, then darkness. When the room started to become visible again the walls were close, too close to be comfortable. But this was not the first time. Seb knew what to do.

"Get up." He said it slowly, commanding himself to expand, just the way he had trained it. But even after so many times it still didn't work.
"Get up! Get up! Get up!"

Finally his body began to expand, legs protruded from his limb round torso, fingertips slowly pushed through the rubbery sides, reshaping the ball in an incomplete star. Finally his eyes began to move upwards and with them the room began to expand. Not just upwards, as it always did, this time it also expanded to the sides, the way Subject 3 had described it.

Seb would have had a smile on his lips, if he had had a face, but it was still beginning to form. His body was still just an egg-shape with spikes at the bottom and sides.

While suppressing the pain that his tearing skin signaled to his brain he thought to himself that this must be what giving birth feels like. Maybe he should stop making jokes about women after all.

After an hour of effort he had shaped all of his hands and the stumps of his arms nearly up to the elbows. The right hand protruded further than the left, and it also felt bigger. But was that really the right? He wasn't sure on which side his eyes would end up.

The team had warned him against trying too much at once, but all went smoothly and so Anton decided to try his luck. Exerting pressure on what felt like his stomach or lungs, he slowly pressed downwards and ignored the feeling of ripping tissue that accompanied the push.

His legs formed quicker than his arms. He already had his knees completely shaped before he refocused on his arms, bit his unformed lip and pushed to painfully protrude the bigger part of his right biceps. Through trial and error - getting the angle right was still not easy - he finally managed to shape his right shoulder. That was a first.

The left shoulder formed quickly and he barely felt the torn skin. There was a disturbing feeling - a sound, or maybe a smell - but that was maybe just a normal event at this level, after all he was one of the first to reach this state.

Shifting his focus again to his legs he pushed harder on his stomach and was surprised that his legs seemed to be surrounded by a slimy and warm texture. Despite, or maybe beause of the gentle lubrication, his legs kept forming with relative ease. Muscles and bones smoothly moved into place, even the pain seemed to fade away.

He felt a slight pressure on his shoulder and there was distinct chattering in the background, but he was too far to stop. His legs were nearly complete, his hips clicking into place for the first time and it was time to push harder to form his head. But a white flash interrupted him.

"Aaaaaaaaahhhhhhhh!!"

The sudden scream scared Seb and made him scream even louder. It took him a few moments to be back in the world, to remember that breathing was normal and that the water he could hear rushing through his ears was just the blood his heart was pumping around his body. Then the stench hit him, sour with a note of curry and bile.

The lab assistant, Mark, stood smiling at his side. He didn't seem to mind the vomit.

"You got far this time, didn't you?"

"Yeah, I was nearly complete!" Anton was proud of his accomplishment. "Why did you pull me out?"

Mark hesitated. "Do you have any idea how long you were in there?" Anton responded with a frown. "It was six hours, and you threw up on yourself a while ago. We had to get you out."

After cleaning the largest pieces off with dry tissues Seb stood up on his shaking legs and signed the registration sheet. The young female researcher whose name he just never seemed to be able to remember handed him €120. She smiled at him. "Well done." He looked at her nametag. 'Sarah'.

"Thanks, Sarah." Seb turned and walked out.

"Well done." He repeated to himself on the way out into the cold autumn day.

***
*Critique welcome*

title: Subject 4 [Chapter/short short]

question: What organs does Seb try to generate?

answer: Seb tries to generate his arms and legs.

critique: The answer should mention that Seb tries to generate his head as well.

critique: It is omitted that he also tries to generate his head.

critique: He also tries to generate a head and torso.

critique: His arms and legs are only part of the organs generating.

question: Describe the setting of the story.

answer: The story takes place in a lab.

critique: The answer should mention the lab assistant.

critique: The lab is really just implied in the story. Detailed descriptions of the setting would make the answer more accurate.

critique: The story takes place in a lab, but the lab is not the only setting.

critique: The story takes place in a lab, but it is not clear if it is a lab in a building or a lab in a body.

critique: It is omitted that the lab is underground.

critique: The answer should mention the lab assistants.

critique: The story takes place in a lab, but it is not clear if it is a lab in the traditional sense.

critique: It misses to mention that it takes place in the lab as well as in the subject's body.


text:
GUS SOLOMONS JR. (born 27 April 1940) is an accomplished dancer, choreographer, dance critic, and actor. He is a leading figure in postmodern and experimental dance.

Dancer

Gus Solomons Jr., born and raised in Cambridge, Massachusetts, began his serious dance training in modern dance and ballet while an undergraduate architecture student at the Massachusetts Institute of Technology (MIT).[1] He was a member of a local dance company called Dance Makers, and it was there where he began his experimental solo choreography. A year after graduating from MIT with a Bachelor of Architecture degree, Solomons moved to New York City with a “burning itch to perform and make dances”.[2] In 1962, he worked alongside other dance experimentalists at a studio in New York City. According to Solomons, quoted in Banes, they wanted to “find new forms, ways of making dances that were different from those of our mentors”.[3] Although he was interested in deconstructing forms and structures, he was also passionate about technical dancing. He performed with the companies of Pearl Lang, Donald McKayle, Joyce Trisler, Paul Sanasardo, and Martha Graham, although his most significant association during this period was with Merce Cunningham and Company from 1965 to 1968.[4]

Choreographer

In 1972, Solomons founded the Gus Solomons Company/Dance, whose repertoire consisted of detailed and analytical compositions that were conceived as “melted architecture”, drawing from his experience as an architecture student at MIT.[5] He undertook a clinical, postmodern approach to dance making that linked a fascination with puzzles and architectural design to the process of “kinetic autobiography”.[6] During an interview with _Open Door_, the MIT newspaper, Solomons compared movement design to building design in principle, with the exception that dance was not fixed in time.[7] Solomons' choreographies, of which there are more than 165, were created to suit the dancers, not vice versa, because he was concerned with how the dancers felt while executing the movement.[8] From the outset, Solomons saw the potential of integrating dance and video. According to Solomons, one of his most exciting projects was the dual-screen video-dance City/Motion/Space/Game produced in 1968 by Rick Hauser at WGBH-TV in Boston. This double-channel work was a collaborative work of Solomons, writer Mary Feldhaus-Weber, and composer John Morris. City/Motion/Space/Game, in its half-hour duration, was an “investigation of the unique properties of the video medium that are unlike live performance: reduced scale, flattening of spatial dimensions, and accelerated visual space”.[9]

Dance critic

Forty years later, Solomons continues to make a living from dancing, choreographing, experimenting, and critiquing dance. Since 1980, he has devoted some of his time to dance criticism, and his reviews have appeared in _The Village Voice, Ballet News, Attitude, Dance Magazine_, and _The Chronicle of Higher Education_, among others. A few of his articles include:

-   “Good guys” _The Village Voice_ 45:43. 31 October 2000.
-   “Dance:King Rex” _The Village Voice_ 43:20. 19 May 1998.
-   “Teach-Learn Connection: Technique: Move your Feet! Merce Cunningham Technique” _Dance Magazine_ 81:11. November 2007.
-   “Merce Among the Children” _Dance Magazine_ 77:4. April 2003.

Collective

Gus Solomons Jr. is currently in a collective known as PARADIGM,[10] which he founded in 1996, whose goal is to “promote and celebrate the talents of mature artists on stage”.[11] Paradigm has toured in numerous parts of the United States, including New York, Massachusetts, Texas, California, among others, and has won audience acclaim.

Collaborators

Solomons has collaborated with Mio Morales on several works, including:

-   _Differences of Need,_ choreography by Gus Solomons Jr.; music and sound collage by Mio Morales
-   _Melba,_ presented by the Suitcase Fund of Dance Theater Workshop in association with Pepatian; conceived by Tony Gillotte, Eva Gasteazoro and Yolanda Blanco; choreography by Eva Gasteazoro; directed by Tony Gillotte; music and sound design by Mio Morales
-   _Unplay Dances,_ presented by the Solomons Dance Company; choreography by Gus Solomons Jr.; music by Mio Morales
-   _Steps,_ environmental dance structure for 12 dancers; choreography by Gus Solomons Jr.; music by Mio Morales and Carl Riley
-   _Bone Jam,_ presented by the Solomons Dance Company; choreography by Gus Solomons Jr.; music by Mio Morales
-   _Nōz,_ presented by the Solomons Dance Company; choreography by Gus Solomons Jr.; music by Mio Morales
-   '_'PsychoMotorWorks,_ presented by the Solomons Dance Company; choreography by Gus Solomons Jr.; music by Mio Morales
-   _Steps #8,_ pedal-rock rebus; presented by Solomons Dance Company; choreography by Gus Solomons Jr.; music by Joe Jackson, Police, Steely Dan, arranged by Mio Morales
-   _Foot/Tongue/Web,_ conceived, choreographed and performed by Judith Ren-Lay; music by Mio Morales

[1] Jack Salzman, “Solomons, Gus,” in _Encyclopedia of African-American Culture and History_, 5 vols. New York: Macmillan, 1996.

[2] Sally Banes, _Reinventing dance in the 1960s: Everything was possible_, Madison: University of Wisconsin Press, 2003, p. 105.

[3] Sally Banes, _Reinventing dance in the 1960s: Everything was possible_, p. 107.

[4] Richard A. Long, “Gus Solomons Jr.” in _The Black Tradition in American Dance_, New York: Rizzoli International Publications, 1989, p. 141.

[5] 1

[6]

[7]

[8] Richard A. Long, _The Black Tradition in American Dance_, p. 142.

[9] Sally Banes, _Reinventing dance in the 1960s: Everything was possible_, p. 112.

[10] 2

[11]

title: Gus Solomons Jr.

question: What does the text say about postmodern architecture?

answer: No answer

critique: The model interpreted a passage as "postmodern architecture" and decided to not answer the question. "Although he was interested in deconstructing forms and structures, he was also passionate about technical dancing" which is irrelevant to the question.

critique: The answer should mention Solomons' training in architecture.

question: What does the article say about Solomons' approach to dance and choreography?

answer: His approach to the dance was clinical, drawing from the experience he had as an architecture student. He compared the design of the movement to that of building design, with the exception that dance was not fixed in time. His choreographies were created to suit the dancer, and not vice versa because he saw the potential of integrating dance and video. He founded a company that focused on detailed and analytical compositions or choreographies that could be referred as "melted architecture". He didn't believe in executing a specific movement to suit the music, but to motivate the dancers by "paying attention to the human spine". His critics enjoyed following his work and his work has toured some parts of the United States such as New York, Texas, California and Massachusetts.

critique: The second to the last line states he did not believe in executing a specific movement to suit the music. However, the answer provides an opposing detail: "He didn't believe in executing a specific movement to suit the music, but to motivate the dancers by 'paying attention to the human spine.'"

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

critique: The answer is a bit confusing and has some irrelevant information.

critique: The last sentence of the answer is not relevant to the question.

question: What does the text say about Solomons' associations with others?

answer: He was a member of a local dance company called Dance Makers. He toured with several companies and performed for different choreographers, such as Pearl Lang, Donald McKayle, Joyce Trisler, Paul Sanasardo, and Martha Graham. He was most associated with Merce Cunningham and Company from 1965 to 1968. In 1976, he founded the Gus Solomons Company/Dance in New York City. He collaborated with the writer Mary Feldhaus-Weber, the composer John Morris, the choreographer Eva Gasteazoro, the dancers Mio Morales, and Judith Ren-Lay.

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

critique: The answer should mention his current collective.

critique: The answer omits Solomons' association with PARADIGM.

critique: The answer could mention some of his other collaborators.

critique: The answer should mention the collective.

critique: The answer omits his work with PARADIGM.

critique: The answer includes extraneous and redundant information.


text:
Midwives, nurse practitioners, physician assistants and other non-doctors do as good a job as MDs in the care they deliver — and patients often like them better, a World Health Organization team reported on Thursday.

These non-physicians are especially effective in delivering babies, taking care of people infected with the AIDS virus, and helping people care for chronic diseases such as diabetes and high blood pressure, the team reported in a WHO bulletin.

The findings extend from the poorest nations to the United States and Europe, they said. While some physician groups have resisted wider use of such professionals, they should embrace them because they are often less expensive to deploy and are far more willing to work in rural areas, the WHO experts said.

“There are some obvious advantages in terms of relying on mid-level health workers,” WHO’s Giorgio Cometto told NBC news in a telephone interview.

“They take less time to be trained. Typically, they cost less to remunerate. In some countries they are more likely to be retained in rural areas.”

David Auerbach, a researcher at the Rand Corp., says other studies have shown the same thing. “There’s really not much difference you can find in the quality,” he said.

Doctors are scarce in the United States. The Association of American Medical Colleges projects a shortfall of 90,000 physicians by 2020. Family practitioners and other generalists are especially scarce, and experts predict it will only get worse as millions of Americans get health insurance under the 2010 Affordable Care Act.

Doctors are also scarce in the developing world, and many countries are looking for ways to fill gaps.

Cometto and colleagues around the world looked at all the studies they could find on the quality of care delivered by non-physicians. They settled on 53 that looked specifically at the quality of care delivered — and at how happy patients were with the care they got.

“The evidence shows there aren’t statistically significant differences,” Cometto said. “The quality of care they provide is comparable to physicians. In some cases, for specific services, they actually outperform physicians.”

For instance, nurse-midwives or midwives who deliver babies end up using fewer drugs and they are less likely than doctors to make a type of cut called an episiotomy. Groups such as the American College of Obstetricians and Gynecologists recommend against episiotomies because they don’t heal as well as the natural tears that occur during childbirth.

Midwives were no more or less likely than doctors to induce labor, perform cesarean sections or use instruments to deliver a baby, Cometto’s team found, and the rates of death of either mother or child were the same among doctors as among midwives.

There were similar findings for treating patients infected with the human immunodeficiency virus (HIV) that causes AIDS. “One study compared the effects of antiretroviral therapy (ART) in patients managed by nurses and those managed by doctors. There was no significant difference in the likelihood of ART failure between groups of patients managed by nurses and those managed by doctors,” the researchers wrote. “Nor was there any difference in mortality, failure of viral suppression or immune recovery between the groups.”

When it came to caring for heart disease and diabetes, patients actually seemed to like nurses and other non-doctors better, the report found. This jibes with what nurse-practitioners and physician assistants working in the United States report. “We look at patients in a more holistic manner,” Judy Honig, associate dean at the Columbia University School of Nursing, said in a recent interview.

The Institute of Medicine, which advises the federal government on health matters, says nurses can do more than they already do and can help meet ballooning demands as the population ages and as more people get health insurance and start seeking care.

The United States has more than three million nurses. They already deliver much of the front line health care that Americans need, from giving vaccinations to delivering babies.

Nurse-practitionersare registered nurses who hold graduate degrees and can perform virtually all of the functions of front-line family doctors — depending on the laws of the state they’re in.

Between 1998 and 2010, the number of Medicare patients treated by NPs increased 15-fold to more than 450,000 people, University of Texas Medical Branch researchers found recently. Groups such as the American Association of Nurse Practitioners are calling for even more to be trained.

Physician assistants are also seen asoffering a big plugin the health care hole “Currently, there are more than 93,000 PAs throughout the U.S. whose education in general medicine prepares them to be extremely nimble, positioning them very well to address an influx of 20 million new patients entering the health care system,” says Lawrence Herman, president of the American Academy of Physician Assistants.

Rand’s Auerbach says integrated clinics, using electronic health records and other technology, can really help fill the gaps. But he notes that not all medical groups are on board with the idea.

“It’s getting over a cultural barrier and learning how to work in teams of providers with different expertise,” Auerbach said. “That is not trivial.”

The American Society of Anesthesiologists recently spoke out against what it sees as the overuse of nurse-anesthetists. “Somehow there has become the notion that you can take physician extenders and replace physicians,” said Dr. Jane Fitch, a former nurse anesthetist who is now a physician anesthesiologist. “We are really concerned about patient safety.”

question: What does the text say about nurse practitioners?

answer: Nurse practitioners are registered nurses who hold graduate degrees and can perform virtually all of the functions of front-line family doctors. Between 1998 and 2010, the number of Medicare patients treated by NPs increased 15-fold to more than 450,000 people. Groups such as the American Association of Nurse Practitioners are calling for even more to be trained.

critique: The answer should mention their effectiveness in the care they deliver.

critique: The answer should mention the quality of care they provide.

critique: The answer should mention that nurse practitioners do as good a job as MDs.

question: What does the text say about midwives?

answer: Midwives are registered nurses who hold graduate degrees and can perform virtually all of the functions of front-line family doctors. Midwives were no more or less likely than doctors to induce labor, perform cesarean sections or use instruments to deliver a baby, Cometto’s team found, and the rates of death of either mother or child were the same among doctors as among midwives.

critique: The answer should mention the WHO team's findings.

critique: The answer should mention that midwives use fewer drugs and are less likely to make an episiotomy compared to doctors.

critique: The answer should mention the finding that midwives use fewer drugs.

critique: It's omitted that midwives use fewer drugs and they are less likely than doctors to make a type of cut called an episiotomy.

critique: This gets the wrong facts and implication

critique: The answer should mention that midwives use fewer drugs and are less likely to make an episiotomy.


text:
CARBON SUBSULFIDE is an inorganic chemical compound with the formula C₃S₂. This deep red liquid is immiscible with water but soluble in organic solvents. It readily polymerizes at room temperature to form a hard black solid.

Synthesis and structure

C₃S₂ was discovered by Béla Lengyel,[1] who assigned it an unsymmetrical structure. Later, infrared and Raman spectroscopy showed that the structure is symmetrical with a D∞h point group symmetry,[2] i.e. S=C=C=C=S. This compound is analogous to carbon suboxide whose structure is O=C=C=C=O.

Lengyel first synthesized this compound by passing carbon disulfide (CS₂) vapor through an electric arc with carbon electrodes. This treatment produced a black solution that after filtration and evaporation gave a cherry-red liquid. He determined the molecular mass by cryoscopy. Later preparations of C₃S₂ include thermolysis of a stream of CS₂ in a quartz tube heated to 900 to 1100 °C as well as flash vacuum pyrolysis (FVP) of 1,2-dithiole-3-thiones.[3]

Reactions and occurrence

Among its few known reactions, C₃S₂ reacts with bromine to form the cyclic disulfide.[4]

C₃S₂ polymerizes under applied pressure to give a black semi-conducting solid. A similar pressure-induced polymerization of CS₂ also gives a black semiconducting polymer.

In addition, reactions of C₃S₂ can yield highly condensed sulfur-containing compounds, e.g. the reaction of C₃S₂ with 2-aminopyridine.

Using microwave spectroscopy, small CnS₂ clusters have been detected in interstellar medium.[5] The rotational transitions of these molecular carbon sulfides matched with the corresponding molecules.

[1] {{ cite journal | author = von Lengyel, B. | title = Ueber ein neues Kohlenstoffsulfid | journal = Berichte der Deutschen Chemischen Gesellschaft | year = 1893 | volume = 26 | issue = 3 | pages = 2960–2968 | doi = 10.1002/cber.189302603124 | url = https://zenodo.org/record/1425718 }}

[2] {{ cite journal |author1=Smith, W. H. |author2=Leroi, G. E. | title = Infrared and Raman Spectra of Carbon Subsulfide | journal = The Journal of Chemical Physics | year = 1966 | volume = 45 | issue = 5 | pages = 1778–1783 | doi = 10.1063/1.1727828 |bibcode = 1966JChPh..45.1778S }}

[3] {{ cite journal | author = Pedersen, C. T. | title = The formation of 1,2-propadiene-1,3-dithione (carbon subsulfide) from flash vacuum pyrolysis of 1,2-dithiole-3-thiones | journal = Tetrahedron Letters | year = 1996 | volume = 37 | issue = 27 | pages = 4805–4808 | doi = 10.1016/0040-4039(96)00941-0 }}

[4] {{ cite journal |author1=Stadlbauer, W. |author2=Kappe, T. | title = The Chemistry of Carbon Subsulfide | journal = Sulfur Reports | year = 1999 | volume = 21 | issue = 4 | pages = 423–445 | doi = 10.1080/01961779908047951 }}

[5] {{ cite journal |author1=Cernicharo, J. |author2=Guelin, M. |author3=Hein, H. |author4=Kahane, C. | title = Sulfur in IRC + 10216 | journal = Astronomy and Astrophysics | issn = 0004-6361 | year = 1987 | volume = 181 | issue = 1 | pages = L9–L12 | bibcode = 1987A&A...181L...9C }}

title: Carbon subsulfide

question: Summarize everything relating to Lengyel.

answer: Lengyel discovered carbon subsulfide. He assigned it an unsymmetrical structure. He synthesized it by passing carbon disulfide vapor through an electric arc with carbon electrodes. He determined the molecular mass by cryoscopy.

critique: The answer should mention that Lengyel was a Hungarian chemist.

critique: According to the passage, Lengyel's actions may be secondhand accounts since the source isn't cited. The first two lines should be omitted.

question: Summarize carbon subsulfide's reactions.

answer: When bromine is added to carbon subsulfide, a cyclic disulfide is formed. When it is polymerized under applied pressure, a black semi-conducting solid is formed. Additionally, reactions of carbon subsulfide yield highly condensed sulfur-containing compounds like the reaction of carbon subsulfide with 2-aminopyridine.

critique: The answer should mention the molecular clusters detected in interstellar medium.

critique: "When bromine is added to carbon subsulfide, a cyclic disulfide is formed." - this is incorrect. Carbon subsulfide reacts with bromine to form the cyclic disulfide.

critique: "When it is polymerized under applied pressure, a black semi-conducting solid is formed." - this is incorrect. C₃S₂ polymerizes under applied pressure to give a black semi-conducting solid.

critique: The second sentence should clarify that the carbon subsulfide is polymerized.

critique: The answer should mention the detection of CnS₂ clusters in interstellar medium.

critique: "When it is polymerized under applied pressure, a black semi-conducting solid is formed." - this is incorrect and should be removed.

question: What does the text say about the structure of carbon subsulfide?

answer: The chemical compound was assigned an asymmetrical structure by Bela Lengyel. Later, infrared and Raman spectroscopy showed that this structure is symmetrical with a D∞h point group symmetry, or S=C=C=C=S. Carbon suboxide forms the structure O=C=C=C=O.

critique: The last sentence is irrelevant to the question.

critique: The answer should mention that the structure is analogous to carbon suboxide.

question: What does the text say about carbon dioxide?

answer: No answer

critique: The answer should mention that carbon dioxide is not mentioned in the text.


text:
My long walk in the dark began with a sobbing girlfriend and two barking dogs in the neighbors back yard. My jacket hung loosely on my shoulders as I fiddled with some loose change and a key in my pockets. For the first ten minutes, I expected her to come running behind me and ask me to come back home. An hour after that I had forgotten what we were fighting about in the first place.

The city lights flooded my vision, creating a contrast with the shadows. I felt them move, like a wanderer with nowhere to go, pacing back and forth. My tired feet approached a particularly black intersection. A large van slowed to a stop in front of me. The driver, a man in his forties, had a baseball cap on shadowing his eyes. He didn’t notice me and pulled out into the street as I waited to cross. I stared at his face as he passed, it was angry. Impossibly angry, he was searching for someone. ‘I’m glad I’m not on that guys bad side,’ I thought to myself once the van was gone from my sight.

As I continued along the lonely path I noticed the shadow on the wall at the next allyway move, ever so slightly. My eyes fixed on it as I made my somber approach. I’d never been mugged before and was preparing to run if I had to. Out of the shadows stepped a tall man, middle aged and wearing a lab coat. His right hand clamped around a small metallic device. I jumped back assuming a pistol was pointing at me. His other hand clutched the growing red stain on his chest.

“It’s… Stuck...  … … No.. Going… Back.” He collapsed in front of me.

I don’t remember anything after that. My mind went blank for a while, just switched off.

When my brain came back online, I was holding a small metal machine in my hand. I stared at it for a minute. It was completely, amazingly, fantastically… unremarkable in any way. Rectangular, shaped like a tv remote, but buttonless. It had a smooth stainless steel casing. The only thing protruding out was a knob. The knob was black plastic and had a notch at the top.

I headed back home quickly.

The front door creaked as I opened it. My expectation was that my girlfriend had calmed down and gone to bed, but I was mistaken. Within a minute we were at it again. Arguing about nothing, using anything as an excuse to try to hurt each others feelings. She noticed me holding the device and slapped it to the ground. The knob turned two clicks to the right.

Immediately the hate in her eyes dissipated. I was still furious and grabbed the gadget back up off the ground. I set it in my jacket pocket and as it slid in the knob turned once more to the right. She couldn’t contain herself anymore and grabbed me by the neck pulling me in for a passionate and heavy kiss, moaning against my bottom lip. She pulled me back into the bedroom and we had life affirming, wonderful sex.

The next weeks were marvelous. Jennifer, my girlfriend, was in love with me again. My coworkers were happy to see me. My boss even gave me a raise! I was flying high and loving life.

Something tugged at me though, curiosity reared its ugly head. The gadget hadn’t left my side since I had found it. I had made sure that the knob stayed two clicks to the right of center. My incorrigible side tugged at me relentlessly with what if’s.

One evening, Jennifer was cooking me another delicious dinner. I worked up the courage to test my hypothesis, and reached into my pocket. The smooth device fit snugly in my hand as I pulled it out of my pocket. Jennifer was looking away, half consumed with the steaks on the fryer. She used the rest of her attention to hurl verbal accolades at me. I took a deep breath and turned the knob all the way, counter clockwise to the left. The notch on the knob hit found its end.

Immediately Jennifer ended all movement, stopping her sentence jarringly. She breathed in deeply and began shaking. “Honey, are you ok?” I asked.

The silence was deafening. She took a large breath and grabbed the frying pan. The pan came flying to my face with a force I didn’t think my petite girlfriend could muster. It missed by an inch as I fell back in surprise. Her eyes were wild with a level of hate I had previously only seen in my nightmares.

My back landed on the hard linoleum flooring and I skirted backwards in horror. She wound the pan back behind her head again, and with both hands swung it down toward my face. In a move of self preservation I turned my head away and held my hands out to take the blow. The pan crashed against the steel and plastic of the device, shattering the knob into a hundred evil pieces. The shock reverberated through my hands, shattering the bones in three of my right fingers.

I kicked as hard as I could into her kneecap. She fell, howling in pain. My gut told me to get out of there but I couldn’t just leave her lying there in pain. I got up and walked over to her, I put the broken device back in my pocket and knelt down beside her.

“Honey, it’s over now.” I said, attempting to reassure her. She took her focus off of the broken leg and turned her gaze toward me. My blood boiled as her eyes met mine. My beautiful Jennifer was gone. All that was left was rage in her eyes. In a split second, her hands came up to my neck, choking me with all the force she could rally. She couldn’t even bring herself to speak. Nothing but guttural hisses and whines escaped her clamped jaw.

I panicked and struggled for breath. Her thumbs collapsing my esophagus and shutting off the blood to my brain. My vision blurred and became dark as I began to pass out. I saw the frying pan, still on the floor. With my precious seconds of life still clinging to me, I grabbed it with my unbroken hand and smacked her on the top of the head. She let go of her death grip and I collapsed onto her chest. I heard her heart, still beating furiously in her chest.

I gathered my strength and picked myself up. Everything was ruined. My only option was to call the police. I knew once they got there they would fall under the spell of the device as well, but I had to get Jennifer help.

From inside the garage I could hear the sirens as the ambulance and police found their way to my house. The sound of the first responders closing their doors was muffled by the sound of my hammer whaling against stainless steel.

title: [RF] How I Lost Control

question: Summarize the relationship the narrator had with his girlfriend.

answer: The narrator had a long walk with his girlfriend and two barking dogs in the neighbor's back yard. He expected her to come back home and ask him to come back, but an hour after that he had forgotten what they were fighting about in the first place. The narrator's girlfriend was always kind to him, but she was also quick to anger and would hurl verbal abuse at him.

critique: The device changes the relationship between the narrator and his girlfriend.

critique: The answer omits the fact that the narrator's girlfriend was in love with him again after he used the device.

critique: The answer omits the narrator's use of the device on his girlfriend, which made her fall madly in love with him.

critique: The answer omits the device's effect on the narrator's girlfriend.

critique: The answer omits the narrator's use of the device to control his girlfriend.

critique: The answer includes details that seemingly go beyond the question.

critique: The relationship between the narrator and his girlfriend is not described.

critique: The narrator's girlfriend was not kind to him.

text: The answer misstates the relationship troubles the narrator and his girlfriend have at the beginning of the story. The narrator takes a walk after a fight.

category: accuracy

question: Summarize the plot twist in this story.

answer: The narrator found a small rectangular device with a knob, and when he turned the knob all the way to the left, his girlfriend Jennifer instantly stopped, shook, and began to attack him. Jennifer was filled with rage, and the narrator realized that the device was the cause of her sudden change in demeanor. He then turned the knob to the right, and Jennifer was instantly filled with love for him. The narrator used the device to his advantage, and it seemed to work for a while. However, he was curious about what would happen if he turned the knob all the way to the left, and he found out the hard way when Jennifer attacked him.

critique: The narrator uses the device to his advantage and later regrets it.

critique: The device was shattered when Jennifer attacked him.

critique: The answer omits the device's effect on the narrator's coworkers and boss.

critique: The device is broken after Jennifer smashes it.

critique: The answer should mention that the narrator is killed by Jennifer.

critique: Doesn't mention that after as he turns the knob all the way to the left, he ends up killing her with the frying pan.

text: The narrator discovers the device's function when his girlfriend accidentally turns it to the right and gets filled with love. He gets curious and tests it, turning it all the way to the left to discover that she's filled with rage.

question: Would the narrator use the knob to fix his girlfriend's hate towards him once she is in prison?

answer: This is never made clear, but it seems that if this question needs to be answered, there will be another chapter in the story where the story continues.

critique: The answer is inaccurate. It is not stated that the story continues.

critique: It is made clear that the knob can be used to fix Jennifer's hate towards him.

critique: It is never made clear if the device has no power at all when inside the cell

critique: The answer is wrong. The narrator never uses the knob again.

text: The narrator already used the device, and it's likely that he could use it again. However, the device is destroyed by the end, so using it isn't an option anymore.


text:
2 MiamiCentral and 3 MiamiCentral financed by $103 million construction loan from the bank; 2 MiamiCentral to be completed this month

MIAMI – Wells Fargo & Company (NYSE: WFC) announced its involvement as a lender for MiamiCentral, a first-of-its-kind, transit-oriented development that serves as the southern terminus to the recently-opened Brightline inter-city express passenger train. Wells Fargo provided a $103 million construction loan for the development of two buildings in the MiamiCentral development, which will reshape downtown Miami by connecting the new Brightline inter-city passenger rail service with office, retail and multifamily residential space, as well as other forms of transit.

Wells Fargo provided construction financing to Florida East Coast Industries for 2 MiamiCentral and 3 MiamiCentral. 2 MiamiCentral, a 10-story, 190-thousand-square-foot Class A office tower connected directly to the Brightline terminal, is under construction and expected to be completed by late June 2018. 3 MiamiCentral is a 130-thousand-square-foot mixed-use building containing Class A office, parking and retail space, including a supermarket. 3 MiamiCentral, which is one block west of the train terminal, was completed December 2017 and is now 95 percent leased.

“As South Florida’s population continues to boom and traffic congestion worsens, Brightline will redefine how South Floridians think about where they work and live,” said Bill Vernon, head of Real Estate Banking in Wells Fargo’s Commercial Real Estate group. “2 MiamiCentral and 3 MiamiCentral are bringing highly connected office and retail space to downtown Miami, and Wells Fargo is excited to partner with Florida East Coast Industries on a cutting-edge project that will help propel development in the area.”

Brightline’s Phase 1 service launched to MiamiCentral on May 19 and is the first privately owned, operated and maintained inter-city express passenger rail service in the U.S. The Brightline train now connects the downtowns of Miami, Fort Lauderdale and West Palm Beach, significantly reducing commuting times between those cities. Ultimately, the system is expected to connect to the Orlando International Airport.

“MiamiCentral is a generational project, building on the original site of Henry Flagler’s once Downtown Miami railroad station, to connect South Floridians via Brightline,” said M. Bruce Snyder, executive vice president and chief financial officer for Florida East Coast Industries. “We are extremely pleased to have partnered with Wells Fargo on this transformational project and specifically on the development of 2 and 3 MiamiCentral, two of the most prolific mixed-use buildings featuring Class A offices, retail and parking to deliver in downtown Miami in recent memory.”

ABOUT WELLS FARGO

Wells Fargo & Company (NYSE: WFC) is a diversified, community-based financial services company with $1.9 trillion in assets. Wells Fargo’s vision is to satisfy our customers’ financial needs and help them succeed financially. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, investments, mortgage, and consumer and commercial finance through 8,200 locations, 13,000 ATMs, the internet (wellsfargo.com) and mobile banking, and has offices in 42 countries and territories to support customers who conduct business in the global economy. With approximately 265,000 team members, Wells Fargo serves one in three households in the United States. Wells Fargo & Company was ranked No. 25 on Fortune’s 2017 rankings of America’s largest corporations. News, insights and perspectives from Wells Fargo are also available at Wells Fargo Stories.

ABOUT MIAMICENTRAL

MiamiCentral is THE NEW HUB FOR ALL THINGS TRANSPORTATION, LEISURE AND BUSINESS. The transformational, transit-oriented development spans six Downtown Miami city blocks and features Brightline’s Miami Station, in addition to connectivity to Metromover, Metrorail and future Tri-Rail service. At MiamiCentral, retail and dining venues, including a food hall experience, make-up an expansive promenade surrounding two residential towers with over 800 apartments collectively known as Park-Line MiamiCentral. The monumental development, by Florida East Coast Industries, most recently introduced its first office tower, 3 MiamiCentral, reimagining Miami’s Central Business District. Underway and opening in phases, MiamiCentral offers a first-of-its-kind lifestyle destination for transit, dining, entertainment, living and business.

ABOUT FLORIDA EAST COAST INDUSTRIES

Florida East Coast Industries, LLC (FECI) is one of Florida’s oldest and largest commercial real estate, transportation, and infrastructure companies. Headquartered in Coral Gables, Fla., FECI has a rich history dating back over a century. Mr. Henry Flagler first established a predecessor company in 1892, which became a pioneer in the development of Florida's eastern coast. FECI is owned by private equity funds managed by affiliates of Fortress Investment Group, LLC. For more information, visit www.feci.com.

Wells Fargo Beth Richek, 704-374-2545 Beth.Richek@wellsfargo.com http://www.twitter.com/BethRichekWF MiamiCentral Jami Baker, 561-245-1026 Jami@carmaconnected.com

question: What does the text say about Wells Fargo & Company?

answer: Wells Fargo & Company is a diversified, community-based financial services company with $1.9 trillion in assets. They provide banking, investments, mortgage, and consumer and commercial finance through 8,200 locations, 13,000 ATMs, the internet, and mobile banking. They have offices in 42 countries and territories to support customers who conduct business in the global economy. They were ranked No. 25 on Fortune's 2017 rankings of America's largest corporations.

critique: The answer should mention that Wells Fargo provided a $103 million loan.

critique: The answer should mention the company's involvement in the MiamiCentral project.

critique: The answer should mention their involvement in MiamiCentral.

critique: The answer should mention that Wells Fargo provided a $103 million construction loan for MiamiCentral.

critique: The answer should mention that Wells Fargo & Company is a lender for MiamiCentral.

critique: I added the year for which they were ranked (2017)

question: What does the text say about Florida East Coast Industries?

answer: Florida East Coast Industries was founded in 1892, and is one of the oldest and largest commercial real estate, transportation, and infrastructure companies in Miami. It is currently owned by private equity fund managed by affiliates of Fortress Investment Group, LLC. It was partnered with Wells Fargo & Company on a development of MiamiCentral.

critique: The answer should mention the company's history.

critique: It is omitted that it is the company that developed MiamiCentral.

critique: It is omitted that MiamiCentral is a development of Florida East Coast Industries.

critique: The answer does not note explicitly what the company did with Wells Fargo.

critique: It's omitted that Florida East Coast Industries is the developer of MiamiCentral.

question: Summarize Wells Fargo & Company's relationship with Florida East Coast Industries.

answer: Wells Fargo & Company provided a $103 million construction loan for the development of two buildings in the MiamiCentral development. The development will reshape downtown Miami by connecting the new Brightline inter-city passenger rail service with office, retail, and multifamily residential space, as well as other forms of transit.

critique: The answer omits the fact that Wells Fargo & Company is a lender for MiamiCentral.

critique: The answer is a copy-and-paste of the article.

critique: The answer should mention the two buildings.

critique: The answer should mention the two buildings specifically.

critique: The answer is irrelevant to the question.

critique: The answer should mention that Wells Fargo & Company is a lender for Florida East Coast Industries.

question: Summarize what MiamiCentral hopes to achieve.

answer: MiamiCentral wants to connect South Floridians via Brightline. It is a generational project building on the original site of Henry Flagler's once Downtown Miami railroad station. It also hopes to connect South Floridians via Brightline.

critique: It is omitted that it is a transit-oriented development that serves as the southern terminus to the recently-opened Brightline inter-city express passenger train.

critique: The answer should mention the office, retail and multi-family residential space.

text: The third sentence is redundant.

category: coherence


text:
This piece was originally written in Swedish. I Found this english translation somewhere online a few years ago. It is the most powerful story I have ever read, and it moves me so very deeply each and every time read it. And I hope you will take the time to read it today.

Something is always lost in translation, but not too much I hope.

---

*Stig Dagerman - To kill a child*

It is a fine day and the sun rests over the plain. Soon the bells shall sound, for it is sunday. Between a pair of wheat fields two youths have found a path that they've never trod before and in the plain's three villages the windowpanes are shining. Men shave in front of the mirrors on the kitchen tables and women slice bread for the coffee and children sit on the floors buttoning their jackets. It is the happy morning of an evil day, for this day a child shall be killed in the third village by a happy man. As yet the child sits on the floor and buttons its jacket and the man who is shaving says that today they shall take a boat trip down the river and the woman softly sings and serves the freshly sliced bread on a blue plate.

There falls no shadow over the kitchen and yet the man who shall kill the child stands by a red gas pump in the first village. It is a happy man who looks into the camera and in the glass he sees a small blue car and beside the car a young girl who laughs. While the girl laughs and the man takes the beatiful picture the gas salesman tightens the lid on the gas tank and say they will have a fine day. The girl sits down in the car and the man who shall kill a child takes his wallet out of his pocket and say they shall go to the sea and by the sea they'll rent a boat and row far, far out. Through the open windows the girl in the front seat hears what the man is saying, she closes her eyes and when she does so she sees the sea and the man next to her in the boat. He's not an evil man, he's content and happy and before he gets into the car he stands for a moment in front of the radiator which shines in the sun and he enjoys the shine and the smell of gas and bird-cherries. There falls no shadow over the car and the shining fender has no dents and it is not red with blood.

But at the same time as the man in the car in the first village slams shut the door to his left and starts the car the woman in the kitchen in the third village opens her cupboard and finds no sugar. The child who has barely had time to button its jacket and tied its shoes stands on his knees on the couch and sees the river winding its way between the trees and the black little boat that lies pulled up on the grass. The man who shall lose his child is finished shaving and is folding his mirror. On the table stands the cups of coffee, the bread, the cream and the flies. It is only the sugar which is lacking and the mother tells her child to run to Larson's and borrow a few lumps. And while the child opens the door the man shouts after it to hurry, because the boat waits on the beach and they shall row further out than they ever have rowed. When the child then runs through the garden it thinks all the time about the river and the boat and the fish who are swimming and nobody whispers to it that it has eight minutes to live and that the boat shall remain where it rests all day and many days thereafter.

It's not far to Larson's, it's only across the road and while the child runs across the road the little blue car enters the second village. It's a small village with small red houses and newly awake people who sit in their kitchens with their coffee cups raised and watch the car drive by on the other side of the hedge with a large cloud of dust trailing behind it. It goes very fast and the man in the car sees the apple trees and the freshly tarred telephone poles glimpse by like grey shadows. Summer flows through the windows, they race out of the village, they lie in the middle of the road nice and secure and alone - as yet. It's good to drive all alone on a soft, broad road and out on the plain it goes even better. The man is happy and strong and with his right elbow he feels his woman's body. He is not an evil man. He's hurrying to the sea. He couldn't hurt a wasp, and yet he shall soon kill a child. While they rush towards the third village the girl again closes her eyes and plays that she won't open them until they can see the sea and she dreams in harmony with the the soft bumps of the car about how serene it will be.

For so uncaring is life constructed that a minute before a happy man kills a child he is still happy and a minute before a woman screams with fear she can close her eyes and dream of the sea and the last minute of a child's life this child's parents can sit in the kitchen and wait for sugar and speak of their child's white teeth and about a rowing boat and the child itself can close a gate and start walking across a road with a few lumps of sugar wrapped in white paper in its right hand and this entire last minute nothing see except a long, shiny river and a broad boat with silent oars.

Afterwards it is all too late. Afterwards a blue car stands on the road and a screaming woman removes her hand from her mouth and the hand is bleeding. Afterwards a man opens a car's door and tries to stand upright although he has a hole of horror inside himself. Afterwards a few lumps of sugar lie randomly scattered in blood and gravel and a child lies unmoving on its belly with its face tightly pressed against the ground. Afterwards two pale-faced people who have not yet had their coffee run out of a gate and see a sight on the road that they shall never forget. For it is not true that time heals all wounds. Time does not heal a dead child's wound and and it heals very poorly the pain of a mother who has forgot to buy sugar and sends her child across the road to borrow some and just as poorly does it heal the grief of the once happy man who has killed it.

For he who has killed a child does not go to the sea. He who has killed a child goes quietly home and beside him he has a silent woman with her hand bandaged and in all the villages they pass they see not one happy person. All the shadows are very dark and when they part it is still under silence and the man who has killed the child knows that this silence is his enemy and that he will need years of his life to defeat it by shouting that it wasn't his fault. But he knows that is a lie and in his nights' dreams he shall instead wish his life back so he could make this single minute different.

But so uncaring is life against the man who has killed a child that everyting after is too late.

---

This was written in 1948. It was created for The Swedish National Society for Road Safety, to raise awareness about road safety and it was an attempt to lower the speed of traffic on Swedish roads.

title: Stig Dagerman - To kill a child

question: What did the happy man do wrong in the unfortunate incident of the death of the child?

answer: He was driving too fast, with the child in the car.

critique: This is not exactly what happened. The answer should reflect that the man driving the car was the one who killed the child.

critique: This information is not speculation, it's from the story.

text: '...with the child in the car.' This is inaccurate. The story says the man knocked the child over while he was speeding, not that the child was in the car. The model should correct this.


text:
    During life people are called many things, some good, some bad. Within a short eight years I’ve been called; a student, worker, son, good listener, hero, savior, and many more. Since I was ten I’ve been talking people out of suicide online. During my eight years of helping people, I’ve helped many people, created an online organization, and learned many new things. This has forever and will constantly change my life.

    Many people ask me, how did this happen? How does a ten year old get mixed up with people’s lives? It was three days after my tenth birthday, the smell of my moms homemade cake was still tangible in the air. I logged onto the computer and found a chat room. I came across a man inside the room. He was talking about ending his life because his wife was cheating on him and getting his kids. My heart was in my ears beating hard, my palms were clammy and wet like a river. I talked with him till late in the night past any ten year olds bed time. This man was set and ready to die, a mere child stopped him. Me.

    A few months after helping the man, I met a girl my age who was rather interested in the “work” I did. She wanted to be part of the action. Lillie and I decided to work together helping people we would find in chat rooms. This continued for about a year. Lillie started to struggle with herself, the constant pressure of someone’s life in your hands at that young of an age takes a heavy toll upon the beholder. Lillie messaged me one night, “Dominic I have a problem” I asked her what it was and she stated, she wanted to die. She couldn’t take helping people anymore. I remember crying, panicking, wanting her to see it my way and not do what she was planning. It all ended so fast only three words remained “Lillie Signed Off.”

    Three years have passed since Lillie’s death, I created an online organization, filled with teens helping people out of dark thoughts. I created this organization in memory of Lillie. DarkShadows. DarkShadows, was constructed of teens from around the world, looking for people with suicidal thoughts that wanted to help prevent suicide. One hundred and ninety-seven teens joined DarkShadows. Each night we would have meetings and we would talk with one another to see if everyone was ok. I learned that this “job” is to hard for one child to take on alone day in and day out, there needs to be an escape route. DarkShadows showed some amazing results, the teens in DarkShadows were able to talk to five hundred plus people out of suicide. With every construction there is a destruction.

    I had a hard time destroying DarkShadows for I was proud of it. I closed down DarkShadows because the stress was enormous, two people were talking people into suicide, three people committed suicide from the pressure, and people started to not care. DarkShadows lasted three years and I was shocked that I could uphold it for so long, but I knew it had to go. I will never forget what I’ve learned from these past experiences.

    I’ve learned, many things over the past few years. I’ve learned that even though the world seems to burn like a raging fireball, there are many people out there still that care for others. I’ve learned that it doesn’t take a hero to save someone, you don’t need a utility belt, powers, cape, gadgets, or a “cool” name to save someone. All you need is a heart, and the will power, and the determination. Everyone is a hero in a way, you’re a hero to your kid, give someone some change for the bus, do something that is not expected from you. You are a hero.

    My life has changed drastically due to this “job”. I have become a better listener, I became mature, I met new people. I think back from when I was ten, I would have never imagined that helping that one guy would take me this far. I feel that due to this, I have a good understanding of people. I can “read” them easier. At times I have thought is it worth it? Is it worth spending hours upon hours helping someone that I don’t even know? When you help someone the end result of them being alive thanks to you is by far the best feeling you can think of. My life will never be the same due to this and for that I am grateful.

    During my short life span I’ve been a lot of things and experienced even more things. Do these names and experiences define me? Or simply give a better understanding of me? By helping one man live through the loss of his wife and kids. I met a great friend that I hold dear in my heart. I became a leader, making tough decisions for a lot of people. I learned, people still care for one another in this world. This has ultimately affected, and effected my life forever and I will never forget it. To be a Hero, you don’t need a cape or a utility belt, just a heart.

title: To Be A Hero You Need A Heart (True Story)

question: What would have happened if Lillie did not kill herself?

answer: Dominic owns and runs DarkShadows, a global organization that tries to help people in need as well as prevent suicide. If Lillie did not kill herself and was still part of his life, Dominic would have never created DarkShadows.

critique: The answer is a bit speculative. It is possible that Dominic would have started the group even if Lillie did not kill herself.

critique: "Dominic owns and runs DarkShadows, a global organization that tries to help people in need as well as prevent suicide. If Lillie did not kill herself and was still part of his life, Dominic would have never created DarkShadows." - this is incorrect. Dominic created DarkShadows because he was inspired by Lillie's death.

critique: Dominic created DarkShadows in memory of Lillie.


text:
iOS 12, Apple’s latest mobile software for iPhone and iPad, is out. The new software packs in a bunch of new security and privacy features you’ve probably already heard about. Here’s what you need to do to take advantage of the new settings and lock down your device.

1. Turn on USB Restricted Mode to make hacking more difficult

[]

This difficult-to-find new feature prevents any accessories from connecting to your device — like USB cables and headphones — when your iPhone or iPad has been locked for more than an hour. That prevents police and hackers alike from using tools to bypass your lock screen passcode and get your data.

Go to SETTINGS > TOUCH ID & PASSCODE and type in your passcode. Then, scroll down and ensure that USB ACCESSORIES are not permitted on the lock screen, so make sure the setting is OFF. (On an iPhone X, check your FACE ID settings instead.)

2. Make sure automatic iOS updates are turned on

[]

Every time your iPhone or iPad updates, it comes with a slew of security patches to prevent crashes or data theft. Yet, how often do you update your phone? Most don’t bother unless it’s a major update. Now, iOS 12 will update your device behind the scenes, saving you downtime. Just make sure you switch it on.

Go to SETTINGS > GENERAL > SOFTWARE UPDATE and turn on automatic updates.

3. Set a stronger device passcode

[]

iOS has gotten better in recent years with passcodes. For years, it was a four-digit code by default, and now it’s six-digits. That makes it far more difficult to run through every combination — known as brute-forcing.

But did you know that you can set a number-only code of any length? Eight-digits, 12 — even more — and it keeps the number keypad on the lock screen so you don’t have to fiddle around with the keyboard.

Go to SETTINGS > TOUCH ID & PASSCODE and enter your passcode. Then, go to CHANGE PASSWORD and, from the options, set a CUSTOM NUMERIC CODE.

4. Now, switch on two-factor authentication

[]

Two-factor is one of the best ways to keep your account safe. If someone steals your password, they still need your phone to break into your account. For years, two-factor has been cumbersome and annoying. Now, iOS 12 has a new feature that auto-fills the code, so it takes the frustration step out of the equation — so you have no excuse.

You may be asked to switch on two-factor when you set up your phone. You can also go to SETTINGS and tap your name, then go to PASSWORD & SECURITY. Just tap TURN ON TWO-FACTOR AUTHENTICATION and follow the prompts.

5. While you’re here… change your reused passwords

[]

iOS 12’s password manager has a new feature: password auditing. If it finds you’ve used the same password on multiple sites, it will warn you and advise you to change those passwords. It prevents password reuse attacks (known as “credential stuffing“) that hackers use to break into multiple sites and services using the same username and password.

Go to SETTINGS > PASSWORDS & ACCOUNTS > WEBSITE & APP PASSWORDS and enter your passcode. You’ll see a small warning symbol next to each account that recognizes a reused password. One tap of the CHANGE PASSWORD ON WEBSITE button and you’re done.

[Cybersecurity 101 - TechCrunch]

question: What does the text say about Apple's new security settings?

answer: Apple's new security settings include a USB Restricted Mode, which prevents any accessories from connecting to the device when the iPhone or iPad has been locked for more than an hour. This prevents police and hackers from using tools to bypass the lock screen passcode and get your data. The new settings also include automatic iOS updates, a stronger device passcode, and two-factor authentication.

critique: The answer omits that the new settings also include changing your reused passwords.

critique: The answer should mention the password manager.

critique: The answer should mention that the new security settings include a password manager.

critique: The answer should mention that the new security settings also include password auditing.

critique: The answer omits the feature to change reused passwords.

critique: The answer omits the password manager feature.


text:
John didn’t feel like a homeless guy, because he had been a lot of other things before he was a homeless guy. Apartment tenant. Middle-manager. Depressed. Broke. Couch surfer. Scavenger. Survivor. Now, homeless. Really, though, he was a man without a safety net. That was all it was, and maybe that wasn’t so bad.
John didn’t have to worry about paying his credit card bill on time.
John didn’t give a shit whether he missed the first five minutes of his sitcom or he couldn’t get the copier to print double-sided at the office or his amazon.com order came three days later than he expected it to.
He was comforted by the fact that these comforts of modern life didn’t bother him anymore.
By moving backward on society’s scale, John had moved forward.

This isn’t to say that John was enlightened by his homelessness.
At least not in the way that the crazy men who yelled about Jesus on the street corners were enlightened, and certainly not in the way that that jackass Saul who lived next door to John’s old apartment was enlightened by his herbal teas and sunrise yoga and smooth-flowing chakras or whatever the Grand Master Swami High Priest Chief Guru told him to meditate about that week.
John was simply at peace with the way he lived in a way that all those society-bound hivemind slaves tried to forget that they weren’t.
Organizing the weekly soccer carpool and using the same color pen on the grocery list because it looks nicer that way is not anyone’s natural lifeblood, yet it gets people going because it is the closest they can get to being in control of their lives while staying firmly put in their minivans and ergonomic rolling desk chairs, and the closer they can get to control is the closer they can get to feeling alive.
And it never works.
Soccer moms still sneak cigarettes after their kids get on the bus, and Saul still jerks off furiously into recycled hemp fiber tissues with his eyes squeezed shut in shame until it’s over because nobody is satisfied.
It’s against the natural order of life to live like this, but we tell ourselves it’s better.
We’re better than nature.
We’re more advanced than that.
And we still rot in the earth like any other animal after we die, and people wonder why society has an uncomfortable time talking about death.
John wasn’t satisfied by life either, but he was closer to a natural outlet for his frustration than Saul and the millions of other drones who didn’t even consciously process advertising anymore because it was everywhere.
John didn’t spray paint his name on the sides of bridges, seeking the rush of rebellion but allowing his indistinct thoughts to lead him blindly into adding another layer of grime to the filthy buildup of the human impact on the world.
John didn’t live within the boundaries of the capitalist system and bring his money, so valued and coveted yet useless in practicality’s eyes, his worthless scraps of paper, to the convenience store to trade for a bottle of purple hair dye to show his rebellion against the man.
John didn’t use humane, PETA-approved traps on the rats that came into his section of living space under the bridge.
He killed them.
Because that is how nature works.
John wasn’t appointed his living space by a signed slip of paper issued in standardized form by a group of self-appointed leaders who follow each other in circles until they slow down and get replaced by newer, identical pieces.
He lived there because the space was there, and his body was in that space, and just by doing that he physically overcame the theoretical importance of every tax document that was ever filed away for later reference.
John cut through some of the bullshit of human society by living a taboo.
His priorities were in a much more natural order than those of the businessmen who owned three different kinds of aftershave and spent his limited waking moments on matching his cufflinks to his tie each morning, and so John was living backwards.
SOCIETY IS SICK OF ITSELF
And every hypocritical, dissatisfied, angry young idealist was jealous of John, and every business-suit wearing lump of coal whose spark had been doused by the dirty dishwater of society’s ideas of goals and propriety comforted the raw confusion that John made him feel by telling himself that John was sad that he didn’t have the stupid luxuries that his life had, when really it was all he could do to keep talking to drown out the primal screams of his inner human being as it tried to hang itself with the tangled USB cord of his Blackberry phone.
SET ME FREE
And of course John was not jealous, and he was crushed in the bottom of his throat by his pity for those who carried their self-imposed burdens in their Starbucks cups and laptop cases and plugged up the flow of their natural desires and human impulses with clumps of advertising and white picket-fence posts and the hundreds of pages of their financially-responsible retirement plans that they would never even enjoy because they would be DEAD.
And everyone dies as atoms and molecules and matter and clay and filth and dust and hair and teeth and every brain is a tangible thing
And when people die, their repressed, crushed-up, malnourished souls try to uncurl themselves and fly away to live in the natural world with the trees and the animals and the other shit that makes things live, and they FAIL because they’re too beaten down and they were never allowed to hope, and their willpower is weak so they give up just like their bodies and their brains and their hearts did, and they die too inside the cage of bones that used to keep them safe and so they return to the earth but not in the way that they were meant to
And John’s soul will fly away when he dies, because he saw that he was gripping it too tightly and flattening it under his piles of tax-report forms and so he let it go and he nursed it back to life with real food that he grew in the earth and songs that he sang because he felt them inside himself and he wanted to sing them and not because anyone else cared if he did or not and he drank and he smoked and he fucked for pleasure and not for rebellion or pride or shame and every person he had ever met asked him why he was ruining his life and he told them no, he was living it and so they turned around and plugged their ears and turned up the TV because they felt what he said in their hearts and it pulled on them more than they were used to and they wanted it but they were scared and so they didn’t let themselves think about it and another layer of cotton grew around their hearts so it would be even harder for something to get in next time it tried.

WHAT DO YOU WANT?
WHY DO YOU WANT
DO YOU WANT
CAN YOU WANT
I WANT TO NEED
And all I know is want
And I’m torn and it makes me just as bad as everyone else
Worse
And what is stopping me-
And I’m a bystander in my own life-
And what am I waiting for-
And I am the biggest hypocrite of all---

FUCK YOU—
NO ONE IS CONTENT-
Shave your head and say what you want to people and mean what you say to people and never feel embarrassed and fuck society and fuck in society and don’t be careful at all because you are alive and you need to feel it and things can happen to you and you shouldn’t die with wasted potential and energy that you didn’t use and you can feel everything so let yourself feel everything and do it RIGHT NOW
Destroy yourself because you can and you need to do everything you can do and you can do bad and good and you can feel bad and good so do both and feel both and that way you will live

title: Started as a story, became a rant of my feelings

question: What does the story say about John's family life?

answer: No answer

critique: The answer should mention that John's family life is not mentioned.


text:
Roused by a rumbling sound and the trembling walls of my 4th story apartment, I groggily rolled over and sighed.

I remember feeling angry at the earthquake. What a silly feeling to have had, but how was I to know?

Through a blurry haze of shapes and dull colors, I reached for my glasses, stretching farther than I thought I should have until finally, I fell off the bed with a thump. I reached out for my nightstand once again with no luck. Defeated, I tried to stand.

I remember feeling panicked when I realized that my legs did not react to my commands. If only I had my glasses, then I could have seen.

I dragged myself back onto the bed, much more easily than I thought I should have, but solace was had as the tremors ceased and I drifted back to sleep.

Memories of the previous night’s events flooded my mind as I woke, naturally, from my slumber. I spent almost half a minute looking for my glasses before I remembered that I didn’t own a set.

I remember feeling relieved when I realized that it was all a dream. It was the logical thought.

I looked down at my fully functioning legs and laughed quietly to myself as I stood and moved to open the curtains.

“What are you laughing at,” I spun wildly to face the voice, “This is a very serious matter.”

There was no one to be seen. I leapt over my bed towards the door, ready for a fight with whomever had broken into my home.

“What’s the hurry?” Again, I swung around to face the voice that came from behind me. “Don’t wear yourself out.”

I crossed the room again and flung open the curtains, freezing as I stared at a metal sheet blocking my view.

I remember feeling more confused than frightened. The clues had not yet come together and I simply didn’t know.

I clawed at the latch, I needed a closer look, I needed to touch it.

“I wouldn’t do that,” came the voice for a third time from behind me, “you’ll let all the air out.”

“Where are you?! Come and get me!” I screamed frantically, attempting to look in every direction at once.

“But I already have. You are ours now, in perpetuity.”

I threw the curtains closed and crossed the room again, grasping at the door handle. It didn’t budge.

“That won’t work until you land,” The voice paused to let the words sink in before finishing, “for your safety.”

I remember feeling excited when the shutters left my window. I looked out to see a massive white wall across the empty street below me and a flaming red sun hanging in the deep violet sky. The feeling left me in an instant.

I let myself fall backwards onto the bed, tears welling in my eyes. It was an uncontrollable reaction. Culture shock, more than sadness or fright. A few minutes passed and I heard a click from behind me.

I was tired of hearing things from behind me at this point, and I didn’t turn to look.

“Don’t you want to go out the door?” asked the voice. “Don’t you want to see?”

I moved to the door, opening it slowly. I crossed the apartment to stand on the balcony and get a better view. Tall dark figures in brightly colored clothes lined the top of the wall now, a sign in the distance was covered in strange markings.

I remember feeling afraid again when I heard the knocking on my door. I grabbed a bat from my closet and quietly looked out the peep-hole.

“Marty?!” I exclaimed, opening the door and quickly pulling him inside. “What is happening, Marty?! Where are we!?”

“I don’t know man, but look, have you seen the sign?”

“It’s too far, I can’t read what it says.” I paused, “If you ask me if it opened up my mind I will —“

Shoving a pair of binoculars into my hands, he replied flatly, “This is a very serious matter. There's only one english word on that sign. Look.”

I stepped onto the balcony and peered through the binoculars. First noticing the figures, I realized that they were not wearing normal clothes, but some sort of full body suit. I found the sign once more. “That’s definitely no language I’ve ever seen, Marty.”

“Look at the last thing… in the brackets.”

I read it aloud as I found it, “Human.“ I collapsed and fell forward onto the railing, which, in turn, collapsed and fell forward onto the street. I don’t remember hitting the ground. I don’t remember much of anything now.

Through a blurry haze of shapes and dull colors, I reached for my glasses, stretching farther than I thought I should have until finally, I fell off the bed with a thump. I reached out for my nightstand once again with no luck. Defeated, I tried to stand.

I remember feeling terrified at the sound of the door opening and a man entering the room.

“It’s me, it’s Marty,” I shook and screamed, flailing my arms into the darkness.

“Why can’t I see!? Why can’t I stand up!? What is happening!?”

Silence filled the room as I writhed on the floor. When I had finished squirming, Marty helped me back onto the bed, his voice breaking the silence.

“You fell four stories. You landed on your head.”

“I what!? How am I alive!?” I cried. “Your voice, Marty. What’s wrong with your voice?”

“I’m old now. You’re old now. This is it. This is how it will always be.”

“How what will always be? Why can’t I stand up?”

“They couldn’t figure out how to fix your legs so they just took them. They don’t know anything about us. After all of this time, they are just studying us. They are watching us constantly. They gave us immortality and they took everything.”

Years passed as we aged endlessly in our tiny prison, I don’t know how many… Marty says its been hundreds, but I don’t remember. I don’t remember how long a year is. I don’t remember what the sun looked like. I don’t remember where I’m from. I don’t remember if I had a family. I don’t remember if anyone loved me. I don’t remember what Marty looked like. I don’t remember what I looked like. I don’t remember much of anything.

But I do remember feeling.

title: [SF] Feelings.

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

answer: The narrator wakes up from his first dream, feeling angry at the earthquake. He feels relieved when he realizes it was all a dream. He feels confused and frightened when he wakes up in a room that he doesn't recognize.

critique: The narrator's feelings about the earthquake are irrelevant.

critique: The answer should mention that the narrator is excited when the shutters leave his window.

question: What does the story say about why the narrator feels confused after waking up?

answer: The narrator has lived a life of old age that lasted for hundreds of years. When they woke up, they have no recollection of the time before their immobility. They cannot recall what their age is, who their best friend is, and if they had a family. When a voice tells them to open the window, they are cautious and does not open it.

critique: The narrator's confusion is due to the fact that they are dreaming.

text: Grammatical edit required for the purpose of clarity

question: What does the story say about the narrator's career?

answer: No answer

critique: The answer should mention that the narrator is a dreamer.