text:
DANIEL COHEN (born February 18, 1984) is an Israeli conductor and violinist.[1] He is the general music director (GMD) of Staatstheater Darmstadt in Germany, former Kapellmeister at the Deutsche Oper Berlin for the 2015–2017 seasons, and a Gustavo Dudamel Fellow of the Los Angeles Philharmonic for the 2012–13 season, former music director of the Jersey Chamber Orchestra and the founder and artistic director of the Gropius Ensemble.

Conducting career

Since his conducting debut at the age of 19, Cohen has conducted such orchestras as the Los Angeles Philharmonic, the Staatskapelle Berlin, the Maggio Musicale Fiorentino, the Helsinki Philharmonic, the Israel Philharmonic Orchestra, the Orchestre de Chambre de Lausanne, the Orchestra del Teatro Massimo in Palermo, the West Australian Symphony Orchestra, the Dresdner Philharmonie, the RTÉ National Symphony Orchestra and the Orchestra dell'Arena di Verona.

Cohen was a Kapellmeister at the Deutsche Oper Berlin from 2015 until 2017, where he conducted numerous performances of such operas as _Così fan tutte_, _Don Giovanni_, _Die Zauberflöte_, _Il barbiere di Siviglia_, _Dornröschen_, _Lucia di Lammermoor_, _La traviata_ and G. F. Haas' new opera _Morgen und Abend_.

His operatic highlights include an acclaimed debut with the Canadian Opera Company with Christopher Alden's production of _La clemenza di Tito_, a new production of _Die Zauberflöte_ with Graham Vick at the Macerata Opera Festival. This season Cohen will make his debut with the Norwegian Opera in Oslo conducting _Le nozze di Figaro_ in Thaddeus Strassberger's production.

At the Israeli Opera he conducted such operas as: Tchaikovsky's _Pique Dame_, Shostakovich's _Lady Macbeth of Mtsensk_, Verdi's _La traviata_, _Rigoletto_ and _Otello_ and Berg's _Wozzeck_. Cohen also conducted the Israeli Opera Studio productions of Rossini's _La Cenerentola_ and Mozart's _Le nozze di Figaro_.

Early life and musical education

Cohen was born in Natanya, Israel, in 1984. He studied music from an early age, beginning on the piano at the age of 6 and switching to the violin at the age of 7. At the age of 14 he became the youngest student at the Tel-Aviv Academy of Music, studying violin under Haim Taub and composition under Isaac Sadai. At age 16 he started his conducting studies with Yevgeny Zsirlin at the Jerusalem Academy of Music.

At the age of 19 Cohen received his bachelor's degree (_summa cum laude_) from the Tel Aviv Academy. During his years at the academy he was an active violinist and chamber musician, performing as a soloist with various orchestras including the Israel Philharmonic Orchestra, the Israel Chamber Orchestra and the Haifa Symphony Orchestra.

In 2004 Cohen completed his postgraduate degree in violin at the Royal Academy of Music in London. The following year Cohen joined the conducting class of the Royal Academy and in 2007, aged 23, he completed his conducting studies there. Among his teachers were George Hurst, Colin Metters and Sir Colin Davis.

Whilst at the Royal Academy, Cohen formed the Eden Sinfonia, a student orchestra with which he performed numerous concerts, including, in 2008, a performance at the Queen Elizabeth Hall in London.

West-Eastern Divan Orchestra

Cohen joined the West-Eastern Divan Orchestra in the summer of 2003, aged 19. He was a member of the first violin section for the next eight years and played in more than twelve international tours. Among many other concerts, Cohen participated in the memorable Ramallah Concert of 2005.

Between 2008 and 2011 Cohen became assistant conductor to Daniel Barenboim in the preparation of a Beethoven symphonies cycle as well as major works by Schoenberg and Boulez with the West-Eastern Divan Orchestra. In the summers of 2010–11 Cohen assisted Barenboim in creating a young version of the Divan Orchestra called the Al Andalus Orchestra which he conducted for two summers.

Lucerne Festival Academy

Cohen served as an assistant conductor to Pierre Boulez and the musicians of the Ensemble InterContemporain at the Lucerne Festival Academy from 2009 to 2013. During his time at the Lucerne Festival Academy he also assisted such conductors as Péter Eötvös, Susanna Mälkki, Pablo Heras-Casado, and David Robertson.

From 2011 to 2013 Cohen also took part in the Lucerne Festival Academy Composer Project in which Pierre Boulez oversaw the commission, creation, composition, rehearsal and performance of new compositions. One of these: _Sawti'l zaman_ by Benjamin Attahir was dedicated to Boulez and to Cohen and conducted by Cohen at the Lucerne Culture and Congress Centre in Lucerne in September 2013.

Awards and prizes

Cohen won the America-Israel Cultural Foundation scholarship consecutively from 1995 to 2007. As a violinist Cohen received the 2004 DipRAM award for outstanding final recital (violin) from the Royal Academy of Music, London.

As a conductor Cohen won the first prize at the Admont International Conducting Competition, Austria (2007), the first prize at the Aviv Competition in Israel, the Yuri Aharonowich Prize (2008), and the third prize at the Evgeny Svetlanov Conducting Competition, Montpelier, France (2010).

[1]

title: Daniel Cohen (conductor)

question: Summarize Cohen's career during the 2000s.

answer: Cohen was a Kapellmeister at the Deutsche Oper Berlin from 2015 until 2017. He made his debut with the Canadian Opera Company with Christopher Alden's production of La clemenza di Tito. He made his debut with the Norwegian Opera in Oslo conducting Le nozze di Figaro in Thaddeus Strassberger's production. Cohen joined the West-Eastern Divan Orchestra in 2003. He was an assistant conductor to Daniel Barenboim from 2008 to 2011.

critique: The answer does not mention his participation in the Lucerne Festival Academy.

critique: Doesn't mention his score in the Admont International Conducting Competition.

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

critique: It is omitted that Cohen won the first prize at the Admont International Conducting Competition, Austria (2007), the first prize at the Aviv Competition in Israel, the Yuri Aharonowich Prize (2008), and the third prize at the Evgeny Svetlanov Conducting Competition, Montpelier, France (2010).

critique: Doesn't mention his other accomplishments.

critique: The answer omits Cohen's education and his work with the Lucerne Festival Academy.

critique: The answer should mention his postgraduate degree.

critique: The answer omits Cohen's education and his awards.

question: Summarize Cohen's personal life.

answer: No answer

critique: There's no answer, but it's possible to write one.

critique: The article mentions Cohen's birth year and birthplace.

critique: The answer should mention his birth date.

text: Cohen was born in Natanya, Israel, in 1984. He studied music from an early age, beginning on the piano at the age of 6 and switching to the violin at the age of 7. At the age of 14, he became the youngest student at the Tel-Aviv Academy of Music.


split: train

text:
He’d been thinking a lot lately.  The only conclusion he’d come to was that thinking was clearly dangerous.  An activity which should be engaged in only under duress, or when otherwise absolutely necessary.  He wondered what it was that attracted people to it.  IT didn’t appear to get him anywhere that was for sure.  In fact all it ever seemed to do was confuse..

The metro car was filled with about a dozen people - a pretty blond in a floral patterned dress, a less pretty brunette in a tight business suit, and a number of boring looking men of various ages and weights.  Everyone in the car was frowning.  The D.C. frown as he liked to call it.  The inward focused intense frown of someone who’s grinding away a job they have worked their whole life for but don’t really believe in.  The frown of bureaucrats and DOD contractors.  He wondered when it would happen to him, and glancing at his reflection in the window realized it already had.

When?  He thought and quickly admonished himself.  Better to loosen the muscles and move on than think.  Thinking was dangerous.  The frown lines were saddening though.

A stop was called out which he knew to be his, but he didn’t get off.  There wasn’t any reason for it, not one speck of reason at all really, but he rode the train out.  He remained unmoved as the stops were called out and people flowed slowly out of the car “Fort Totten” - rang the unusually clear voice of the conductor, “College Park” it said some time later.

His name was Barron.  He had  a first name, but there were a lot of other people in the office who shared it.  Better to use his last exclusively where possible. It was almost never an issue though, people rarely used his name anymore. Even the bartenders knew him visually now and didn’t need to be told when he asked to close his tab.  That was one good bit about his burgeoning alcoholism.  That and the lowering sex drive - he’d been really wild for a while there and after a couple of scares with various STD’s was glad for the excuse to limit his promiscuity.

“Greenbelt” mumbled the car’s operator, while the lights flashed on and off, repeatedly.  There wasn’t anyone else on the train.  “This train is no longer in service, I repeat this train is no longer in service”.

A auburn haired woman was fleeing from him, first up stairs, then out windows, via horse drawn buggies and cars, boats and airplanes.  Always giggling and turning with smiles, egging him to catch her, but always just out of reach.  Exotic lands blew through his minds eye, and fortunes were spent in the chase, men and women alike were crushed under his feet as he strove for her and yet still she was always just beyond him.  Finally his hand reached out and was a mere inch from hers - At Last he would have her, his love…..

His head bounced up, eyes wide and confused while he slowly realized he was sitting in the off black of near light-lessness..  He reached a hand over and found tbe computer bag.  It was stained with food and other less knowable substances and had very little going for it save that it’s low price point - free.
After a moment or two of collection, bones and muscles moved together to list his body upright.  He was unusually stiff and achey and began to wonder just  how long he’d been asleep.

No one paid him any mind as he wandered around the train yard, idly investigating wheels and other things he didn’t know the name ofs.  The vocabulary to describe what he saw was severely lacking, and what was saved were fantasy images of machinery.  The soft black of rubber was remembered most vividly - it was something he was familiar with at least.  After several hours he wandered away from the train yard and found a cab home.  It was very expensive.

____________________________________________________________________________

Breakfast consisted of a bagel.  Sometimes eggs or sausage, but generally a single bagel.  He would pump his body full of protein shakes, unseasoned chicken, whey protein and bananas later in the day but for breakfast it he was a slave to routine.  In the early evenings on alternate days he would run - usually around six miles.  The remaining days were gym days - brazilian jiu jitsu, boxing and greco roman wrestling were his favorites.  He would mix in Muay Thai occasionally but his shins would hurt too much for his runs.  In the intervening time he would read, drink alcohol and do various recreational drugs.  If he wasn’t engaged in any of the above activities he was at work.

	“You’ve been with us for awhile now.”

Days blend.   It’s what happens as you age.

	“You’ll be taking on more responsibility.”

	I’m excited for the opportunity.

	“I want to make sure you’ve got all the support you need.”

	I’ll make sure to reach out when I need it.

	“We’re looking forward to seeing what you do here.”

	Me too. I’ll make sure we do an excellent job..

It didn’t come with a raise.

title: First page or two of something I've recently started working on...

question: What does the story say about finding the perfect job?

answer: No answer

critique: The response misses to mention that the story doesn't really say anything about finding the perfect job.

critique: The response misses to mention that the story does not discuss the concept of finding the perfect job.

critique: The response misses to mention that the story does not talk about finding the perfect job.

critique: The response misses to mention that the story doesn't really talk about the perfect job.

question: What does the story say about the narrator's views on thinking?

answer: The narrator thinks that thinking is dangerous. He thinks that it doesn't get him anywhere and is confusing. He also believes that thinking should be engaged in only under duress.

critique: The narrator does not speak of the dangers of thinking, rather that thinking is the only conclusion he could come to.

critique: It's omitted that the narrator believes thinking should be engaged in only when necessary.

critique: It's omitted that he believes thinking should be engaged in only under duress or when absolutely necessary.

question: What does the story say about why the narrator's train ride?

answer: The narrator's train ride is a routine. He rides the train to his office and back. He rides the train to his home. He rides the train to his favorite gym. He rides the train to his favorite bar. He rides the train to his favorite drug dealer. He rides the train to his favorite prostitute. He rides the train to his favorite restaurant. He rides the train to his favorite grocery store. He rides the train to his favorite store. He rides the train to his favorite park. He rides the train to his favorite museum. He rides the train to his favorite movie theater. He rides the train to his favorite bookstore. He rides the train to his favorite church. He rides the train to his favorite school. He rides the train to his favorite bank. He rides the train to his favorite doctor. He rides the train to his favorite barber. He rides the train to his favorite pet store. He rides the train to his favorite gas station. He rides the train to his favorite car wash. He rides the train to his favorite barbershop. He rides the train to his favorite grocery store. He rides the train to his favorite store. He rides the train to his favorite park. He rides the train to his favorite museum. He rides the train to his favorite movie theater. He rides the train to his favorite bookstore. He rides the train to his favorite church. He rides the train to his favorite school. He rides the train to his favorite bank. He rides the train to his favorite doctor. He rides the train to his favorite barber. He rides the train to his favorite pet store. He rides the train to his favorite gas station. He rides the train to his favorite car wash.

critique: This is not an answer to the question, but a list of all the places the narrator goes in the story. This should be omitted.

critique: The narrator doesn't ride the train anywhere else but home.

critique: The response includes extraneous information that is not useful.

critique: The response is a copy and paste of a previous response. The response needs to be re-written.

critique: The response is a copy and paste of the narrator's activities.

question: What does the story say about the narrator?

answer: He is an outgoing man who loves to party. He likes to get drunk, sleep with multiple women, and engage in risky behavior. He is also a lousy employee. The narrator also has a habit of sleeping at work.

critique: The narrator's sleeping habits are not discussed.

critique: The narrator is not described as outgoing.

critique: He had a safe sex, which he may out of on having an STD.

critique: The response contains inaccurate information.

critique: The story does not say that the narrator is an outgoing man.

critique: The narrator is not described as an outgoing man.


text:
Smoke billowed out of the furnace as the apprentice pumps the bellows. "Faster!" snapped the master. The apprentice pumped harder, feeling the all too familiar soreness in his arms. Suddenly, he felt a cool but rough hand on his shoulder. "Enough," the master said. "Finish cleaning, and we can go to the tavern for tonight's meal".

They walked down to the tavern in silence. As they were seated amongst the noise and chaos, the apprentice wondered what could have happened to make his normally stingy master order not one, but two steaks. Tender and juicy with a pepper sauce, they were delicious, but also cost more than most in the village made in a month. Mentally, he shrugged. Best not to question it, and just eat in peace .Afterwards, they walked along the beach, while the master puffed his pipe. They seated themselves alongside a log, while the surf licked their toes. The silence was only interrupted by the soft murmur of the waves, and the master's sudden question: "Have I ever told you the story of Corbye, my boy?” The apprentice thought for a moment, then shook his head. The master puffed pensively, then pulled out his telescope from his pouch, and handed it to the boy. "There," he gestured, "look up amongst the stars". Silently, he took the telescope and saw... nothing. Just the blue moon winking wordlessly amongst the stars down at the world. "Wh-what do I see?" the boy asked. "You see the city of Corbye" the master replied. "Best make yourself comfortable. This will be a long one".

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

Once upon a time, out in the vast sea of Xantcha, lay the island of Corbye. It was a proud island, famous for its glassworks, but a miserable island. While outwards it projected splendor, the massive mountain of wealth it held in its vaults was built upon the backs of workers, workers who left their homelands to work in the mythical city, only to discover that once there, they could never leave. Corbye was split into two parts: The shining pillars that supported the palaces in which the glass-masters lived, and the barracks that held the people upon whose backs came the cruel whip every day.

It is in this world we find Meru. Like too many lost souls, he, too stole aboard a ship bound for Corbye, dreaming of wealth and fame, only to find misery. Every day, he wandered the docks, hoping to return home, but he could not. Eventually, hunger drove him to petition for work amongst the House of Workers, only to be turned away time and time again. When he finally found work, the work found him miserable. He would clean the soot chimneys every day after the glass had been melted; burning his hands and knees to reach the furthest corners to clean the murky ash off the furnace.

But the worst part of his job was not the work itself; it was his monstrously massive master, Master Petros. Fat, laggard, bastard son of a goat - Oh, he had many names for Petros. But hate him as much as he did, Meru wondered how such an ugly countenance could conjure such beautiful works out of the glass. With his all too ready cane and bellows, he would prise the glass from its mold while still cherry hot into his pig-like fingers, then quickly into the waiting hands of a worker so that it would not char his own fingers. But while many questioned his sanity and humanity, no one questioned his results: Many of the most refined pieces of glass came from his workshop of horrors.

One night, after the day's sweeping, Meru began to plan an escape. Who could he count on? Certainly not the other workers; no, they were too afraid of Petros, that swine. What about the dock workers? Nay, they too were paid off by the Glass Council to beat any workers that were too inquisitive into submission. For this journey, Meru could rely on only himself. That night, just before dawn, he glimpsed something odd: A sail on the horizon, but unlike any he had seen before. Not only was it a crystalline blue, it was moving fast, far faster than any sail should have. At the rate it was moving, it would be at the docks in less than an hour. Perfect, he thought to himself. If he could swim past the dock guards, he could slip onto the boat undetected, and be off to the golden isles. That was where all things magical came from; besides, what hell could be worse than this one?

With a soft splash, he slipped into the water, and began to swim towards the dock. Left, right, left, right, kick. Bubbles swirled around him as he dove downward to avoid the guard's torches, and into the slowly brightening murk. Once past the piers that sank deep into the mud on the bottom, he began to breathe easier: he was home free, at last. But where was-there. The anchor to the mysterious ship. Sopping wet, Meru clambered aboard, and glanced around him. A simple enough ship: About fifty feet of deck before and in front of him, with the wheel unmanned, and a cabin jutting out in front of him. A grate with a ladder beside it seemed to lead down to the hold... but the ladder was covered in dust. He began to wring out his shirt, only to hear a soft *woof* behind him. "What in the nine hells-" he began, only to be cut off by a vise-like pair of arms that came about him, slamming into his gut. He struggled, squirming back and forth like the caterpillars of Argoth, only to find that no matter how he struggled, its grip only strengthened around him. He heard the baying of hounds in the hold, and then a sharp *SNAP*.

Silence. Then, a tinkling laughter, like crystal shattering on soft grass. "So, we have an unexpected visitor. I expected the residents of Corbye to be more... glamorous and less moist". Out strode a woman, tall, taller than Meru, and enrobed in the most fantastic garb he had ever seen: Bright blues and yellows clashing on a field of red, while a headdress of fanciful green sat upon her head, with a simple black cape to complete the ridiculous ensemble. He began to laugh: Was this a ship, or an aviary?

She seemed rather peeved. Laughter? "Who dares laugh at Simoon, Wizard of the Thousandth Isle?" Meru struggled to control his face; wizards were notorious for laying hexes that could ruin cities. But it was too much for him. "Who ever heard of a parrot becoming a wizard?" he guffawed, "especially one who hires only men to govern their ship!” Simoon just smiled. "Look behind you" she said. Meru did so, and was greeted by a wet slurping tongue across his face. "Eugh! A man? With the head of a dog? What devilry is this?" he exclaimed. "I thought all ships were crewed by Sea Dogs" Simoon replied innocently. "Release him" she commanded "He seems to be no danger to anything except perhaps my nose".

title: [WiP] Looking mainly for feedback on the current iteration

question: Summarize Meru's conflict.

answer: Meru is a slave who works in the glass industry. He dreams of getting enough money to go back to his homeland and live a better life. He has no one to turn to for help and he eventually attempts to escape after he sees a ship. He is caught by a wizard and taken captive.

critique: The answer should mention that Meru wants to escape to a better life, not necessarily back to his homeland.

critique: It is omitted that Meru is caught by a wizard who is on a ship and Meru is turned into a dog.

critique: The answer should mention that Meru is caught by a wizard who turns out to be a parrot.

critique: The answer should mention that Meru is caught by a sea dog.

critique: It is omitted that petros is Meru's monsterous boss.

critique: Meru doesn't dream of getting enough money to go back to his homeland and live a better life.

text: The last sentence is unnecessary and should be omitted.

category: coherence

question: What does the text say about Master Petros' business.

answer: Master Petros is the owner of a glassworks. He is known for his cruelty and his results. He is also known for his monstrously massive body. He is the son of a goat.

critique: Petros is the owner of a glassworks, but the answer should mention that the glassworks is known for its high quality.

critique: The answer is a summary of the story, not a description of Master Petros' business.

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

critique: The last sentence is irrelevant and can be removed.

critique: The response is missing the part about the workers.

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

question: Summarize what happens to Meru when he gets on the ship.

answer: When Meru gets on the ship, he is greeted by a vise-like pair of arms that slam into his gut. He struggles, squirming back and forth like caterpillars, until the grip only strengthens around him. He hears the baying of hounds in the hold, and then a sharp snap.

critique: The answer should mention that Meru is turned into a dog.

text: It's omitted he runs into Simoon.

category: coverage

question: What does the text say about Meru's romantic interest.

answer: No answer

critique: The answer should mention that Meru has no romantic interest.

critique: It seems implied that he doesn't have one as it wasn't a focus of the story. Though it was omitted if Simoon provided it for him.


text:
It is a bright sunny day. The school children are outside playing for recess. The kids are swinging, sliding, running and jumping. All the little ones are playing except for one child, his name is Jason and he is an adventurer, he is an explorer. Jason is off by himself searching. He is tracking down a chirping sound that he is familiar with. He sees the grasshopper sitting on a blade of grass. He carefully inspects the insect trying not to disturb it. The grasshopper is motionless trying to blend in but Jason is not fooled. Jason picks up a stick and touches the bug, the grasshopper jumps high into the air startling Jason, he falls back laughing.

This catches the attention of his teacher Mrs. Ratchet. “JASON! Leave that bug alone” she screeches. This catches the adventurer off guard; he stands up and faces her with his head bowed and his hands behind his back. “Wouldn’t you rather play with the other students?” she asks inquisitively. Jason looks over at the other kids playing and then bows his head again. Mrs. Ratchet peers at Jason then glances at her watch. “Play time is over children, line up we are going back to class.”

Mrs. Ratchet sits at her desk reading aloud to the children about photosynthesis in a monotone voice. Jason is staring out of the window wondering where the grasshopper went and what it was doing now. “Jason!” Mrs. Ratchet yells, “Pay attention.” The students laugh. Jason turns red with embarrassment and bows his head. Mrs. Ratchet continues reading aloud. Jason picks up his pencil and draws a crude picture of the grasshopper. One of the students sitting behind Jason announces to the teacher and the class “Jason is drawing!” “Jason! Come here. Bring your notebook” Ratchet says furiously. The classroom collectively moans “OH!” Jason bows his head slowly stands up, and walks steadily holding the picture close to his chest so that no one can see it. Mrs. Ratchet grabs the notebook and holds it up so the kids can see his crude drawing, the children giggle.

She takes the notebook and slams it on the desk, “Jason, come with me.” Ratchet grabs Jason’s hand and drags him out of the room and down the hall. Jason is silent with tears streaming down his face. Jason is surprised to see Mrs. Ratchet pass the principal’s office; he begins to wonder where they were going.

He is confused as she drags him into the nurse’s room. The nurse sitting at her desk looks up with her plump face and with her paper thin lips forms what looks like a smile. “What is the matter with this one?” the nurse says while sizing up Jason. “He is having problems paying attention. I think he has ADD” Ratchet says while cocking her head to the side and folding her arms. “What is wrong with me?” Jason ponders. “Jason, Jason, JASON!” Ratchet shouts. Jason snaps back to consciousness. “See it is the worst case I have ever seen” Ratchet remarks. “I suppose you are right” accesses the nurse, “I will call his mother.” Mrs. Ratchet glances at Jason and leaves the office. The nurse picks up her phone and call Jason’s mother. “Yes Ma’am he has a mental disorder that makes him unable to pay attention” the nurse explains, “you will need to follow up with his doctor; they have medication to fix this kind of thing.” Jason nervously fidgets, the nurse looks up at him, “Jason, your mother is on her way.”

Jason sits worrying “what is wrong with me?”

His mother arrives and the nurse meets her at the door, they talk in the hall. Jason strains to hear what is being said but cannot decipher the mumblings. Jason’s mother walks into the room eyeballs him and says “come on, let’s go.” Jason stands up and follows his mother to the car, nothing is said. He gets into the car “buckle up” his mother say; she drives him to the doctor in silence. When they arrive Jason finds the courage to ask “Mom is there something wrong with me?” “I don’t know honey, but if there is we will get it fixed.”

As they sit in the waiting room Jason is restless. He ponders to himself what was wrong with him. His mom has a pamphlet in her face with the words ADD labeled on the cover. Jason sits fidgeting nervously. His mom peers over her pamphlet at him. “Jason” the receptionist calls out. Jason’s mom takes his hand and leads him into the back where they are taken to a smaller room. Inside of this room is a plastic uncomfortable bed with paper sheet on top. Jason curious as to why anyone would put paper sheets on a bed starts to pick the sheet apart. Jason’s mother cuts her eyes over and moans then grabs the back of her neck as she looks away. Jason pauses and tries to figure out what he had done wrong.

The doctor bursts into the room, she stops at the door and looks down at her clip board and looks up and smiles “Hi Jason!” “Hi” he responds shyly. “Hey mom what seems to be the problem with Jason?” “Well I got a call today from the school nurse, she said he is having a hard time paying attention in class, and while sitting in the waiting room he was showing these signs” Jason’s mom points inside the pamphlet. “Ah, restlessness, can’t sit still, not paying attention, these are all classic signs of ADD” the doctor says as she holds her clip board close to her chest, “Well we have a lot of options here, but I prefer to treat ADD with Ritalin.”

Now a few weeks have passed and Jason has been cured; he doesn’t play with bugs or wander in the fields. He no longer fidgets or daydreams. He silently stares at his schoolbook as his teacher reads aloud.

While sitting in class Jason sees a grasshopper sitting on the classroom window, he yawns and continues reading.

title: the last adventure

question: Why might Mrs Ratchet be singling out Jason?

answer: She may perceive him as dull and lacking in spirit because he doesn't share in the unbridled joy of being a kid.

critique: The answer is not supported by the text.

text: The answer misses to mention that Mrs Ratchet singles out Jason because of his inability to pay attention due to his ADD.

question: What could be problematic about the prescribed "fix" to Jason's problem?

answer: While it is possible that drugs could be helpful in curbing the symptoms and could even address an underlying cause of the ADD, it also seems possible that a child's creativity would just be squelched by the drugs. So there are a few options here, but it doesn't seem to be as cut and dry as prescribed by a medical professional as it may seem in the story.

critique: The answer should mention the side effects of the drugs.

critique: The answer is all over the place and nonsensical.

critique: The answer could mention that the drugs could be habit forming.

critique: This answer would have to have some supporting reason around its leaning towards the possibility ofJason being medicated for his creativity.

question: How many different adults have to agree that something is "wrong" with Jason before he receives any treatment?

answer: Three: Jason's teacher, the school nurse, and his doctor.

critique: The answer should mention that Jason's mother is also involved.

question: Why might Jason's mother never have noticed on her own that he had different habits than some other kids his same age?

answer: She might not have been paying attention to him.

critique: The answer is not relevant to the question.

critique: The answer has no details on it to corroborate that Jason's mother was not paying attention to his son.

critique: The answer is too vague. It should be more specific.


text:
HUMAN RESOURCE ACCOUNTING (HRA) is the process of identifying and reporting investments made in the human resources of an organization that are presently unaccounted for in the conventional accounting practice. It is an extension of standard accounting principles. Measuring the value of the human resources can assist organizations in accurately documenting their assets. In other words, human resource accounting is a process of measuring the cost incurred by the organisation to recruit, select, train, and develop human assets.

Objectives

The human resource process was established to fulfill a number of objectives within the organization. These include:

1.  To furnish cost value information for making proper and effective management decisions about acquiring, allocating, developing, and maintaining human resources in order to achieve cost effective organizational objectives.
2.  To monitor effectively the use of human resources by the management.
3.  To have an analysis of the Human Asset, i.e. whether such assets are conserved, depleted, or appreciated.
4.  To aid in the development of management principles and proper decision making for the future, by classifying the financial consequences of various practices.

Methods

Approaches to human resource accounting were first developed in 1691. The next approach was developed from 1691 to 1960, and the third phase was post-1960.[1]

There are two approaches to HRA. Under the _cost approach_, also called the “human resource cost accounting method” or model, there is an acquisition cost model and a replacement cost model. Under the _value approach_, there is a present value of future earnings method, a discounted future wage model, and a competitive bidding model.

Considering the pros and cons of various models, Chennai-based CA Lakshminarayanan Ramanujam has worked out a simple to use and easy to adopt, unique model titled GiveGET, for the Human Resource Valuation and Accounting, while accounting for PEACE.

Cost approach

This approach is also called an acquisition cost model. This method measures the organization's investment in employees using the five parameters: recruiting, acquisition, formal training and familiarization, informal training and informal familiarization, and experience and development. This model suggests that instead of charging the costs to profit and loss statement (p&l) accounting, it should be capitalized in the balance sheet. The process of giving a status of asset to the expenditure item is called capitalization.

In human resource management, it is necessary to amortize the capitalized amount over a period of time. So, here one will take the age of the employee at the time of recruitment and at the time of retirement. Out of these, a few employees may leave the organization before attaining the superannuation. This method is the only method of Human Resource Accounting that is based on sound accounting principles and policies.

Limitations

-   The valuation method is based on the false assumption that the dollar is stable.
-   Since the assets cannot be sold there are no independent checks of valuation.
-   This method measures only the costs to the organization, but ignores completely any measure of the value of the employee to the organization.
-   It is too tedious to gather the related information regarding human values.
-   it may be possible that the employee is already fully trained and there is no need to incur any development, training, or recruitment costs. It will create difficulty for a company to find out CTC according to acquisition model.
-   Does not account for software which can reduce the overall cost of human resources by having integrated software completing the tasks of staff.

Replacement cost approach

This approach measures the cost of replacing an employee. According to Likert (1985) replacement cost includes recruitment, selection, compensation, and training cost (including the income foregone during the training period). The data derived from this method could be useful in deciding whether to dismiss or replace the staff.

Limitations

-   Substitution of replacement cost method for historical cost method does little more than update the valuation, at the expense of importing considerably more subjectivity into the measure. This method may also lead to an upwardly biased estimate because an inefficient firm may incur a greater cost to replace an employee (Cascio 3-4).

Present value of future earnings

Lev and Schwartz (1971) proposed an economic valuation of employees based on the present value of future earnings, adjusted for the probability of employees’ death/separation/retirement. This method helps in determining what an employee's future contribution is worth today.

Limitations

-   The measure is an objective one because it uses widely based statistics such as census income return and mortality tables.
-   The measure assigns more weight to averages than to the value of any specific group or individual (Cascio 4-5).

Value to the organization

Hekimian and Jones (1967) proposed that when an organization had several divisions seeking the same employee, the employee should be allocated to the highest bidder and the bid price incorporated into that division's investment base. For example, a value of a professional athlete's service is often determined by how much money a particular team, acting in an open competitive market, is willing to pay him or her.

Limitations

-   The soundness of the valuation depends wholly on the information, judgment, and impartiality of the bidder (Cascio 5).

Expense model

According to Mirvis and Mac (1976), this model focuses on attaching dollar estimates to the behavioral outcomes produced by working in an organization. Criteria such as absenteeism, turnover, and job performance are measured using traditional organizational tools, and then costs are estimated for each criterion. For example, in costing labor turnover, dollar figures are attached to separation costs, replacement costs, and training costs.

Model on human resource accounting

This model prescribes the human resource accounting approach for two categories of employees:

-   Employees, who are at strategic, key decision-making positions such as MD, CEO
-   Employees, who execute the decision taken by Top Executives (Vice President, Directors)
-   Model arrives value of human resources as the sum of below-mentioned three parts:

1.  Real capital cost part
2.  Present value of future salary/wages payments
3.  Performance evaluation part

Limitations

1.  Calculation process is lengthy and cumbersome.
2.  Lev and Schwartz valuation principles have been used at one point of time, so this model contains a weakness from the Lev and Schwartz model.

Other limitations:

1.  Ravindra Tiwari has prescribed another approach to value human resources at the time of annual appraisal exercise, which suggests valuation of human resources on different appraisal parameters.

Limitations

Human resource accounting is the accounting methods, systems, and techniques, which coupled with special knowledge and ability, assist personnel management in the valuation of personnel in their knowledge, ability and motivation in the same organization as well as from organization to organization. It means that some employees become a liability instead of becoming a human resource. HRA facilitates decision making about the personnel, i.e. either to keep or to dispense with their services or to provide mega-training. There are many limitations that make the management reluctant to introduce HRA. Some of the attributes are:

1.  There are no clear cut and specific procedures or guidelines for finding costs and value of human resources of an organization. The systems that are being adopted all have certain drawbacks.
2.  The period of existence of human resources is uncertain and hence valuing them under uncertainty in the future seems to be unrealistic.
3.  The much needed empirical evidence is yet to be found to support the hypothesis that HRA as a tool of management facilitates better and effective management of human resources.
4.  Since human resources are incapable of being owned, retained, and utilized, unlike physical assets, this poses a problem to treat them as assets in the strict sense.
5.  There is a constant fear of opposition from trade unions as placing a value on employees would make them claim rewards and compensations based on such valuations.
6.  In spite of all its significance and necessity, tax laws don't recognize human beings as assets.
7.  There is no universally accepted method of the valuation of human resources.

[1]  Resource|website=Scribd|language=en|access-date=2017-01-31}}

title: Human resource accounting

question: What are the main methods of approaching human resource accounting (HRA)?

answer:
There are two approaches.
- The cost phase, also called the “human resource cost accounting method” or model.
- The value phase, which has a lot of different models for valuing human resources.

critique: "Value to the organization" gets a model, not a phase

critique: The answer doesn't mention the different models for valuation.

critique: The question only asks about the two competing methods of HRA.

critique:
- The cost approach is not a phase. It is one of two approaches.
- The cost approach is not called "phase". It is called "cost approach".

critique: The answer should mention the two approaches to HRA.

critique: The response misses to mention the different models used in HRA as well as their limitations

critique: The second sentence needs to be rewritten to be more clear.

critique: "There are two approaches." - is confusing because there are four approaches. Reword.

critique: The answer should mention the two approaches.

text: Rather then being referred to as "phases", the two approaches should be referred to as "approaches".

category: accuracy

refinement:
There are two approaches.
- The cost phase, also called the “human resource cost accounting method” or model.
- The value phase, which has a lot of different models for valuing human resources.


text:
Have you ever been in a relationship with a friend or significant other (someone who is your boyfriend, girlfriend, partner, friend with benefits, etc.) that didn’t always feel right?

Our relationships can be fun, exciting, and rewarding, but sometimes they can become unhealthy. And while we cannot give you the answers to all of your questions, we can help you answer whether or not your relationship is healthy – and that’s a pretty great place to start!

[girl holding boy's hand affectionately]

Take the Quiz

Is your relationship healthy? Let’s find out: HEALTHY RELATIONSHIP QUIZ

The Healthy Relationship Quiz is produced by YWCA Canada in consultation with girls and young women across the country, with content and language reflective of how youth are seeing and experiencing dating and relationships today (pictured below is a downloadable resource).

[Image of "Is Our Relationship Healthy?" quiz]

When we hear the word “relationship”, we often think of romantic relationships, but we also have relationships with our friends, family, teachers, coaches, and co-workers. Relationships are a big part of your life so it’s important they’re healthy ones!

Do the quiz to help you see the signs of a healthy vs. unhealthy relationship so that you can know when to work on it or leave it. Remember that working through the bumpy parts of relationships may be hard and awkward, but it is part of taking care of yourself. It’s important to remember that an unhealthy relationship can happen to people of any gender, age and sexual orientation.

Safety Tips

Our romantic relationships and friendships start somewhere. Here are some safety tips for becoming involved in both:

-   Be assertive in what you are and are not comfortable with. Be aware of your surroundings.
-   Keep safe and meet in public places for the first few dates or double date! Restaurants, the movies, or a park, are all great date ideas. Stay safe, even if you already know this person through school or a friend.
-   Let someone you trust know where you are going and when you expect to return.
-   Have a backup plan to get home: if you have a phone, make sure it is charged. Have your own money in case you need to take a bus or taxi (310-TAXI) quickly. Have a friend, parent or someone you trust on standby to pick you up. Or, consider using an app for a ride service that is attached to a bank card or credit card.
-   While we are not responsible for the actions of others, keeping our drinks in our hands and being aware of how much we are drinking are wise things to do.
-   Use your smarts! If something doesn’t feel right, always trust your instincts.

Wait – What is Consent?

Giving “consent” is when you agree, by your own choice and not out of fear, pressure, or guilt, to participate in sexual activities like penetrative or oral sex, foreplay, and even kissing! If someone does not give consent, for example they say “no”, or do not answer, or have taken drugs/drinking, if the sexual activities are continued it is assault which is a serious crime. It is important to remember that even if you said YES in the beginning, you and the other person can say NO / STOP at any point.

Questions

If you have questions about your relationship or what you can do to help keep yourself safe, call us anytime, day or night.

question: Write three possible questions in the quiz.

answer:
1. Is your partner abusive?
2. Do you feel safe?
3. Do you feel pressured?

critique: The quiz is not about abusive relationships.

critique: The quiz is not asking if someone is abusive, but if the relationship is healthy.

critique: The quiz is not asking if your partner is abusive.

critique: The quiz is not asking if the partner is abusive.

critique: The quiz doesn't ask about abusive partners.

critique: There are just two possibilities for questions.

critique: The quiz is not about abusive relationships. The questions are about a healthy relationship.

critique: The quiz isn't asking if your partner is abusive, but if your relationship is healthy.


text:
COMMUNICATION IS KEY WHEN TALKING ABOUT TEARING DOWN BARRIERS TO DATA COLLECTION OR EXPLAINING RISK AND BENEFITS.

We are fundamentally emotional beings – it is personal stories, not bar charts or p values, that guide our decisions and prompt us to act.  So, how can we make sure science is using the language of society?

Our televisions, newspapers and magazines are full of stories about people because that’s what people are interested in.

Send the results of a clinical trial to a journalist and the first thing they will ask for is a case study – because human interest is the basis of a good story.

And stories move the health agenda forward.

PUBLIC CONSCIOUSNESS

Tessa Jowell was 70 when she died of brain cancer in May. During her last few months, she made more of a difference by sharing her story than a whole library of scientific abstracts and insight reports ever could.

The month before her death, she became the first person to donate her medical information to the Universal Cancer Databank, a global database aimed at discovering new treatments.

“It is my hope that through my cancer journey and sharing of my data, we will be able to develop better treatments for cancer and speed up the discovery of new ones,” she said at the time.

Despite widespread concerns over data privacy in other areas of public life, thousands of people have since followed the former politician’s lead.

In 2009, the illness and death of 27-year-old reality television star Jade Goody propelled cervical cancer into the headlines. In what has since been dubbed “the Jade Goody effect”, 500,000 more women than usual attended a smear test the following year.

DATA STORIES

To help people understand the importance of collecting data, we need to ensure the “why” resonates.

Speaking during a TEDx Live talk in Liverpool, Maxine Mackintosh, co-founder of One HealthTech, said: “We all know the importance of storytelling.

“As a data scientist, I take massive datasets and try to tell stories from them. I try to find threads, narratives, trends, counter trends. But my stories are not super exciting or have a cool moral at the end.”

And that’s a problem, she added.

“We have an epidemic of terrible story telling in academia. It’s so important to tell proper stories when it comes to data science and health.”

DATA SAVES LIVES

When figures showed Nuneaton Hospital had above average asthma incidents, clinicians slashed death rates by stratifying and targeting children at high-risk of an attack, explained Maxine.

In Wales, data analysts found teenagers were being over prescribed anti-depressants by looking at GP data.

By delving into cancer registries, Cancer Research found black African women were twice as likely to be diagnosed with late-stage breast cancer.

It’s not enough to know these descriptive facts. People can be selfish when it comes to sharing their data – they need to understand there is a benefit to doing so.

“We need to think about how we tell these stories,” said Maxine.

“It’s not that Nuneaton has above average asthma incidents, it is that this child didn’t die because the organisation has a new process that is based on data.  It’s that hundreds of black women can now receive life-changing chemotherapy because the data showed a disparity in detection.

“It’s that a teenage girl can now sit her GCSEs without having to deal with the side effects of anti-depressants.”

WHAT’S THE RISK?

The same goes for communicating risk and benefits, a task that has become ever more important as treatment choice and complexity has increased.

Between 43 and 61 per cent of working age adults in England do not have adequate skills to enable them to understand and use health and wellbeing information¹.

A list of side effects accompanied by clinical trial data, talking about people as a one in ten or one in 100 doesn’t connect with how the average person thinks.

Real-life accounts of how side effects could feel, how they can be managed, or how the medication enables people to live their lives can go a long way.

EXPERIENCE IS DATA

Patient experience is information, and information is data. It’s all the same thing, but sometimes human stories get lost in all the talk of algorithms, artificial intelligence and robot learning, said Maxine.

And we can’t let that happen, because all those individual human stories add up.

“Data is like a grain of sand. By itself it isn’t useful but put it all together and it becomes a beach that hundreds or thousands of people can benefit from,” Maxine added.

In a world of patient centricity, collecting and disseminating experience isn’t difficult. It’s just a matter of understanding that it is worth doing.

_ABOUT THE AUTHOR:_

[Amanda Barrell]

Amanda Barrell

_Amanda Barrell is a health and medical education journalist, editor and copywriter. She has worked on projects for pharma, charities and agencies, and has written extensively for patients, healthcare professionals and the general public. _

_Reference: _

_¹ Rowlands, G., Protheroe, J., Winkley, J., Richardson, M., Seed, P.T. and Rudd, R., 2015. A mismatch between population health literacy and the complexity of health information: an observational study. Br J Gen Pract, 65(635), pp.e379-e386. Available at https://bjgp.org/content/65/635/e379.short_

question: What does the text say about becoming a data scientist?

answer: No answer

critique: The text does not mention anything about becoming a data scientist.

critique: The response misses to answer the instruction in the task.

critique: The article does mention what it takes to become a data scientist.

question: What does the text say about who authored the article?

answer: The text doesn't say who authored the article.

critique: The text does say who authored the article.

text: The author, Amanda Barrell, is mentioned at the end of the passage, and is described as a health and medical education journalist, editor and copywriter.

question: How can communication and human interest stories help move healthcare forward?

answer: Communication is key when talking about tearing down barriers to data collection or explaining risk and benefits. Communication can help move the healthcare agenda forward.

critique: This response does not answer the question.

critique: Case studies are key when talking about human interest stories.

critique: The answer is missing the part about the importance of the human interest stories.

critique: The answer should mention the importance of human interest stories.

critique: It is omitted that human interest stories are the basis of a good story.

question: How can medical data save lives?

answer: It can be used to help identify patterns and trends in disease, and help clinicians target people at risk of an attack.

critique: It's omitted that it can also help identify disparities in detection.

critique: The answer should mention the specific example of asthma.


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

critique: This sentence can be repackaged into one sentence and shortened.

critique: The last two sentences are irrelevant to the question.

text: The answer repeats the information about MAXBET and SBOBET three times. That's unnecessary.

question: What does the ad say about the financial results of 88GASIA?

answer: No answer

critique: The answer should mention that the article does not mention the financial results of 88GASIA.

critique: Doesn't answer the question. 88GASIA hit over 50,000 customers in Malaysia. They also say that they guarantee customer payment.

critique: The passage does not discuss the financial results of 88GASIA.


text:
**Out of Time**

*968 Words*

Harper Welles pushed through the heavy crowd along Hyde-Pierce Promenade in the heart of the Blue Zone. He was working against the tide of people like a spawning salmon. The collar of his long canvas coat was turned up to keep the stinging rain off his neck while his mask protected most of his face. Branded in mustard yellow lettering across the area just above the bug-eye lenses was his government assigned Personal ID: W-HG070147-BL-91-937PA.

A beefy hand clothed in a neoprene glove clutched at the shoulder of Harper’s black duster and roughly yanked him into the narrow, dark space between buildings. “Well lookie here, Flick. We got us a young one from Sector 91.  A little far from home aren’t you? Do your Matri and Patri know where you are, offspring?” The words came out stark and unencumbered. Harper just stared at the mountainous man with missing teeth and a face peppered with small glistening acne-like sores. He had heard about those who had acclimated to the ruinous, lung-biting atmosphere but their life expectancy was considerably shorter.

“He’s a good one, Bull,” said the shorter of the two. His words sounded normal, muffled. Flick’s government PID had been shaved off his mask. Shit, Harper thought, Unknowns. “I wonder if he makes noise,” Flick continued and poked Harper lightly with a slender metal rod.

“Yeah, offspring. I asked you a question. You a deaf-mute or something?” Harper, still surprised into silence, blinked as Bull effortlessly lifted him from his feet.  “Let’s give this one some flying lessons, Flick.”  The landscape tilted and rotated as he felt himself sail through the air.  He watched the slice of dirty orange haze outside the alley until he hit the back wall and fell onto a pile of debris, his mask jarred loose from his head.  The cardboard and trash collapsed beneath him like a sink hole and Harper disappeared through it.

The landing on his back was a hard one and forced all the air out of his lungs. He kept his eyes squeezed closed bracing for a second attack from the pair of Unknowns. At the same time Harper was afraid to breathe in without his mask. His ears were ringing by the time reflexes took over and he gulped air into his lungs. Sweet, cool, soothing, unexpected air.

His eyes sprang open and like Dorothy stepping into Munchkin Land, Harper was faced with an equally alien landscape. He slid up the alley wall to a standing position, eyes darting. The orange dinge had been replaced with lapis blue skies and the poisoned atmosphere was gone. Harper filled his lungs again, deeply. No burn. No choking. Just pure, perfumed, smooth air.

Bull and Flick, along with the rest of the scurrying populace had vanished. Only a few unmasked individuals dotted the walkway beyond the alley, moving at a leisurely, unguarded pace. Bright unfiltered sunlight bathed the relatively clean concrete and macadam. Near the mouth of the short alley was the entrance to what purported to be the Grand Grocery Co. Loosely hand lettered on the glass doors were the words “WE’RE OPEN. COME IN!” After looking around for a moment longer, Harper complied with the directive.

Before poking his head inside, he ran his hand over the door frame in a caressing motion. Wood. He had never seen this much wood. A whole building constructed from it, the proprietor must be a very wealthy man.  The floors creaked under his footsteps despite his stepping reverently to avoid damage. He was assaulted with a wall of smells. Fresh, sweet, earthy and grassy smells. He was amazed by the pyramids of fruits and abundance of vegetable stacked with abandon in heavy crate-like bins. Fruit and veg right from the tree and soil.

“Son?” An older man in a shoulder-to-shin white apron stood at the front window where he had been stacking round orange-skinned foods for display. “Can I help you? Are you feeling all right? You don’t look well.” The shopkeeper was alarmed by the boy’s extremely pale and unhealthy appearance.

“I was attacked by a couple of…” He stopped himself before the word “Unknowns” came out.

“You’re not local, are you, son?” Harper shook his head in answer to the old man’s question.  He has no idea how much an understatement that is, Harper thought. “Take a seat.  There’s a chair over behind the counter.”  The old man steered the black-coated young man over towards the counter with a kind hand on his back.  "I saw you eyein’ those oranges.  Would you like one?”

Harper nodded this time. He was disarmed by the kindness the man showed.  The world—or time—he came from was a desperate, untrusting place and period. His own family unit, if he had still belonged to one, would not have shown caring of this level. The man in the apron returned with two oranges and Harper sunk his teeth deeply into one.

“Hang on there, son. Those ain’t apples. You gotta peel these.  Here, let me show you.”  The shopkeeper removed the thick bumpy skin in big chunks revealing tender succulent wedges.  The boy popped one in his mouth and bit down. Juice as fresh and welcomed as the air and sun outside the shop filled his mouth.  He greedily shoved two more sections in at the same time. Juice leaked from the corners of his mouth while tears ran down his cheeks mixing with the nectar. He wept as the old man—a stranger to him—stroked the boy’s back with gentle compassion.  Harper Garrett Welles had no idea how he would ever find his way back to where or when he came from. He desperately hoped that he never would.

title: I've written a few short stories but this is my first foray into Science-Fiction. Feedback welcomed.

question: Summarize Harper's movements over the course of the story.

answer: Harper is working against the tide of people, being pulled into the narrow, dark space between buildings. He is pushed through the air, landing on his back in the alley, and when he opens his eyes, he sees the alien landscape. He is assaulted by a wall of smells, before the old man in the apron guides him to a chair behind the counter.

critique: The answer omits the part where Harper enters the grocery store.

critique: The answer omits Harper's movements after he is assaulted.

critique: Harper is not pushed through the air; he is flung.

critique: It is false that he is assaulted by a wall of smells inside the grocery store, it refers to the marketplace in the beginning when Harper is hidden in the dark space between two buildings.

critique: The answer omits Harper's movements after he is assaulted by the Unknowns.

critique: The response is missing a few details about Harper's movements.

critique: The answer omits that Harper goes to the Grand Grocery Co.

question: Summarize the instances in the story where Harper is in danger.

answer: Harper is in danger when he is attacked by two men who are not from his time period. They throw him into the air and he lands on a pile of debris. He is in danger of suffocating because he has to breathe in the toxic atmosphere. He is in danger of being attacked again when he enters the grocery store.

critique: The answer should mention that Harper is also in danger of being attacked by the Unknowns.

critique: The answer omits the fact that Harper is in danger of being attacked by the Unknowns.

critique: The answer omits the danger of being attacked by the Unknowns.

critique: Harper is not in danger of being attacked again when he enters the grocery store.

critique: The answer omits the danger of being lost in a foreign time period.

critique: Remove "they throw him into the air" from the first sentence, as that isn't an instance.

text: "Harper is in danger when he is attacked by two men who are not from his time period." - this is incorrect. The two men are from Harper's time period, and they are known as "Unknowns".

question: What does the story say about the cause of the apocalypse?

answer: No answer

critique: The answer should mention the poisoned atmosphere.

critique: The story doesn't mention the cause of the apocalypse.

critique: The story doesn't explicitly state what caused the apocalypse.

critique: The answer can be inferred from the story.


text:
_BLACK NOTICE_ is a crime novel by American writer Patricia Cornwell. It is the tenth book of the Dr. Kay Scarpetta series.

Plot summary

Dr. Kay Scarpetta is still shocked by the tragic loss of Benton Wesley. She is trying to carry on, but she gets a letter from Benton, written before his death and left to Senator Lord, who had agreed to deliver it a year after his death.

Dr Scarpetta and Marino start working on a new case after a body is found in a container arriving from Belgium. There is writing in the container that says _“Bon voyage, le loup-garou”_ (Have a nice trip, the werewolf). The body has a strange tattoo and wears rich clothes and there are some baby-like hairs inside the garments. Kay and Marino get in touch with European Interpol and with Jay Talley, who calls them and makes them fly to Paris to meet the Chief Medical Examiner. They get to know that the body found in the container is a member of one of the richest and oldest families of Paris, the Chandonnes, who live in an ancient mansion on the Île St Louis. It is also rumored that this family has got a son with a rare disease that makes hair grow on his entire body (hypertrichosis). This person has always been hidden, and he is believed to have committed several murders. Kay and Jay have a short liaison, and it seems the man is really involved, while Dr Scarpetta tries to keep him at distance. Kay finds out that Lucy is in part involved in this case, since she is investigating a Miami group of weapons and drugs smugglers related to the Chandonnes, the “One Sixty-Fivers”.

Back to Richmond, Virginia, Kay and Marino deal with the case of a woman brutalized and killed in a little shop and with attempts from a member of Dr. Scarpetta's team to sabotage her. Thanks to Marino, they learn that the new police chief, Diane Bray, is behind the sabotage because she wants to get control on how investigations and exams are held. Bray is also behind a drugs-smuggling operation, but she is killed with the same modus operandi as the young woman in the shop. It is clear that the killer is at large and trying to kill the people investigating the death of the man in the container.

Dr Scarpetta is in her house when the alarm rings. The police come quickly, but they find nothing. After a while, someone knocks at her door claiming to be a police officer and that someone had reported seeing a prowler. Kay does not realize that _le loup garou_ is fluent in English, and she opens the door. She then realizes that she is under attack. During the struggle, Kay throws a bottle of formalin onto the _loup garou's_ face, which temporarily blinds him.

She then runs out of the house, but falls and fractures her elbow, making her unable to fire her gun. At this time, Lucy and Jo return, and Lucy runs over and points a gun at the assailant's head, with the intention of killing him, but Marino and Kay convince her not to do it.

Characters

-   KAY SCARPETTA – Chief Medical Examiner of Richmond, Virginia. Consulting pathologist for ATF.
-   LUCY FARINELLI – _Kay's_ niece. She and Jo went undercover in Miami against the Italian One-Sixty-Fiver cartel. During a takedown, they were ambushed and they had to fight their way out. She killed two of the gangsters and accidentally shot Jo in the leg.
-   JO SANDERS – DEA agent. Lucy's lover. She got shot in the leg during the ambush.
-   PETE MARINO – Captain in the Richmond Police Department. He was transferred from being a homicide detective to a shift commander by Diane Bray.
-   JAY TALLEY – ATF liaison at Interpol, France.
-   CHUCK RUFFIN – Kay's morgue supervisor. According to Kay, he used to be very diligent in his duties. But during the events of the book, he was in cahoots with Diane Bray to mess up Kay's office, to make her look bad. He did this because he had always wanted to be a police officer, and getting into _Bray's_ good books may boost his chances. He was also in liaison with _Diane Bray_ and he stole narcotics, and anti-depressants from the morgue for her, which she sold into the black market.
-   RENE ANDERSON – Homicide detective in Richmond Police Department. She used to work in Vice, and _Diane Bray_ transferred her over to work under her, as she knows where to sell the stolen pills from _Chuck Ruffin._ She hated working for _Bray_ due to the way she was treated.
-   LE LOUP GAROU – French for The Werewolf, he was the elder brother of Thomas Chandonne, but all his life, he was never exposed to the outside world, for fear of humiliating the Chandonne Crime Family. He had a deformed face, with baby hair, about seven to nine inches long, all over his body. He bathes at the river in both France and Richmond almost every night, in the futile hopes that the water from the rivers may cure him. He was blinded by Formalin during a struggle with Scarpetta.

Victims

-   Seven unnamed women in France – Ages range from twenty-one to fifty-two. All facial structures were broken. There were subdural hematomas, bleeding over the brain and into the chest cavity. There were multiple bite marks. They were all found barefoot, with their clothing ripped open from the waist up.
-   THOMAS CHANDONNE – Son of a powerful, rich family in Paris. He was found in a container at a port in Richmond. Heavily decomposed, his cause of death undetermined.
-   KIM LUONG – Thirty-year-old Asian female. She worked as a convenience store clerk. She was shot in her neck, where she was paralyzed, but still alive, before being brutally beaten and bleeding to death. She was found barefoot, with her blouse and brassiere torn apart.
-   DIANE BRAY – Deputy Chief in Richmond Police Department. A highly attractive woman who seduces her way to the top. She seems to be very rich, staying in a well furnished house and drives a Jaguar, but it was later found out she got her money from peddling narcotics and anti-depressants in the black market. Very unpopular with her colleagues and subordinates, due to her pretentious and malicious character. She was found on the floor of her bedroom, half naked from the waist up, beaten to death by a chipping hammer, a tool used in masonry. She was so badly beaten her facial structures were gone.

Allusions and references to actual history, geography and current science

The story was set in Richmond, Virginia, and France.

Black notice is a notice issued by INTERPOL to seek information on unidentified bodies.

title: Black Notice

question: Summarize the plot twist in this story.

answer: The most significant plot twist, at least in terms of importance and shock value, occurs when the detective is attacked by the killer at her home. This killer, dubbed 'Le Loup Garou' has been in hiding his whole life but could both speak english fluently and had a discernible Irish accent. This leads the protagonist to initially mistake him for someone she knows and trust, who has discretely come looking to get revenge on the protagonist.

critique: The response contains inaccurate information.

critique: It's implied that the accent and fluency was part of a deception to make it seem as if the attacker was someone that Dr. Scarpetta could possibly trust

critique: This is false. The protagonist mistakes the killer for someone she knows, but he does not have an Irish accent.

critique: The answer is wrong. The plot twist is that the killer is the werewolf.

critique: The plot twist is that the killer is the werewolf.

critique: The response is incorrect. The plot twist is the reveal that the killer is the son of one of the richest families in Paris.

text: The story doesn't say anything about the killer's accent. The protagonist opens the door for "le loup-garou" because he speaks English, tricking her into thinking he's a police officer.

question: Summary the main reason the case faces problems in the beginning.

answer: There is writing on the container which says "Bon Voyage, le loup-garou" (Have a good trip, the werewolf) is the first big problem that the case encounters, since the case isn't really a werewolf. This makes things go downhill especially since the credibility built with the shipping company vanishes.

critique: The answer is wrong. The case is about a body found in a container.

critique: This does not summarize the main reason the case faces problems

critique: There is no mention of the shipping company in the passage.

question: Summarize how the case is resolved.

answer: No answer

critique: This is an unhelpful, incorrect response that must be rewritten.

text: The article notes that the werewolf assaults Kay at her home and gets caught there.


text:
_Accenture Interactive has created a project using artificial intelligence to tackle elderly loneliness. The Memory Lane initiative, produced in collaboration with Swedish energy company Stockholm Exergi, has already piloted in the Nordic nation, and a broader rollout to the UK and beyond has not been ruled out._

The UK is one of a number of major economies facing the protracted effects of an ageing population, with 18% of the population aged 65 and over and 2.4% aged 85 and over. Births continue to outnumber deaths, meaning the population is rising, however this is largely thanks to the average life expectancy having steadily risen in recent years, and the baby boomer generation finally approaching that milestone. This is placing notable strain on the National Health Service and the country’s pension pots, as well as demand on social care, as the number of senior citizens no longer capable of caring for themselves rises.

Adding significantly to this strain is the worrying trend of social alienation which has become ever more prevalent in the UK since the collapse of the post-war consensus. As British society has become increasingly atomised, the nation’s most vulnerable people have become more and more isolated. In the UK, recent studies have shown that feelings of loneliness are now experienced on a regular basis by around 1.5 million people aged 50 and over, while charity Age UK estimates that 3.6 million older people live alone, and 2 million often feel “ignored or invisible”.

[Accenture Interactive uses AI to tackle elderly loneliness]

The impact of this goes well beyond an individuals’ mental health too, according to research by Accenture Interactive. In a global study, Accenture Interactive found that loneliness is linked to an increased risk of depression and dementia, putting additional strain on the UK’s under-resourced adult care sector, while also increasing the likelihood of being physically inactive, and of visiting a doctor or Accident and Emergency (A&E) hospital department – something which, in the UK’s case, has pushed the underfunded and short-staffed NHS’ services to the breaking point in recent years.

Following the rise of this phenomenon across the globe, Accenture Interactive has moved to do something to help alleviate the situation. In order to combat loneliness in the advanced years of people around the world, the consultancy created a project titled 'Memory Lane', which uses a voice assistant combined with conversational artificial intelligence to capture stories for future generations.

Created in collaboration with Swedish energy firm Stockholm Exergi, Memory Lane uses Google Voice Assistants to invite someone who is lonely to tell their life story. Once this has been captured, the discussion is then instantly converted into both a physical book and a podcast – creating a story co-written by human and machine that can be shared by participants with future generations.

Commenting on the project, Adam Kerj, the Nordics Chief Creative Officer at Accenture Interactive said, “When people experience little to no social interaction over extended periods of time, it can cause a sharp decline in their mental and physical health. In the two years we spent developing the software and the concept of the platform, we observed the urge to share stories by lonely participants was incredibly strong. To this end, we not only wanted to develop something that could hold a human-like conversation with them, but also capture those memories so they didn’t end up untold.”

So far, the firm has only piloted the solution in Stockholm, with two of the pilot participants’ stories having been documented online as part of a podcast on Memory Lane’s website. Accenture and Stockholm Exergi are currently looking for more people to take part in the project, with the aim of having a monthly podcast. At the same time, while the AI tool is currently still in development and is yet to be commercialised, the two companies told Design Week that the aim is to make the software “accessible” rather than “make a lot of money”.

question: Summarize the problems the elderly are facing in the UK.

answer: The UK is facing the effects of an ageing population. The UK has an ageing population with 18% of people aged 65 and over, and 2.4% aged 85 and over. Births are increasing and life expectancy has been increasing. The baby boomer generation is reaching the milestone. The population is rising, which is straining the National Health Service and the country's pension pots. Senior citizens are no longer capable of caring for themselves. Loneliness is a major problem.

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

critique: It's omitted that the UK is also facing the effects of social alienation.

critique: Doesn't step out of bounds of the question.

critique: The second sentence is unnecessary and should be removed.

critique: The statement about life expectancy is not relevant.

critique: The answer should mention the social alienation.

question: Summarize how Memory Lane works.

answer: Memory Lane uses the voice assistant combined with conversational artificial intelligence to invite someone who is lonely to tell their life story. Once this has been captured, the discussion is then instantly converted into both a physical book and a podcast – creating a story co-written by human and machine that can be shared by participants with future generations.

critique: Memory Lane is not just a voice assistant.

critique: The answer should mention the Google Voice Assistant.

critique: The answer should mention that the Memory Lane initiative is created by Accenture Interactive.

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

critique: Memory Lane is a project, not a product.

critique: -The answer should include the input needed for the Memory Lane initiative to work.

critique: Accenture Interactive created Memory Lane but one of their collaborators, Stockholm Exergi developed a prototype to allow Memory Lane to work. Remove "Accenture" from this part in the response.

critique: The answer omits that Memory Lane uses Google Voice Assistants.

question: Summarize Accenture Interactive's rollout plan for Memory Lane.

answer: The company has piloted the project in Sweden, and is looking for more participants. They are also working on making the software accessible rather than making money.

critique: The answer could mention the countries where they are looking to rollout the project.

critique: The second sentence is irrelevant to the question.

critique: The article doesn't say anything about the rollout plan.

critique: The article does not state that the companies are working on making the software accessible rather than making money.

critique: The answer omits that the company is looking to expand the rollout to the UK and beyond.


question: Write three possible questions in the quiz.

answer: How long have you been in a relationship?

critique: "How long have you been in a relationship?" is terrible grammar, and should be reworded to include numbers.

critique: There's no evidence that the quiz asks this type of question.

critique: The quiz is not asking how long you've been in a relationship.

critique: The quiz is not asking how long you've been in a relationship. It's asking if your relationship is healthy.

critique: The question is not about the length of the relationship, but about whether it is healthy.

text: The response gives just one question. It omits questions in the quiz such as "Have you ever been in a relationship with a friend or significant other that didn't always feel right," "Is your relationship healthy," and "What is consent?"


text:
[The swissinfo.ch building in Bern.]

SWI SWISSINFO.CH is a ten-language news and information platform produced by the Swiss Broadcasting Corporation. Its content is Swiss-centred, with top priority given to in-depth information on politics, the economy, the arts, science, education and direct democracy. Switzerland's international political, economic and cultural relations are other key points of focus. The website is available in ten languages.

History

In the mid-1990s, economic circumstances forced swissinfo.ch to take a new strategic direction. The internet was advancing fast, heralding a new era for the producing journalists and the Swiss Radio International (SRI) audience alike. The German, French, English and Portuguese sites went online in 1999. The Italian, Japanese and Spanish sites followed in 2000, with Arabic going live on 1 February 2001 and Chinese in September of the same year. Within just two years, the internet platform for expatriate Swiss was already better known than SRI's short-wave radio services.

On 21 March 2005, the Board of Directors of SRG SSR decided to reduce the swissinfo.ch service significantly. At the time, the decision was not final and still had to be confirmed by the regulatory body – the Federal Office of Communications – and the Swiss Federal Council. That decision was expected in the autumn of 2005. SRG SSR's intention to cut swissinfo.ch back to a minimum triggered an enormous response from users and readers. There was widespread lack of understanding for the move. The SRG SSR plan for the future was to produce a reduced service in English only. This service was to be integrated into SR DRS. Only specific information for Swiss people living abroad would be provided in Switzerland's national languages. One journalist would be responsible for each language, and the service would be produced by one of the existing SRG SSR enterprise units. In the end, the public had their way. In the summer of 2007, the Federal Council issued swissinfo.ch with a new charter to provide a specific and clearly defined internet-focused news, information and entertainment service.

Peter Schibli became the new editor-in-chief of swissinfo.ch on 1 January 2008. Schibli, who holds a doctorate in law, succeeds Christoph Heri, who retired on 31 March 2008 after a 30-year media career, the last six years of which were spent with the swissinfo.ch editorial team. The new editor-in-chief is charged with fulfilling the content aspects of the Federal Council charter and with positioning swissinfo.ch as a leading nine-language news and information platform for both expatriate Swiss and an international audience with an interest in Switzerland. In November 2008, Schibli became the director of swissinfo.ch. The new editor-in-chief Christophe Giovannini worked for swissinfo.ch from November 2008 until February 2015. In 2013, swissinfo.ch welcomed Russian as 10th language of the information platform.[1] In January 2016, Larissa M. Bieler started as the new editor-in-chief. Today more than 100 persons from 14 nations are working for swissinfo.ch.[2]

Special features

swissinfo.ch's themed dossiers offer a high-quality complement to its websites. Produced specifically for an international audience, these multimedia dossiers examine and present current issues in detail. There is also a special section for expatriate Swiss that gives information on forthcoming referenda and elections. swissinfo.ch is also active on different social media channels: Facebook, Twitter, Instagram, YouTube, etc.

Services

In addition to the websites, information can be called up from or downloaded to mobile devices. The headline service automatically updates computer desktop headlines from the swissinfo.ch homepages. Headlines can also be linked via live news feeds directly to other websites. In March 2017 swissinfo.ch launched a new app (for iOS and Android).[3]

[1]

[2]

[3]

title: Swissinfo

question: What does the article say about the transition to an internet-focused service for swissinfo.ch?

answer: In the mid-1990s, economic circumstances forced swissinfo.ch to take a new strategic direction. The internet was advancing fast, heralding a new era for the producing journalists and the Swiss Radio International (SRI) audience alike. The German, French, English, and Portuguese sites went online in 1999. The Italian, Japanese, and Spanish sites followed in 2000, with Arabic going live on 1 February 2001 and Chinese in September of the same year. Within just two years, the internet platform for expatriate Swiss was already better known than SRI's short-wave radio services.

critique: The answer should mention the Federal Council's decision to issue swissinfo.ch with a new charter.

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

critique: The response is missing the part about the Federal Council issuing swissinfo.ch with a new charter to provide a specific and clearly defined internet-focused news, information, and entertainment service.

text: This response is a direct copy from the text and as such does not precisely answer the question.


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: What does the story say about Mark and Mike?

answer: Mark and Mike are friends who have been through training together. They are both going to war. Mark is from Denver, Colorado, and Mike is from Atlanta, Georgia. They are both PFCs.

critique: The answer is incorrect. Mark and Mike are not going to war together.

critique: The answer is inaccurate. Mark and Mike are the same person. They are not from different places. Mark is the narrator's name.

critique: The answer is incorrect. Mark and Mike are not going to war together. Mark is from Denver, Colorado, and Mike is from Atlanta, Georgia. They are both PFCs.

critique: There is no evidence in the story that Mark is from Denver, Colorado.

critique: Most of this doesn't answer the question.

critique: The answer is incorrect. Mark and Mike are not from Denver and Atlanta.

question: What does the story say about the qualities that make a good soldier?

answer: No answer

critique: The question is asking for the qualities that make a good soldier. The answer should reflect this.

critique: The response misses to provide an answer to the task.

critique: The story does not answer this question.

critique: The story does not explicitly say what makes a good soldier, but it does say some things about what makes a bad soldier. The story talks about how Mark and the narrator are nervous and inexperienced, and the Lieutenant makes it clear that he does not want them. He tells them to stay out of the way and to do what they are told.

question: What does the story say about the First Sargeant?

answer: The First Sargeant is a wiry man with a nasally drawl. He is strict with the narrator and Mark. The Sargeant is proud of his rank, ordering the narrator and Mark to not salute him. He doesn't like how the narrator and Mark address each other.

critique: The response inaccurately mentions that the Sargeant is proud of his rank, ordering the narrator and Mark to not salute him.

critique: "The Sargeant is proud of his rank, ordering the narrator and Mark to not salute him. He doesn't like how the narrator and Mark address each other." - the story doesn't really say the sargeant has one rank over the other. The rank and the drawl were never mentioned in the story. He also doesn't tell them not to salute. Remove these sentences.

critique: The response contains inaccurate information.

critique: The response inaccurately mentions that the Sargeant is proud of his rank, ordering the narrator and Mark to not salute him. The story says that the Sargeant tells them not to salute him.

critique: The answer should mention that the First Sargeant is in charge of the narrator and Mark.

critique: The narrator and Mark have to salute the first sargeant.

text: There is no indication that the sargeant is proud of his rank.

question: What does the story say about Mark, Mike, and Lieutenant Black?

answer: Mark and Mike are new recruits who have just arrived in Kuwait. They are told to report to Lieutenant Black who is playing spades with his men. Lieutenant Black tells them that they are a liability to him and that they need to keep their heads down and do what they are told.

critique: The answer omits the fact that Mark and Mike are called "fags" and "Stumpy" and "Mcturd" by Lieutenant Black.

critique: This is redundant and it should be omitted.

critique: It is omitted that Mark and Mike are afraid.

critique: The answer omits the fact that Mark and Mike are afraid.

critique: The answer omits that Mark and Mike are sent to war.

critique: What Mark and Mike's names are is unnecessary because it is Mark and Mike who are the subject of discussion.

critique: The answer omits Mark's and Mike's surnames.

critique: The answer should mention that Mark and Mike are afraid.