text:
**This story I wrote as a response to a CW WP where the stipulation was You have to write the sentence "I was so close to getting a Tetris" 3 times in your story.**

_______________________________________________________
There I was pondering my years of training and discipline, I was so close to getting a Tetris.

Everyone I knew had already gotten theirs, I was the only one who didn't have one! I thought I was stupid, incompetent, unworthy of receiving one.

"Hunter!" My friend Whisper called out to me, she is the only one who continued to believe in me and pushed me in my training, always reminding me that I was **so** close to getting a Tetris.
I respond with a bashful "h..Hey Whisper".

We had grown up together and had been friends forever, though we are 16 years old now and every time I am around her I have trouble speaking, I get butterflies in my stomach and my hands start getting all clammy.

She was truly beautiful, and so was her Tetris! Her Tetris was at least a good 280 pounds, had the usual 4 legs, big floppy ears, two silky soft angelic wings, and a 3 foot long bushy tail,  all covered in white fur with black spots.

Perhaps you are not from around here, maybe it's your first time hearing about the land of Artelia.
Then allow me to shed some light.

When an Artelian is old enough to start training in the mind and body through meditation and different levels of advanced combat, (the average Artelian starts at the age of 3) they spend their entire childhood and teenage years training in order to receive their Tetris.
If you refuse to train, you don't get a Tetris, simple as that, those who don't train are usually outcast to a society of people we call The Anti-Tetris.

Now let me explain to you more about the Tetris.

The Tetris is an individualized, soul-bound guardian that is assigned to you by our creator, given you have trained well and are worthy of receiving one. They resemble that of a dog, but much, much larger, with wings and a defining symbol of our creator on their head.
They can not speak, though they are telepathically linked to their master and are able to act and make decisions based on your emotions and actions.
Each Tetris is different in personality and appearance, I can not tell you what type of dog a Tetris resembles because each one is unique.
Whisper's Tetris looks a lot like a Saint Bernard.

I had trained so hard all my life and still I have yet to be awarded my Tetris. I told Whisper, " I just don't understand Whisper, why haven't I gotten mine yet?". She says to me "Hunter I know how special you are and I know there is a good reason why you don't have your Tetris yet, my guess is our maker sees you as special, too."

I pondered this for a while, wondering if she was right, it's not like I refused to train, quite the opposite, I started training at age 2, before I could even speak more than a couple words. I had been training harder than any of my friends.

I tell Whisper that I am going to call it an early night and head home and go to bed. It was still light out as I travelled the beaten path through the forest between our two small villages.

What otherwise seemed to be a perfectly normal walk home, I couldn't feel as if though I was being watched, the hairs on the back of my neck were going crazy, of course as I looked around I saw nothing unusual.

I arrive at my house and I open the door and kick off my shoes, my parents were already in bed, they didn't worry about me staying out late too much as they knew how strong I was and that I was more than capable of defending myself.
I head to my bedroom, strip down to my under garments and throw myself into bed, quickly drifting off to dreamland.

I awoke the next morning to a letter with a gold seal sitting in the window sill that read "Hunter" on the envelope.
Curious, I carefully open the letter and begin to read it.

**Hunter**

**You are special**

**You are chosen**

**I have a very special Tetris for you**

**In time**

I couldn't fully comprehend what I had just read, but I was sure of one thing.

I was so close to getting a Tetris.

title: [FN] Artelia

question: Summarize Hunter's relationship with Whisper.

answer: Hunter and Whisper are friends but they haven't spoken to each other in a while. Hunter is the only one in their group who hasn't received their Tetris yet. He feels confused because Hunter trains like no one else, but all his friends except Whisper has received theirs. Whisper is patient, reassuring Hunter that there is a good reason he hasn't received his Tetris yet, having faith in him as a person. After many years and many mistakes, Hunter's special Tetris arrives, seemingly from nowhere.

critique: Hunter and Whisper are not friends. They are childhood friends.

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

critique: The last sentence is irrelevant to the question.

critique: The story doesn't say that they haven't spoken to each other in a while.

critique: There is no evidence that Whisper tries to reassure Hunter.

critique: Hunter's relationship with Whisper is not mentioned.

text: Whisper has received her Tetris

refinement: Hunter and Whisper are friends but they haven't spoken to each other in a while. Hunter is the only one in their group who hasn't received their Tetris yet. He feels confused because Hunter trains like no one else, but all his friends except Whisper has received theirs. Whisper is patient, reassuring Hunter that there is a good reason he hasn't received his Tetris yet, having faith in him as a person. After many years and many mistakes, Hunter's special Tetris arrives, seemingly from nowhere.

question: Summarize everything relating to Artelians.

answer: Artelians are created by the Goddess and thus are related to the Goddess, their imprinted symbol on the head is proof of this. Artelians spend their childhood and teen years training, meditating, and practicing combat in order to receive their Tetris. An individualized soul bound guardian that's assigned to you by the Goddess.

critique: The answer should mention that the Tetris is a dog-like creature.

critique: The answer should mention that those who don't train are usually outcast.

critique: The answer should mention that Artelians start training at the age of 3.

critique: The answer should mention that Artelians are created when they are old enough to start training.

critique: The answer should mention that those who don't train are usually cast out.

critique: The answer is a little misleading. The creator is a deity, not the Goddess.

critique: The answer should mention that those who don't train are usually cast out of the society.

question: Summarize the story's main conflict.

answer: Hunter has trained as a warrior his whole life so he would eventually achieve a Tetris. He has done as much as anyone-he starts training at 2 years of age, before he could speak more than a couple words. He started training harder than his friends. Hunter feels like he is special-he hopes that lead to a worthy Tetris.

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

critique: The story doesn't mention that he started training at two years of age.

critique: The story does not mention that he started training at 2 years of age, before he could speak more than a couple words.

critique: The story does not mention that Hunter is a warrior.

critique: Is this a summary? It's more an examination of his train of thought.

critique: The story does not mention that Hunter has trained as a warrior his whole life.

critique: The story does not mention that Hunter feels like he is special.

critique: The summary is less than a full sentence.

text: Hunter has not received his Tetris yet

refinement: Hunter has trained as a warrior his whole life so he would eventually achieve a Tetris. He has done as much as anyone-he starts training at 2 years of age, before he could speak more than a couple words. He started training harder than his friends. Hunter feels like he is special-he hopes that lead to a worthy Tetris.

question: What does the story say about worthiness?

answer: The narrator had trained hard all his life and is still not awarded a Tetris. According to hunters on Artelia, how much you train determines whether you get a Tetris or not. Those who don't train are known as Anti-Tetris. The Artelians are seen as special because they are allowed to have their Tetris. They cherish the privilege of having a Tetris as they are seen as proof of specialness and they go through rigorous training almost all their life to have one.

critique: The reason why the narrator doesn't get a Tetris is because he is special, not because he has trained hard.

critique: The story does not say anything about worthiness.

critique: The narrator is named Hunter, not the narrator.

critique: The highlighted text adds detail that isn't in the story.

critique: The answer is a bit confusing. It should be rewritten.

critique: The response contains inaccurate information.

text: Nothing states that the people on Artelia are hunters

category: coherence

refinement: The narrator had trained hard all his life and is still not awarded a Tetris. According to hunters on Artelia, how much you train determines whether you get a Tetris or not. Those who don't train are known as Anti-Tetris. The Artelians are seen as special because they are allowed to have their Tetris. They cherish the privilege of having a Tetris as they are seen as proof of specialness and they go through rigorous training almost all their life to have one.

question: What does the text say about bravery?

answer: No answer

critique: The response doesn't answer the question.

critique: The question is asking for information that is not explicitly stated in the text.


split: train

text:
The US Government has been expanding in size and reach for decades. The federal budget, deficit, and government employee base is near an all-time high.

It wasn't always like that. Many of America's founders were Libertarian-minded and skeptical of the state, wanting only those parts of the government that were absolutely necessary.

However, there's reason to believe that in the near future, government might dramatically shrink—not because of demands by fiscally astute Americans, but because of radical technology.

Indubitably, millions of government jobs will soon be replaced by robots. Even the US President could one day be replaced, which—strangely enough—might bring sanity to our election process.

But it's not just robots, it's software programs and weird new tech that will do the replacing. Consider the over 1 million firefighters, a staple part of American government that also represents the ideal of service and career to one's country. Companies around the world are now building fireproof everything, including couches, furniture, and building materials that simply don't burn well. And intelligent robots—which I think will be in 50 percent of American households within five years time—will all have fire and carbon monoxide detectors.

In fact, I'm certain many in-home robots will not only be loaded with numerous security alert systems (like intruder alarms, flood warnings, and the ability to detect snakes, scorpions, and spiders) but will also be able to fix problems that occur. It's likely in just a few years time, in-home robots costing less than a $1,000 dollars will know how to put out a fire with an extinguisher, turn off a flooding bathtub, or squish a black widow.

Each time a robot or software can save an emergency call to a firefighter or police officer, money, time, and resources are saved. Twenty-five years into the future, we may have little reason to call any government service employee whatsoever—and institutions like the fire department may be significantly smaller.

The same idea goes for employees of the Internal Revenue Service, whose jobs crunching numbers can be done by even basic AI. Meanwhile, drones will replace building inspectors by flying around construction projects to determine safety and building requirements are being met. Even the tens of thousands of goverment highway workers will be replaced by driverless vehicles that automatically lay new roads down. Driverless construction equipment—just like a fully automated trucking industry—is the future. For that matter, even the White House may eventually turn to automated equipment such as driverless lawn mowers to cut its massive property lawns.

  Twenty-five years into the future, we may have little reason to call any government service employee whatsoever.

It's the military, though, where some of the robot revolution has already been witnessed on TV by many Americans. Instead of a company of troops on the ground, a single US soldier now sits in a military base on native soil controlling an armed drone thousands of miles away. America has approximately 2 million soldiers who can be quickly called up to service, but I think that number will quickly fall over the next decade as the US streamlines its military in the age of transhumanism—the age where machines do most of the work. Because national defense is such a large part of the Federal budget, this could save many billions of dollars for Americans.

Another area where technology can significantly help reduce government is the absurdly huge US prison system. Right now it costs almost four times the amount of money to run America's nearly 5,000 prisons and jails than it does to run the US education system. But in the near future, we might use drones and robots to monitor criminals, both in and out of jail.

Many of our prisons are filled with nonviolent drug offenders, anyway, and I think we should let them all go free. If people and politicians are too afraid of that, we could just have drones or tracking devices monitor them. This way many nonviolent criminals could find jobs and start paying taxes—instead of being a drain on government resources. Another benefit would be that many prison guards wouldn't need to be employed either, as there would be less criminals to monitor. Perhaps best of all, emptied prisons and jails owned by the government could be used for other things, like new colleges or job training centers.

I welcome this future smaller government as a result of evolving technology, and I hope that Americans will pay less in taxes as a result of it. In fact, I think it's possible to offer more social services—including a Universal Basic Income—from the govern

question: Why does the author believe that the size of the US government is likely to shrink in the foreseeable future?

answer: The author believes that radical technology will replace millions of government jobs.

critique: The answer should mention what the radical technology is.

critique: The answer should mention the specific jobs that will be replaced.

critique: Add mention of what kinds of jobs and agencies the radical technology will replace employees of

critique: "The author believes that radical technology will replace millions of government jobs." - add that the government jobs are those of firefighters, police officers, the IRS, and highway workers.

question: Why will firefighters lose their jobs

answer: Companies are building fireproof everything, including couches, furniture, and building materials. Intelligent robots will all have fire and carbon monoxide detectors. Robots will be able to put out a fire with an extinguisher, turn off a flooding bathtub, or squish a black widow. Robots will be able to fix problems that occur. Robots costing less than a $1,000 dollars will know how to put out a fire with an extinguisher, turn off a flooding bathtub, or squish a black widow.

critique: The answer is not relevant to the question.

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

critique: The answer is not related to the question.

question: What other government jobs are at risk?

answer: The Internal Revenue Service, highway workers, building inspectors, and White House lawn mowers.

critique: "The Internal Revenue Service, highway workers, building inspectors, and White House lawn mowers." - missing "military" and "firefighters"

critique: "The Internal Revenue Service, highway workers, building inspectors, and White House lawn mowers." - missing the military and prison system.

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

critique: "and White House lawn mowers" - is incorrect. The White House is not government.

critique: The answer misses to mention that the military will also be affected.

critique: The answer is missing the prison system.

critique: First sentence is redundant since the second sentence gives all the examples.


text:
EUGENE VALENTINO CHERICO (April 15, 1935, Buffalo, New York – August 12, 1994, Santa Monica, California) was an American jazz double-bassist.

Cherico played drums as a child and played in a special services band in the Army, but injured his hand and picked up double bass as therapy. He attended the Berklee College of Music, where he met Toshiko Akiyoshi, with whom he would tour and record intermittently for many years. He also worked as a sideman with Herb Pomeroy (1957–59), Maynard Ferguson (1959–60), Red Norvo (1961), Benny Goodman (1962), George Shearing (1963), Stan Getz (1964–66), and Peter Nero (1966–70). He also recorded with Gary Burton and Joe Morello in 1961 and with Paul Desmond in 1961 and 1963.

Cherico spent much of the 1970s as a studio musician, working with Frank Strazzeri (1973, 1975), Louie Bellson, Lew Tabackin, Gerry Mulligan (1974), and Akiyoshi. He also did work as an accompanist to singers such as Peggy Lee (1966), Carmen McRae (1970), Frank Sinatra (1973-1982), and Nancy Wilson. He toured extensively with Sinatra into the next decade. He retired in 1984 after being diagnosed with Non-Hodgkin lymphoma.

Discography

WITH TOSHIKO AKIYOSHI

-   _Toshiko and Leon Sash at Newport_ (Verve, 1958)
-   _Long Yellow Road_ (Asahi, 1961)
-   _Live at Birdland_ (Fresh Sound, 1961)
-   _The Toshiko – Mariano Quartet_ with Charlie Mariano (Candid, 1961)
-   _Toshiko – Mariano Quartet (in West Side)_ with Charlie Mariano (Takt, 1963)
-   _Kogun_ (RCA, 1974)
-   _Long Yellow Road_ (RCA, 1975)
-   _The Many Sides of Toshiko_ (Verve, 1975)
-   _Dedications_ (Discomate, 1976)
-   _East and West_ with Charlie Mariano (RCA, 1977)
-   _Notorious Tourist from the East_ (Inner City, 1978)
-   _Toshiko Plays Toshiko_ (Discomate, 1979)
-   _Just Be Bop_ (Discomate, 1980)
-   _Toshiko Akiyoshi Trio_ (Eastworld, 1983)

WITH PAUL DESMOND

-   _Desmond Blue_ (RCA Victor, 1962)
-   _Take Ten_ (RCA Victor, 1963)
-   _Glad to Be Unhappy_ (RCA Victor, 1965)
-   _Easy Living_ (RCA Victor, 1966)
-   _Late Lament_ (RCA, 1974)

WITH STAN GETZ

-   _Getz Au Go Go_ (Verve, 1964)
-   _Getz/Gilberto #2_ (Verve, 1965)
-   _The Girl from Ipanema_ (Polydor, 1966)
-   _Stan Getz_ (Verve, 1987)
-   _Stan Getz & Friends_ (Verve, 1988)
-   _Joao & Astrud Gilberto Meet Stan Getz_ (The Entertainers 1988)
-   _Nobody Else But Me_ (Verve, 1994)
-   _Live at Newport 1964_ (Solitude, 2014)
-   _Getz Plays Jobim: The Girl from Ipanema_ (Verve, 2002)
-   _Body and Soul_ (Verve/Universal, 2006)
-   _The Brilliant Canadian Concert of Stan Getz_ (Can-Am, 2008)

WITH ASTRUD GILBERTO

-   _Brazilian Mood_ (Metro, 1977)
-   _Astrud Gilberto_ (Verve, 1987)
-   _The Astrud Gilberto Album_ (Jazz Door, 1991)
-   _Astrud Gilberto's Finest Hour_ (Verve, 2001)
-   _Astrud for Lovers_ (Verve, 2004)

WITH GEORGE SHEARING

-   _Out of the Woods_ (Capitol, 1964)
-   _Rare Form!_ (Capitol, 1966)

WITH FRANK SINATRA

-   _She Shot Me Down_ (Reprise, 1981)
-   _L.A. Is My Lady_ (Qwest, 1984)
-   _Sinatra: Vegas_ (Reprise, 2006)
-   _Sinatra: New York_ (Reprise, 2009)

WITH FRANK STRAZZERI

-   _Taurus_ (Revelation, 1973)
-   _Frames_ (Glendale, 1975)

WITH OTHERS

-   Louie Bellson, _Louie Rides Again!_ (Percussion Power, 1974)
-   Roy Burns, _Big, Bad & Beautiful_ (FPM, 1973)
-   Gary Burton, _New Vibe Man in Town_ (RCA Victor, 1962)
-   Irving Cottler, _I've Got You Under My Skins_ (Project 3, 1982)
-   Maynard Ferguson, _Maynard Ferguson Plays Jazz for Dancing_ (Roulette, 1986)
-   Peter Nero, _Nero: Fantasy and Improvisations, Gershwin: Concerto in F_ (RCA, 1968)
-   Red Norvo, _Vibes a La Red_ (Famous Door, 2003)
-   Bill Perkins, _Remembrance of Dino's_ (Interplay, 1989)
-   Sylvia Syms, _Syms by Sinatra_ (Reprise, 1982)

title: Gene Cherico

question: Summarize Cherico's career.

answer: Cherico played drums as a child and played in a special services band in the Army. He injured his hand and picked up double bass as therapy. He attended the Berklee College of Music, where he met Toshiko Akiyoshi, with whom he would tour and record intermittently for many years. He also worked as a sideman with Herb Pomeroy, Maynard Ferguson, Red Norvo, Benny Goodman, George Shearing, Stan Getz, and Peter Nero. He also recorded with Gary Burton and Joe Morello in 1961 and with Paul Desmond in 1961 and 1963. Cherico spent much of the 1970s as a studio musician, working with Frank Strazzeri, Louie Bellson, Lew Tabackin, Gerry Mulligan, and Akiyoshi. He also did work as an accompanist to singers such as Peggy Lee, Carmen McRae, Frank Sinatra, and Nancy Wilson. He toured extensively with Sinatra into the next decade. He retired in 1984 after being diagnosed with Non-Hodgkin lymphoma.

critique: The answer is a summary of Cherico's career, but it's not a summary of his career. It's a summary of his life.

critique: The answer is a summary of Cherico's career, which is not the question.

critique: The answer is a summary of Cherico's career, not a summary of his career.

critique: The response contains lots of redundant information.

critique: The answer is a summary of Cherico's career and could include more details.

critique: The answer is more a summary of Cherico's career than a summary of his career.

question: What does the article say about the therapeutic effects of music on cancer?

answer: No answer

critique: Empty, pls read to the end before answering

critique: The article doesn't mention the therapeutic effects of music on cancer.

critique: The question asks about the therapeutic effects of music on cancer. The answer is empty.


text:
And the sky filled with the air of remorse, longing to be covered by the arms of the sun. Perhaps, one must enter from above, into the realm of possibilities. Where a single boom brings about the creation of the Earth, where an inventory of items can manifest themselves spontaneously with only a spark. But what is this I hear? Something that I believe to sound like language, filled with the illusion of structure and coherence. But I do not understand it. Deprived of sleep, I wade through the ocean of a desert, the sand filling my lungs with that of dread and decay.

*My heart aches, my mouth hungers, my eyes weep, my mind in ruins.
 I continue to wade through the thick gaze of the desert, like a child looking for his lost mother.
Again, I hear a voice.*

The last of my water is that of days. Yet the sun gives life to this world, its heat radiating from the skin of the Earth. Its life my demise, as it slowly boils me alive. As I feel the destruction of my body in this world, my mind searches for another place to call home.

*It cries in agony, my mind. As I search, this desert of lost time.
The grains of sand billowing away into that of circles and stars, of people’s faces that I yet to see.
Again, I hear a voice.*

It begins to dawn on me, that my life is slowly fading away. Like my footprints in the sand. I do not remember how my body found its way here, but now here is where I wander. Finding myself lost to what is mine, as the voices slowly begin to eat my mind. Where is there to look for the shade of a tree? When the only shade is that of the stars? It begins to get louder, and louder. I begin to grasp at the sound, my arms stretched towards the heavens, covering my body with its warmth. What are they saying, what should I know?

*My heart begins to pound against my chest, as it cries for attention.  But my body has forsaken me.
My heart, before full of warmth and life, now a reminder of a world I do not wish to wander.
Again, I hear a voice.*

What can you tell me? What is there to know? The voices, they search for me as I wander. As the sun leaves me, I now say my hello to that the moon. Its light bringing a way to search for home. The warmth soon begins to leave the grains underneath my feet. My body sighs in relief, my tears finally returning to my eyes. Now, as I gaze. I see that I am not alone, the sky a blanket in which I can huddle. The voices return now, as the gaze of the desert is unveiled.  The clap of thunder, unleashed, across the fabric of the sky, as the stallions of time come to me in my mind. My body goes to doze, and I begin to slowly drift into the heavens.

*Your heart aches, as your mind is lost. Lost in the skies for where you now look.
But I come to you here, as a messenger of the Gods in which you cry for.
If you wish to understand, all you have to do is spread the message of their words.*

The voices did not return. My body now a vessel to tell the Word of the Gods. I lay upon the foundation of their laws, surrounded by their divinity – their words turned to symbols, symbols that I do not control.

title: I’ll Come Running, In the Ocean of Time

question: What does the story say about desert survival?

answer: The narrator is lost in the desert with only their body and their mind. They are slowly dying from dehydration. They have no shade, no water, and no food. They search for a way to survive.

critique: The narrator is not lost in the desert. They are lost in time.

critique: The narrator is not lost in the desert. He is searching for a way out of the desert.

critique: It's omitted that they are looking for shade and water.

question: What does the story say about the setting of the story?

answer: The story takes place in a desert. The narrator is thirsty and is looking for water. The sun is beating down on the narrator, and the narrator is slowly dying. The narrator is also looking for shade.

critique: The answer should mention that the narrator is looking for a place to call home.

critique: The story does not mention the narrator looking for shade.

critique: The story does not specifically mention the narrator's need for water; this should be replaced with the need for shade, which highlights the fact that the narrator is looking for a way home.

text: "The narrator is also looking for shade." does not explain the setting of the story.

category: accuracy

question: What does the story say about the narrator?

answer: The narrator is lost in the desert and is dehydrated. The narrator hears voices, though they no longer hear them at the end of the story. The narrator also sees the moon, and then the stallions of time.

text: "The narrator also sees the moon, and then the stallions of time." does not seem relevant to the rest of the text.


text:
RAY ARTHUR WANG, born RAYMOND WANG (pronounced Wong), is an American independent filmmaker.

Personal life

Wang was born and raised in Livermore, California, where he graduated from Livermore High School.

In 1999, he acquired his B.S. in electrical engineering and computer Science with music minor from University of California, Berkeley.[1]

He went on to receive his M.S. and Ph.D. in electrical engineering at Stanford University, where he researched wireless communication under the guidance of Donald C. Cox with the support of the National Science Foundation Fellowship and Stanford Graduate Fellowship (Ric Weiland Family Fellow).[2][3]

Film career

Wang pursued a career in electrical engineering but was increasingly moved by social injustices around him. He founded Raw Power Productions in 2004 with a mission of using the medium of film to effect social change.[4]

His directorial feature debut _Carma_ in 2005, starring actress Karen Black as the voice of a haunted Honda Accord,[5] toured local film festivals. It won “Best Picture” and “Indie Auteur of the Year” for Wang at the Bare Bones International Film Festival. _Carma_ premiered as a Special Presentation at Cinequest Film Festival under the name _Compartment._[6]

Wang and his team was invited to the Sundance Producers' Conference in 2006, where he was a producer on the women's rights documentary, _Tapestries of Hope._[7] The film was an early adopter of the crowdfunding site Indiegogo, which launched launched in 2008.[8][9] The film featured activist Betty Makoni and discusses sexual abuse in Zimbabwe.[10][11] It released 2010 nationwide in over 100 theaters.[12]

The San Francisco Chronicle praised Wang's debut directorial _The Profile_ for evoking memories of the infamous Wen Ho Lee case on its 10th Anniversary.[13] Film critic Richard von Busack also spoke positively on the film in the Metro Silicon Valley,[14] while Film Threat stated, “_The Profile_ feels timeless but is also clearly modern as we look at the recent illegal immigration laws enacted by Arizona.”[15]

His short _When Sally Met Rascal..._ is about homelessness and starred Sally Kirkland and Rascal, former winner of the World's Ugliest Dog Contest.[16][17]

In 2011, Wang released the 3D horror short _Down Under_ to raise awareness about the 2008–2010 series of hate crimes against Indians in Australia.[18][19][20]

His 2013 short _Oksana_ tells the story of a 9-year-old white girl adopted by an Indian American man and American Indian (Native American) woman and is loosely based on the controversial subject of Russian adoptions in America.[21][22][23][24]

In 2014, Wang completed the short _Circle of Life_, starring actors Graham Greene and Michael Horse, about the final years of human life.[25][26] Wang collaborated with writer Susan Black for the fourth time in 2014 for _Black and White.[27]_

His 2017 film _Disk 44_, an animated remake of _The Profile_,, placed 8th in the Stuttgart International Festival of Animated Film (ITFS) Amazon Audience Award.[28]

Music career

Wang started formal piano training at the age of five, shortly after his perfect pitch and ability to play by ear were noticed, and went on to win several piano competitions.[29] Wang was invited to perform as piano soloist with symphony orchestras over ten times,[30][31][32] starting at age ten when he won the Livermore-Amador Symphony's Concerto Competition.[33] After a guest piano appearance with the Stanford Symphony Orchestra for the U.S. Premiere of Philip Glass' Songs of Milarepa in 1999,[34][35] he then won the Stanford Concerto Competition in 2000, performing Rachmaninoff's 2nd Piano Concerto with them.[36]

In 2006, The Oakland Tribune wrote in reference to his performance of Rachmaninoff's 3rd Piano Concerto, “Wang received the Diablo Symphony's most vociferous ovation ever.”[37] A year later, Wang retired from the classical piano concertizing scene to focus on film and engineering but continues to play piano and/or compose music for his movie scores. Wang's debut CD, _RAW Encores_, was released in December 2013.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

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[11]

[12]

[13]

[14] http://www.rawpp.com/Metro.pdf

[15]

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[19] http://www.kazv.net/uploads/8/5/3/0/8530330/shockerfest2012schedule.pdf

[20] http://www.baaff.org/fear-buffet-a-shorts-program.html

[21] http://lifefilmfest.com/lf14wrap/

[22] http://siaff.kr/xe/en_notice/449

[23]

[24] http://educationexpo.tv/dadasahebphalkefilmfestival/news.php?id=MTAw

[25] http://www.rawpp.com/circleoflife/includes/images/theandersonnewsprint.jpg

[26]

[27]

[28]

[29] http://townsendcenter.berkeley.edu/pubs/98_10_nl.pdf

[30] http://www.pleasantonweekly.com/morguepdf/2006/2006_05_05.pls.section1.pdf

[31]

[32]

[33] http://www.livamsymph.org/brochures-compwinners/LASCompetitionWinners.pdf

[34]

[35] http://www.21st-centurymusic.com/ML210305.pdf

[36]

[37] http://www.rayarthurwang.com/OaklandTribune_Rach3.html

title: Ray Arthur Wang

question: Why would Ray Arthur Wang care about social injustices?

answer: He was moved by them.

critique: The answer should be more specific about what social injustices he was moved by.

critique: This is insufficient as a response because it doesn't answer the question of why.

critique: The answer is too vague and general. It should at least mention the film industry.

critique: The answer should mention that Wang pursued a career in electrical engineering.

critique: The answer does not explain why he was moved by them.

critique: The answer should include that he founded Raw Power Productions in 2004.


text:
(Salt Lake City, UT) – Safe Kids Utah urges parents and caregivers to make sure their car seats and booster seats are properly installed during National Child Passenger Safety Week, September 14-20.  Motor vehicle crashes are the leading cause of preventable deaths and injuries to children in the United States. “Correctly used child safety seats can reduce the risk of death in a crash by as much as 71 percent,” said Cambree Applegate, Safe Kids Utah Coordinator.

Car seat inspections offer drivers and caregivers the chance to get assistance and guidance from certified car seat technicians on how to properly install their child safety and booster seats.  “Car seats are complicated!” said Applegate. “But we know parents and caregivers want what is best for the ones they love, so taking just a few minutes to get your car seats checked is a simple way help keep children safe on the road.”

Free car seat checks will be held across Utah during National Child Passenger Safety Week.  Each event will have certified technicians on site to help parents ensure their seats are installed correctly. Technicians will also talk about steps to take as their child grows and best practices to make sure their child is as safe as possible while riding in the car.  Events will be held:

• Monday, Sept. 15 – Information booth from 5 p.m. to 8 p.m. at Wasatch High School (930 South 500 East, Heber)
• Tuesday, Sept. 16 – Car seat checkpoint from 3 p.m. to 6 p.m. at Hansen Motor Company (1175 South 500 West, Brigham City)
• Tuesday, Sept. 16 – Car seat checks and information booth from 4 p.m. to 7 p.m. at the Boys and Girls Club of South Valley (244 East Myrtle Avenue, Murray)
• Wednesday, Sept. 17 – Car seat checkpoint from 11 a.m. to 3 p.m. at the Northwest Recreation Center (1300 West 300 North, Salt Lake City)
• Wednesday, Sept. 17 – Car seat checkpoint from 3 p.m. to 6 p.m. at High Country Auto
(275 North Main, Richfield)
• Thursday, Sept. 18 – Car seat checkpoint from 10 a.m. to 12 p.m. at the Tooele City Library (123 West Vine Street, Tooele)
• Thursday, Sept. 18 – Car seat checkpoint from 11:30 a.m. to 2:30 p.m. at the Farmington Old Navy (270 North East Promontory, Farmington)
• Thursday, Sept. 18 – Car seat checkpoint from 2 p.m. to 5:00 p.m. at Primary Children’s Riverton Outpatient Services (3773 West 12600 South, Riverton)
• Thursday, Sept. 18 – Car seat class from 5 p.m. to 6:15 p.m. at Utah County Health Department (151 South University Avenue, Suite 2601, Provo)
• Thursday, Sept. 18 – Car seat checks from 9 a.m. to 4 p.m. at the Wasatch County Health Department (55 South 500 East, Heber)
• Friday, Sept. 19 – Car seat checkpoint from 3:30 p.m. to 6:30 p.m. at the Ogden Costco (3656 Wall Avenue, Ogden)
• Saturday, Sept. 20 – Car seat checkpoint from 10 a.m. to 1 p.m. at the Park City Walmart (6545 North Landmark Drive, Park City)
• Saturday, Sept. 20 – Car seat checkpoint from 11 a.m. to 2 p.m. at the Jordan Landing Old Navy (7113 Plaza Center Drive, West Jordan)
• Thursday, Sept. 25 – Car seat checkpoint from 3 p.m. to 5 p.m. at the Price Fire Station (87 North 200 East, Price)

For more information on child passenger safety and tips for keeping your kids safe while in the car, visit http://health.utah.gov/vipp.

question: What does the text say about how to keep children safe in car seats?

answer: Safe Kids Utah urges parents and caregivers to make sure their car seats and booster seats are properly installed during National Child Passenger Safety Week. The car seats are complicated and they urge parents to take a few minutes to get the seats checked by certified technicians. Car seats can reduce the risk of death in a crash by as much as 71 percent if installed correctly.

critique: It is omitted that the car seats should be checked as their child grows and best practices should be used to make sure their child is as safe as possible while riding in the car.

critique: The response misses to mention that car seats should be installed correctly to reduce the risk of death in a crash.

critique: The response is missing a few key details about car seats.

critique: The response misses to mention that car seats can reduce the risk of death in a crash by as much as 71 percent if installed correctly.

critique: The claim that car seats can reduce the risk of death by 71% is unattested.

critique: The response should include the steps to take as their child grows and best practices to make sure their child is as safe as possible while riding in the car.

critique: The answer should mention the best practices to make sure the child is as safe as possible while riding in the car.

question: What does the text say about senility-related car accidents?

answer: No answer

critique: The passage does not mention anything about senility-related car accidents.

critique: The text does not mention anything about senility-related car accidents.


text:
WHEN GLOBAL GRAPEVINE’S AILSA AND ALEX TOURED PHILLIP ISLAND, THE PENGUIN PARADE WAS HIGH ON THE LIST OF TO-DOS. NOT SO FLY ISABELLA’S LIZ STARK, WHO DECIDED TO SHUN THE (ADMITTEDLY TOURISTY) APPEAL OF A GAZILLION LITTLE PENGUINS IN FAVOUR OF SEARCHING OUT PHILLIP ISLAND’S BEST WALKS.

I’ve been travelling in Australia for 6 weeks now – not working for 7 – and weekdays are blissfully merging into weekends. Jack is working 5 days a week, starting early and done by mid-afternoon, so similarly the chopping and changing of shifts is creating a whirl of a week for both of us.

This week found Monday and Tuesday completely free so we spontaneously rented a car (day rates and petrol are cheap here), swung by Kmart for a bargain tent and sleeping bags, stocked up some BBQ goodies from Coles, and travelled south to Phillip Island – famously home to lots of little penguins. More on them later…. This is a great trip: check out below for things to see and do, as well as some of Phillip Island’s best walks.

3 THINGS YOU REALLY CANNOT MISS:

BERRYS BEACH | this has to be one of my favourite spots I’ve visited in Australia. And it’s my sister’s nickname, so extra special! The deep bay sweeps round to red cliff faces to the East (one of the Phillip Island best walks is along this cliff top path to PYRAMID ROCK), the water is crystal clear, the rock pools sparkle under the sun, the sand is soft and clean. It’s a surf beach so I’m not sure how safe it would be to swim, but it’s a really quiet and absolutely beautiful spot.

Berrys Beach

WOOLAMAI BEACH | another fab spot, although we caught it in the morning before the clouds had blown away. I felt like I was at home in Cornwall: pounding surf, sand dunes, empty beaches, and questionable weather! There weren’t many surfers, and supposedly this is a spot for only the pros.

COWES BEACH | this is a little gem of a North facing bay side beach (versus Berrys and Woolamai above, which face the ocean). We pitched our tent 5 metres back from the white squeaky sand and crystal water – on this stretch it feels positively Caribbean (definitely not Cornwall!).

Also check out: Cowes is the main town on Phillip Island. It’s pretty tiny but has got the usual selection of fish and chips and fast food shops.

3 THINGS WORTH A SNOOP:

THE NOBBIES | is an ECOTOURISM CENTRE located in the south-west corner of Phillip Island, past the Penguin Parade (walking between the two takes about an hour). 1.5km offshore is Seal Rocks, home to the country’s largest Australian Fur Seal colony – unfortunately you can’t see them from this distance with the naked eye. There’s a boardwalk that promises killer views and takes you past individual penguin homes. The crazy little fellas nest in burrows remarkably far up the cliff sides, and we saw several still snuggled inside.

Also check out: There are 3 marked koala reserves on the island. We chose to try a short green loop of a Phillip Island walk to the OSWIN ROBERTS RESERVE, but alas, no koalas. We did see loads of wallabies though.

Berrys Beach Rock Pool

Trees without koalas

CHURCHILL ISLAND | yet another worthwhile stop, this island (connected by road) is home to Victoria’s oldest working farm that has been in operation since the 1850s when the British settled here. You can pay to go and see this, but instead we did the easy North Loop Trail from where you can see Rhyll on Phillip Island, the Mornington Peninsula in the distance, and French Island. There’s tonnes of birds for birdy folk. Still no elusive koalas though.

INVERLOCH | we figured as we had the car we may as well explore on the way back. Inverloch is a pretty spot with very little going on (in a good way), unless you have a fishing rod on you: fishing off the pier seemed to be the most popular pastime.

Also check out: we tried a couple of stops at Koonwarra (teeny tiny with a popular FOOD STORE), Korumburra (free OLD MINE CENTRE, closed when we were there) and Loch (brewery and distillery, also closed Tuesdays!) along the South Gippsland Highway.

Inverloch

3 THINGS TO STEER CLEAR OF:

SCRIMPING ON THE GEAR | all the gear, no idea. Actually make that: none of the gear, still no idea. That was us. The absolute amateurs on the campsite, dwarfed by all the mega camper vans towering over our tent made for hobbits. We invested a whopping $15 AUD on a 2 man tent from Kmart…. I’m not sure how many adventures this paper-thin home will last us, but at least we can be confident we’re saving money versus an Airbnb.

BIG4 CARAVAN SITE | doing our impromptu research for camping on Philip Island only two main contenders regularly appear. This one is marginally cheaper per night ($31 versus $40) and has good reviews, but didn’t appear to be in a great location at Newhaven – right by the bridge from mainland Victoria – versus our beach side option at COWES CARAVAN PARK. (OK – small technicality, we had to walk through a hedge. But some of the spots do look straight out to sea).

PENGUIN PARADE | I can’t comment on the PARADE itself: we didn’t go. As per many natural points of interest in Australia, there is a tendency to be charged for visiting privileges and we felt unanimously frustrated that the home of these little guys had been turned in to a quasi-theme park. The amphitheatre seats up to 3,800. Ridiculous. I just can’t imagine that’s a ‘next to nature’ experience, or that you get up close without a bunch of selfie sticks obscuring the view.

1 THING I WISH I’D DONE:

THE PINNACLES | I fell victim to my own lack of research with this one: we were so close when we stopped at Woolamai surf beach, but too lazy to WALK TO CAPE WOOLAMAI. I didn’t realise this was home to the much photographed Pinnacles, accessible on a 4km round trip and supposedly one of Phillip Island’s best walks.

AND KNOW THIS: There are 17 species of penguins, all found in the southern hemisphere. Phillip Island is home to an estimated 32,000 little penguins whilst the total little penguin population is around one million. Naw.

READ MORE OF LIZ’S AUSTRALIAN TRAVEL POSTS
READ MORE OF LIZ’S WORLDWIDE TRAVEL POSTS
FIND MORE THINGS TO DO & VISIT IN AUSTRALIA

question: According to Liz, what are the places or activities to avoid while travelling through Australia?

answer: According to Liz, the places or activities to avoid while travelling through Australia are: Scrimping on the gear, Big4 Caravan Site, and Penguin Parade.

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

critique: The answer should mention the reason for the avoidance.

critique: The answer should be a complete sentence.

critique: The answer should mention the reason for avoiding the Penguin Parade.

critique: The answer should include the reason why Liz recommends avoiding these places.

critique: Doesn't mention why she doesn't advise going to the Big 4 Caravan Site.

critique: The answer should include the reason for avoiding the Penguin Parade.

question: According to the passage, what advice did Liz offer to those travelling through Australia?

answer: Liz recommended 3 things that cannot be missed, 3 things worth a snoop, and 3 things to steer clear of.

critique: The answer should mention the things she recommends.

critique: The response is missing a few things that Liz recommends.

critique: "3 things to steer clear of" should be 3 things to do or visit in Phillip Island, Australia

critique: The answer should include the things she recommends.

critique: It is omitted that Liz also recommends things to do and visit in Australia.


text:
Short story, could write more if i wanted. I have an idea in my head.

The cave was full of darkness. It clung to every crack and crevice. Black shadows upon black stones. Ériu did not think that this obscure darkness could be any colder, any more uninviting. But it was. It tore into her skin with a terrifying velocity, like black tendrils lashing her skin. Ériu was out picking vegetables and fruit like she had always done. Basket in hand and off she would trot, the gentle warmth of summer springing her step as she filled her basket with juicy strawberries and those sweet, crunchy apples mother would sometimes bake into apple pies. But there was no apple pie here, no warmth, no light, only darkness and her sad thoughts to keep her company.

How could this happen to her, it was a normal day, only she had wandered into this cave. She had never seen it before and wanted to explore the inside. She cursed her stupid curiosity, because of it, she was lost. From what she could remember, she was deep inside the cave, having slid her way down a hill of muck and tumbling rocks when the sensation began to overcome her. It stiffened her entire body and crept along her skin, slicing into her muscles and tendons, instantly rendering her nothing more than a conscious rock, much like the cold, hard rock walls that surrounded her. Only they were inanimate and dead. Before she completely blacked out, the manipulative effect had invaded her nerves, sending millions of tiny electric shocks all over her body. Every toe, every finger vibrated with a burning intensity. Tears fell from her twinkling eyes, splashing her knees as she thought about the feeling.

No, she thought, this is not the end. She grabbed one of the soggy apples that scattered the cave floor and took a huge bite out of it, ripping it almost in half. Juice dribbled down her chin.
If it was to be her demise, she would not die hungry. She devoured three more apples greedily before taking many deep breaths to calm her quivering torso. Ériu felt her way up the spiky rock wall, hand pushed hard into the slick rock to steady her own legs, still weak from the shocks that had made her pass out. She yearned for her own bed, and the soft kisses her mother would place on her forehead every night. That thought seemed to instil hope in the young girl, but Ériu knew better than to hope. Hope wouldn’t save her life, only action would. What need her of hope when she was encased in this black prison. This abyss was terminal.

There was no way of telling where she was going; she had no sense of direction or position. She could not even tell which way was forward, and which way was back. Soon, she let the darkness guide her, trusting in her instincts rather than letting fear grip hold of her, exactly what mother had always taught her to do. The sweeping abyss seemed to swallow her more as she edged her way along the cold crevice, opening up unto a beyond which seemed to swallow her more the further she walked. By now, she had quickened her pace, and was no longer scurrying along the wall like some terrified beetle. Her fingers brushed against the cave wall as she moved briskly through the darkness. She felt as if she was going to slam face first into a wall at any second, but she kept on moving, she had no intention of stopping, the only thing she had left was her ability to move and she put it to good use, walking in a straight line, seeking an end that was no more in sight than her own hand in front of her face.

Then she saw it… A dim orange glow flickered in the distance. In the darkness, it looked like Ériu was peering at lava through the tip of a needle, for some reason, she smiled when she gazed upon it. The light flickered and danced in her vision, being the first thing to tickle her senses, it sent her brain into overdrive, causing the strange hue to morph and grow, igniting into colours she never seen before. Her vision seemed to swarm with dancing images and shapes inconceivable to her young mind. Quickly, her eyes began to adjust to the warm glow of the mesmerising light and she became obsessed with it. Ériu was drawn towards not only the light, but the company light brings in the lonely despair of darkness. Suddenly, she felt hopeful again, this light would bring her home, back to mother and the warm log fire that Ériu loved nothing more than to curl up beside, feeling the warm tickle of the flame on her feet.

The ember glow was not far, and the next thing she knew, she was sprinting towards it, her face etched with a lolling smile.

Her smile melted into a wide-eyed gape when she saw what was producing the light.

A small, burning orb, about the size of a large orange hung low in the murky air. It seemed to emanate with moxie and an animated vigour as Ériu gazed, awestruck at the sight before her. She had never seen anything like this before, nor could she ever hope to again, surely she was the first person to see something like this?

“Hello,” whispered Ériu in her soft rural tone.

Soft as her voice was, it was not strong, and strength is what she needed right now.

“Hello!” she repeated. This time however, her voice was loud and clear, cutting through the shuddersome silence that engulfed the cave.
“Can you help me get home?”

Ériu nearly jumped twenty feet in the air when she heard the orb exhale with a low humming noise. Almost like a sighing bear, nestling in to hibernate out the winter. Her heart pounded even harder in her chest when the orb began to slowly drift forward. Ériu followed dutifully, her eyes fixed on the effervescent sphere of energy. Both orb and girl quickened their pace, until Ériu was tearing after the leering ball, like a child after sweets. This time, she did not care about what was ahead, or behind her, only the light and comforting heat of the xanthic orb.

Ériu let out an ear-piercing wail as colour and light exploded upon her vision. She was brought to her knees by a relentless barrage of senses the moment she emerged from the void of the hollow.

She could not believe her own two eyes as to what she was seeing before her. This was not home…This was nowhere she had ever seen before.

title: Ériu.

question: Summarize the physical sensations Ériu feels.

answer: Her body stiffens and begins to go numb when a sensation "invades her nerves, sending millions of tiny electric shocks all over her body." She cries large, teary eyes full of emotion. Her body quickens its pace, she is rushing towards what she thinks is her way out. She is brought to her kneel because of a "relentless barrage of senses" when she emerges.

critique: The answer omits the sensation of hunger.

critique: Her body quickens its pace she thinks is what, not toward what she thinks is her way out.

critique: "She cries large, teary eyes full of emotion." - this is inaccurate. Ériu was never described as crying large, teary eyes full of emotion. She was described as having "twinkling eyes".

critique: The answer omits the physical sensations Ériu feels when she eats the apples.

critique: It's omitted that she's afraid and feels hopeless.

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

question: Summarize Ériu's movements throughout the story.

answer: Ériu was out picking fruits and vegetables when she wandered into a cave. She grabs some apples and devours them before continuing to wander through the cave. She then sees an orange glow and heads towards it, running for a while. She is awestruck to see a small burning orb and walks towards it. The orb then leads her out of the cave.

critique: It's omitted that she's lost in the cave.

critique: "She is awestruck to see a small burning orb and walks towards it. The orb then leads her out of the cave." - this is incorrect. The orb leads her out of the cave.

critique: "She is awestruck to see a small burning orb and walks towards it. The orb then leads her out of the cave." - this is incorrect. The orb led her to another cave.

critique: "She then sees an orange glow and heads towards it, running for a while." - this is inaccurate. Ériu didn't run towards the orb. She was running away from the cave.

critique: "She then sees an orange glow and heads towards it, running for a while." - this is incorrect. Ériu was already running towards the orange glow before she saw the orb.

critique: "She is awestruck to see a small burning orb and walks towards it. The orb then leads her out of the cave." - this is incorrect. The orb doesn't lead her anywhere. It just floats in front of her.

critique: There is too much detail on this response that does not pertain to her movements.

question: Summarize the climactic event of the story.

answer: The climax is when Ériu's escape attempt brings a surprise: The glowing light coming from the orb stops and suddenly characters are transported to a place that Ériu has never seen before.

critique: The response misses to mention that Ériu runs after the orb and it takes her to a place she has never seen before.

critique: The answer omits the reason why Ériu's escape attempt brings a surprise.

critique: The light doesn't stop, it actually draws her closer

critique: The response misses to mention that the orb is the source of the light.

critique: "The climax is when Ériu's escape attempt brings a surprise: The glowing light coming from the orb stops and suddenly characters are transported to a place that Ériu has never seen before." - this is incorrect. The climax is when Ériu is running towards the orb and it explodes with light, bringing her to her knees.

critique: The response is missing some key details about the climax.

critique: The orb doesn't stop, it leads her to a place she's never seen before.

question: What does the story say about the theme of independence?

answer: No answer

critique: Ériu finds herself lost in a dark cave. The climax ("And then… She saw it… A small, burning orb, about the size of a large orange hung low in the murky air. It seemed to emanate with moxie and an animated vigor as Ériu gazed, awestruck at the sight before her. She had never seen anything like this before, nor could she ever hope to again, surely she was the first person to see something like this?") is her arriving at a new place by hanging on an orb of light and color that pulls her towards itself. It seems as though she has found a place to go, independent of where she started.

critique: The response misses to answer the question being asked.

critique: The response misses to mention that Eriu is forced to face the darkness of the cave alone, and she must depend on her own courage and instincts to find her way out.

critique: The response misses to mention that the theme of independence is seen when Ériu is lost in the cave and has to find her way out by herself.

critique: The response misses to mention that the theme of independence is seen when Ériu is lost in the cave and has to find her way out on her own.


text:
So Joel takes my condoms yesterday to make himself a literal dick head. I forgot, hit the gas station, came back tossed a big box of 12 in the glove compartment because obviously with my stamina and the fact i had pounded 2 red bulls at the gas station. i might had been up for at least half the box mind you not that they'd be filled with anything but cock from end to end but still they wear out after 20-40 mins good to switch so they don't break even the tinniest holes can cause some very significant shit. as i'm bout to turn into the street connecting to her place i get pulled over for my brights being on, get a warning cause well you make a cop half shit his pants laughing at your own stupidity they'll do that; the big ass box of mangums and the story of why i had to jump back to get them obviously didn't hurt. Get there turns out the radio silence i got 20minutes before heading out should had been my indication, that me not having called earlier in the day to scribble down times didn't sit to well. Once a brilliant man-whore, always to be, this life and next infinite loop after such. Of coarse i thought sweet words and honest intentions had smoothed out the cringing of this queens vEEga but not so much. Her mother/room mate living with her tells me she went over to a mutual friends bordelo asks me to retrieve and give a right good spanking to her, like i wasn't going to anyways. i get there right as are friend is pulling up telling me he just dropped her off back at her place. simple fix, hit the joint say my loves and fair goings. Knock and drive momma insane as she doesn't get how i can be back without her, like wise i'm surprised i could get there and still be surprised that she hadn't dropped by and immediately left again. text, text, bullshit of coarse nothing like lack of actual face/face or at least vocal communication to turn my hardest of woods into something closer the the material they make snuggies out of. to be quite honest i believe the whole things was punishment for my "inability " to remember to call her for my date though in all honesty i don't do dates, i do hanging out, casual flirting and making out are my pass times, pretending to give some1 a perfect moment as if it'd always be like that, between the shit all levels of hell are legally allowed to throw upon you daily. seems wrong, dishonest giving hope for a future that might never truly even exist. Before i actually know who you are, what your soul speaks as truth, and if my can intertwine between the cracks with mine to make them both whole. Love and lust are to different beasts. one ready to fight with a the tiniest of glances of a worthy opponent, the other nimble and weak from being beaten and broken over and over. you can only satisfy one at a time and sometimes picking the wrong one for a fight only makes them bleed harder, literally squirts of crimson even, with every beat. anyways i just meant to not call her til it was to late to do anything other then enjoy each others company and shit chat be neath the stars, that quite honestly are just waiting as much as you are to get it on. Simple, direct, no emotional roller coasters, no strapping in and bracing for imminent disaster, just two people not wanting to be alone, and isn't that really the only single grain of truth behind all the bullshit people talk just to hook up? so why hid it, why leave it in a dark corner ashamed when the thought it self is a pure instinct. Neither good nor evil its just are way to survive, to keep growing because those that fight alone, die alone always.

something that i just kept continuously pumping out when some asked me what happend to my date via FB seems like a such a waste to have it just be read by only one person. theres alot of editing obviously and structure problems but i like it, its honest i didn't have to think and make it perfect. but id love to hear any crittiqe you might have. please send all complaints to my email bloodyd4527@yahoo.com so i save them and use them for a good laugh later.

title: your head will only lie with you. Your heart will beat itself later, if you still have one.

question: What does the text say about the narrator's outlook on love?

answer: The narrator believes that love and lust are two different beasts. Love is patient and strong and lust is very fragile, but they can coexist. As such, love and lust are two different things. One is ready to fight, while the other is weak and brittle.

critique: "One is ready to fight, while the other is weak and brittle." - this is inaccurate. The narrator says love and lust are different beasts.

critique: The narrator's outlook on love is not mentioned in the text.

critique: This is not the narrator's view on love, but rather their view on dating.

critique: "As such, love and lust are two different things" is unnecessary repetition.

critique: The narrator isn't discussing love, he's discussing love and lust. This should be omitted.

question: Summarize the incident with the police officer.

answer: The narrator gets pulled over for having his brights on. He gets a warning.

critique: The narrator is also laughing at his own stupidity, which is why the cop is laughing.

critique: The narrator's explanation of why he had the condoms in the car is omitted.

critique: The narrator also explains why he has a big box of condoms in his car.

critique: The narrator's reason for getting pulled over is omitted.

critique: "brights" - is incorrect. It should be "bright lights".

critique: The narrator is not the one who gets pulled over.

question: What does the text say about celibacy?

answer: No answer

critique: The narrator may not believe this, but the story describes a lifestyle which could be considered celibate.

critique: It is omitted that the narrator believes it is wrong to give up hope for a future that might never exist.

question: Summarize the narrator's childhood.

answer: No answer

critique: The narrator's childhood is not discussed in the passage.

critique: The narrator's childhood is not mentioned in the story.

critique: The question is asking for information that is not in the passage.

critique: The narrator's childhood is not mentioned in the passage.

critique: The information can't be found, but it would be nice to include a sentence like 'No answer to the question.'


text:
The SOUND OF THE SOUTH is the official marching band of Troy University. The marching band was established in 1939 and has been referred to by its current name since 1965. The band was named by John M. Long soon after he was hired as band director. The band, now boasting over 300 members on a regular basis, has enjoyed major success in performing at hundreds of marching band competitions, dozens of different college and professional football venues, and follows the football team to almost every away game. The band's “trademark” piece that is played before every performance of the band is called “The Fanfare” and was written by John M. Long in 1965.

Early history

The Troy University Band has been a part of the university since 1939 when Lawrence Peterson was appointed the first director in the newly formed band at what was then Troy State Teacher's College. A year later the marching band made its first public appearance during the 1940 Homecoming festivities. Peterson held his position for seven years and in 1947 Gilbert Stephenson accepted the position as the school's second director. The following year brought many changes for the band including the first show with marching uniforms, the first guest appearance (by Dr. Paul Yoder), and the first spring band festival in 1948. In 1953 the band hired its third director, John P. Graham. Two years following, in 1955, James Patrenos was appointed as fourth director of the then Troy State College band. In 1960 Richard Melvin was selected to replace Patrenos and became the band's fifth director. Dr.Carl Vollrath held the position of Interim Director from 1964–1965.

The band as it is known today (“Sound of the South”) was founded in 1965 by John M. Long. In addition to building what has become a nationally recognized band program, he has also served in his tenure as the Dean of the College of Arts and Sciences, Dean of the School of Fine Arts and special assistant to Chancellor Dr. Ralph Adams. He was one of the first bandmasters in the Southern United States to be elected as president of the prestigious American Bandmasters Association. In 1996, he was elected to the National Band Association Hall of Fame of Distinguished Band Conductors. It was during the thirty-two year tenure of Johnny Long, as he was commonly referred to, that the band program at Troy University established a prominent national reputation through its many featured appearances at music conventions, concert tours and recordings with the symphony band, as well as several nationally televised appearances with the “Sound of the South” Marching Band.

Recent history

[Troy University's Sound of the South performing their halftime show at the 2006 New Orleans Bowl.]

The “Sound of the South” plays halftime shows at all Troy home football games and many of the away games; Some recent trips have been to the University of Nebraska, University of Miami, University of Arkansas, Mississippi State University, University of Florida, and the University of Georgia. The “Sound” has been featured at numerous bowl games, including the Peach Bowl, the Senior Bowl, the Blue–Gray Football Classic, the R+L Carriers New Orleans Bowl, and most recently the Dollar General Bowl. The band has also been featured in halftime performances for the Atlanta Falcons, Miami Dolphins, New Orleans Saints and Tampa Bay Buccaneers. Over the past few years, the band has performed for over 500,000 fans.

Directors of the Sound of the South

-   John M. Long (1965–1996)
-   Ralph Ford (_interim_) (1996–1997)
-   Robert W. Smith (1997–2001)
-   Ralph Ford (2001–2010)
-   Mark J. Walker (2010–present)

Recordings

The band has recorded for the Warner Bros. Records Marching Band Promotional Compact Disc since 1998, which is distributed to over 38,000 bands. This is thanks in part to former director of bands Ralph Ford who has composed and arranged over 130 pieces of music for symphonic band, concert band, jazz band, and marching band 1.

title: Sound of the South Marching Band

question: What does the article say about the history of marching bands in the US?

answer: No answer

critique: The answer should mention that the article does not mention anything about the history of marching bands in the US.

question: What does the text say about the future of marching bands?

answer: No answer

question: Summarize the kinds of events for which a marching band might perform.

answer: The "Sound of the South" marching band from Troy University has made many appearances at different kinds of events. One of the events they are known for is their halftime shows at football games. They have performed in many other halftime shows as well. The band also has many performances that are not halftime shows, such as their performances of their "trademark" piece, The Fanfare. This piece is a prelude to the band's performance at all of the events the band plays.

critique: It is not mentioned in the passage that the band has many performances that are not halftime shows, such as their performances of their "trademark" piece, The Fanfare. This piece is a prelude to the band's performance at all of the events the band plays.

critique: "This piece is a prelude to the band's performance at all of the events the band plays." - this is incorrect. The "trademark" piece is not a prelude to the band's performance. It's the "Fanfare" and it's a prelude to the band's performance at all of the events the band plays.

critique: The highlighted portion does not champion anything relating to their events. The "-such as their performances of their "trademark" piece, The Fanfare. This piece is a prelude to the band's performance at all of the events the band plays." is somewhat disconnecting from the previous responses.

critique: The answer should mention the band's other performances.

critique: "This piece is a prelude to the band's performance at all of the events the band plays." - this is incorrect. The Fanfare is a prelude to the band's performance at all of the events the band plays.

critique: The answer is a bit confusing. It should be rewritten.

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

question: Describe the succession and roles of the band directors/leaders in the early history of the Sound of the South.

answer: Lawrence Peterson was the first director of the band in 1939. He held the position for seven years. In 1947, Gilbert Stephenson accepted the position as the school's second director. In 1953, John P. Graham was hired as the third director. In 1955, James Patrenos was appointed as the fourth director. In 1960, Richard Melvin was selected to replace Patrenos. Dr. Carl Vollrath was the interim director from 1964-1965.

critique: The answer omits the name of the band's first director.

critique: The answer should mention the band's name change.

critique: The response fails to mention that the band was formed in 1965 by John M. Long.

critique: The answer omits the tenure of John M. Long.

critique: forgot to mention John Long is the founder at the time of this response


text:
“Is that seat open?”
a moments pause....
“I said, is that seat open?”

The man two seats away quickly got up and left instead of answering the guy’s question.
Who asks random people if the other seat at a sit-down restaurant is open? The questioner, a rather tall man with a thick brown beard and wearing a white tee with a rather large yellow stain towards the bottom, had been making a circuit of the room asking each table if their seat was open.

 Maybe I should just leave the room before the guy gets to me. I really hate these awkward moments with anybody and will do nearly anything to avoid them. In fact, I didn’t even really know why I was still here. I had finished my meal and was just sitting here drinking my coffee watching this guy make his way around..As he drew closer, I went back to my newspaper and flipped to the sports section, hoping he wouldn’t notice me.

“Is that seat open?”
“what?.... No, no it’s not open.” He sits across from me anyways and immediately grabbed my paper and started reading it. Everyone was staring. After about a minute in he looked up.
“I saw that no one was sitting with you and was planning on sitting with you a little bit after I entered the restaurant.” He calmly said this as he was turning my newspaper around.
“Why do you read the newspaper at night? Isn’t it typically more of an early morning ritual for people?” I just glared at him. Why can’t he just leave me alone?

“Why are you here, sitting with me? What if I was waiting for someone?” He ignored me and continued flipping through the news. This continued for at least another minute and I would’ve stopped him but honestly I didn’t even know how to go about stopping him. After a few moments he abruptly slapped the paper down and looked me in the eyes.

“I really like this restaurant, and I don’t like eating alone. You looked bored so I decided I would sit with you, besides who goes to a sit-down restaurant and eats alone?”

“Well, I enjoy eating alone; it allows me time to think.”

“You’re a pensive fellow; I bet you live by yourself” He said quickly as he was pointing at my bare left ring finger. “And, I bet you don’t have a girlfriend because who has a sit-down meal on a Saturday night by himself?”

“Two of us clearly.”

“Hahaha! You know I wasn’t planning on eating alone when I came in here. You did see me ask all of those people, didn’t you?” There was a pause as i drank my coffee and gave him the point. At this point i didn’t see a point in trying to take it from him.

“Tom, is it alright if i call you Tom? You look like a Tom.”
“My name isn’t Tom; it’s …” He just barreled on his way.
“Right Tom, I’m going to order a drink. Do you want a drink? You know what? I’m just going to get you one too. I hate drinking alone” As he said this he waved the waiter over and ordered two drinks and then looked back down at the paper for a bit.

“You know you didn’t have to buy me that. I make plenty of money from my accounting job and my name isn’t Tom; it’s....”

“Listen, I don’t want to sound rude, but i honestly don’t give a rat’s ass what your name is or what you do for a living. I just wanted to come here and buy somebody something.” The drinks came and he grabbed his and downed it in a few gulps. I just sipped at mine and stared across the table at him.

A drink later, he spoke up again.
“Am I making you uncomfortable?”

“Yes, well not really anymore.” Everyone had stopped staring, and i was approaching the end of my first drink.

“Why am I making you uncomfortable? Is it that I’m wearing this ugly, stained white tee when I came in or was it that you were one of the last tables i asked? (I assure you if you’re worrying that I chose tables in no particular order, so it is nothing against you). In fact, if you’ll permit me to say...”
“It doesn’t look like i have a choice.”
“No, no of course not. Anyways Tom, I was going to say that you would make a rather splendid first impression if you talked more. But back to my original question. Why am i making you uncomfortable?” I paused for a few moments and took a sip to buy me more time.

“well.... I don’t know. It’s just when i came here i was sort of making the decision to eat here by myself and then you showed up and ruined my night.”

“I don’t think that is the real reason and it insults me when you say that ‘i’ ruined your night. Tom ma’ boy, it was an admirable lie you told me there. I bet you don’t even realize it was a lie. Allow me to explain.”
“Please do.”
“You’re, quite simply, uncomfortable with me crushing your social norms. You’re so used to life just happening for you. I bet you majored in something that would be ‘useful’ outside of college and would have an immediate job waiting for you because you were too scared to try something different. And to top it off, I bet you really didn’t even necessarily make that decision yourself. You allowed yourself to get talked into it, just like you’ve allowed me to call you Tom for the past 15 minutes when your name clearly isn’t Tom.”

I was quiet for another minute thinking about what he said. As i was about to open my mouth with a reply, he launched onwards.

“I think you were alone tonight because you plainly haven’t just gone up and asked anybody out to come eat with you. You sat here with your paper killing time, really just waiting for someone, anyone, to come talk to you.” Another pause as he gulped down the glass of water the waiter brought, letting it spill all down the front of him in a rather disturbing manner.

 I quickly got out my wallet gave him five dollars.
“Thank you for the drinks but i really have to go.”
“Of course you do.... Goodnight Tom.”
“Good bye.”
I turned and hurried out into the night.

title: Sit-Down Dinners

question: Summarize the plot of the story.

answer: The main character is sitting alone in a restaurant, just minding his own business, enjoying his meal and his back to his friends. A man approaches him where the main character lives alone, calling him "Tom". He says he ordered the drink without his permission and complains. The main character says "my name is not Tom" and flips the conversation back to him and questions his reasons for buying him a drink. The main character calls it an admirable lie that "I" ruined his night. An hour later he gets up to leave, but he's made the other person, who calls him Tom, uncomfortable. The man questions the main character's decisions. He jokes about how the main character has no reason to be uncomfortable around him, though in reality he made him feel uncomfortable. The main character leaves for a drink another time.

critique: This answer does not make sense. The man does not order a drink for the narrator. The narrator gets up and leaves.

critique: The response contains inaccurate information.

critique: The answer nothing to do with the story and should be removed.

critique: The second sentence is not in the story.

critique: The response misses to include the last part of the story where the main character leaves the man's company.

critique: The narrator calls the man Tom, not the man calling him Tom.

critique: The summary is not coherent and needs to be re-written.

critique: The narrator leaves for a drink after the man leaves.

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

critique: The ending is nonexistent and must be constructed from the information given.

critique: Lots of irrelevant details about the story

question: What does the text say about the narrator?

answer: The narrator is a pompous snob who enjoys reading the newspaper while eating alone at a restaurant. The narrator wants to avoid other people and loathes awkward situations. However, that didn't stop the narrator from gazing at the people who ate with them.

critique: The answer is misleading because there is no evidence to show he really read his newspaper whilst eating.

critique: The narrator is not a pompous snob. The narrator is a rather quiet guy who enjoys eating alone and reading a newspaper.

critique: The last sentence should be rephrased because it is confusing the events of the story and the narrator's life.

critique: The response misses to mention that the narrator is a young man who has a job as an accountant.

critique: The part about the narrator glaring at the other diners isn't accurate. The story also doesn't include that information.

critique: There is no evidence that the narrator is a pompous snob, although some of the behaviors and comments of the man who sat at the narrator's table can be taken as pompous.

critique: The narrator does not gaze at the people who eat with them.

critique: Gaze at people while eating is not mentioned in the text.

critique: The narrator was not gazing at people eating with him.

critique: The article never mentions that the narrator stares at the people with them. This part should be omitted from the answer.

question: Summarize the conversation the narrator has with the stranger.

answer: The stranger begins to ask each table if a seat is available in the restaurant. When he approaches the narrator, the narrator feigns interest in studying his newspaper. As a response, the stranger reads the newspaper and does not answer the narrator's question when he asks "why is that seat open?" The rest of the conversation continues the same way. The stranger continues to ask the narrator to join him, stating that the narrator is lonely. The stranger also takes an interest in the narrator's career, asking him if he made decision of his life by compromising with others, as well as noting that he is wearing ugly clothes. The stranger then insinuates that the narrator never took the opportunity to socialize before.

critique: "feigns interest in studying his newspaper." - This is incorrect. The narrator actually did read his newspaper.

critique: It is incorrect that the stranger asks why the seat is open. The stranger is the one who asks if the seat is open.

critique: The answer should mention that the stranger believes the narrator has not been socializing because he's been waiting for someone to approach him.

critique: 'The rest of the conversation continues the same way. The stranger continues to ask the narrator to join him, stating that the narrator is lonely. The stranger also takes an interest in the narrator's career, asking him if he made decision of his life by compromising with others, as well as noting that he is wearing ugly clothes. The stranger then insinuates that the narrator never took the opportunity to socialize before.' is redundant and should be omitted.

critique: "The rest of the conversation continues the same way. The stranger continues to ask the narrator to join him, stating that the narrator is lonely. The stranger also takes an interest in the narrator's career, asking him if he made decision of his life by compromising with others, as well as noting that he is wearing ugly clothes. The stranger then insinuates that the narrator never took the opportunity to socialize before." - this is inaccurate. The stranger never insinuated that the narrator never took the opportunity to socialize before.

critique: The narrator asks the stranger if the seat is open.

critique: The narrator did not feign interest in studying his newspaper.

critique: The narrator doesn't ask the stranger why the seat is open.

critique: "The rest of the conversation continues the same way." This sentence never happened. Replace this sentence with a summary of what they talk about.

critique: It is wrongly stated that there's a conflict of the narrator's will to having the stranger to leave him.

critique: The question is about the conversation, not about the narrator.

critique: The narrator's question is not answered.

critique: "The rest of the conversation continues the same way." - this is inaccurate. The rest of the conversation does not continue the same way.

critique: The narrator is not feigning interest in the newspaper.

text:
- The stranger did not continuously ask the narrator to join him.
- Neither did he take an interest in the narrator's career.
- The last sentence is also false.
- The entire narration here is disjointed and makes little sense.

refinement: The stranger begins to ask each table if a seat is available in the restaurant. When he approaches the narrator, the narrator feigns interest in studying his newspaper. As a response, the stranger reads the newspaper and does not answer the narrator's question when he asks "why is that seat open?" The rest of the conversation continues the same way. The stranger continues to ask the narrator to join him, stating that the narrator is lonely. The stranger also takes an interest in the narrator's career, asking him if he made decision of his life by compromising with others, as well as noting that he is wearing ugly clothes. The stranger then insinuates that the narrator never took the opportunity to socialize before.

question: Summarize the stranger's unusual behavior.

answer: He comes right up to the stranger and rudely requests a seat. He persists in this behavior, walking around without stopping to mentally and physically impose himself on each table. The stranger feels like the man is proving a point, and doesn't have a place to sit at. He doesn't seem to care about his manners and manners are an important part of socialization.

critique: The answer makes up its own interpretation of the story.

critique: The answer should mention that the man is also trying to get someone to talk to.

critique: While the stranger may feel annoyed, it is not accurate to say that manners are an important part of socialization.

critique: The stranger doesn't feel like the man is proving a point.

critique: The man is not rude. He is just very direct.

critique: The man doesn't persist in this behavior. He asks a few people if their seats are open, and then sits down with the narrator.

critique: "the man is proving a point" - is wrong phrase usage.

critique: The man is not "walking around without stopping to mentally and physically impose himself on each table."

critique: The stranger is making a circuit of the room not walking around the room.

critique: He eventually sits with the stranger at a table that the waiter set up. He doesn't care what the ritual is or the rules at restaurants.

critique: It's omitted that the man is rude and invasive.

critique: The response contains inaccurate information.

critique: he interrupting the man's thoughts could be included

critique: There's no evidence to suggest that the man is proving a point. It should be replaced with the following: "He persists in this behavior, walking around without stopping to mentally and physically impose himself on each table. The stranger feels like the man is proving a point, and doesn't have a place to sit at. He doesn't seem to care about his manners and manners are an important part of socialization."


text:
The FORT OF SANTA CATARINA (also known as the _Fort of Santa Catarina de Ribamar_) is a medieval fort situated in the civil parish of Portimão, in the municipality of Portimão in Portuguese Algarve. The structure was considered one of the last Philippine military projects in the Algarve, erected to defend the peninsula from pirates and privateers, as well as military invasions. Its construction is one of the better examples that work of Alexandre Massai, a military engineer who toured the Algarve (between 1617 and 1621) to reinforce numerous military fortifications along the coast.

History

The origins of the Fort of Santa Catarina are still debated. Some authors point to a 15th-century origin, during the reign of King John III or Sebastian, although few proofs have been identified, except for a small chapel dedicated to Catherine of Alexandria.[1][2]

In 1621, during the Iberian Union, Alexandre Massai, leading a committee of hundreds of specialists traveled the mouth of the Arade River, in order to find the best site for the construction of a fortress to defend the lands along the southern extent of the River.[3] At the time many of the older medieval castles of Ferragudo and Portimão were already unable to support the defense of the coast to these limits, from pirates, corsairs and maritime invasions.[4] The obvious choice at the time was along the edge of Praia da Rocha (referred to as _Ponta de Santa Catarina_) where a hermitage had once existed (and had been integrated in to a new fort) along the southern extent of Portimão's territory.[5]

Various arguments have been suggested for this location, to the detriment of a proposed fortress sited further into the interior (likely in Ferragudo): the site offered better sight-lines, a greater access to potable water, and especially its privileged connection with Portimão, thereby determining its selection over other sites.[6][7]

In 1621, Massai designed three proposed plans for the fortifications, all of which included an ample northern facade to serve as the principal entrance-way to the structure.[8][9] The construction of the fortification began eight years later, in 1629, and was terminated in 1633 (relatively rapid for the time). Unfortunately, many of these elements were lost in successive years, owing to the alterations in design and function at the fort.[10] Of the original 17th-century project, only the front facade, organized around three symmetrical walls, with the central/main entrance recessed.[11] This front facade is constructed of large pilasters and lintel made from large blocks of round rock, conferring on a monumental structure, while the rest of the structure, in contrast, is relatively less grand. Also part of the project was a raised bridge, whose elements today no longer exist.

The 1755 Lisbon earthquake damaged the fortress, with the public works to reconstruct the structure divided into a period immediately after the event (essential repairs), while the remainder was carried out in the 1790s.[12][13][14]

A profound remodeling of the space was accomplished during the 20th century, influenced by the development of tourism in the region; on 23 July 1946, a dispatch handed the property over to the Municipal Commission for Tourism of Portimão (_Comissão Municipal de Turismo de Portimão_).[15] The interior was divided into a post for the Guarda Fiscal and Captaincy of Portimão (who partnered in the construction of the new buildings), as well as a space for a lookout.[16][17] This last project occurred in the 1960s, and occupied a zone originally part of the battery, facing the sea in the extreme southeast corner of the building.[18][19] During these projects the walls and base of the fortress were reinforced using modern techniques, which permitted the expansion of the area devoted to the lookout.[20][21] In parallel, the progressive expansion of the beach meant that the fort could be used to support Praia da Rocha, including a restaurant and esplanade.[22][23]

In 1969 an earthquake provoked damages and repairs to the building; in addition to the construction of reinforced concrete lintels, the braces and pillars were consolidated, repairs were made to the wall panels, grouting of cracks and plaster reconstruction were completed and the roofing was repaired, while the doors and frames were all painted.

Architecture

Situated in the urban context of Portimão, on the extreme eastern portion of the Praia da Rocha, it is accessible by a staircase implanted into the cliffs. This fort defended the local settlements and the estuary of the Arade River, in conjunction with the Fort of São João do Arade on the opposite bank of the river in Ferragudo.

The fort is a trapezoidal plan, with the main gate oriented towards land, between battlements separated by ramps. The interior dependencies have been adapted into cafetaria and lookout; these spaces are single-height buildings consisting of rectangular spaces with doors, windows and tiled roofs with chimneys. A wall that is opened by seven arches separates the interior spaces from the walled lookout over the beach. The curtain of walls provides access to the beach by the staircase.

[1]

[2]

[3]

[4]

[5]

[6]

[7] Valdemar Coutinho (1997), p.124

[8]

[9] Valdemar Coutinho (2001), p.134

[10]

[11]

[12]

[13]

[14] Maria da Graça Mateus Ventura and Maria da Graça Maia Marques (1993), p.41

[15]

[16]

[17]

[18]

[19]

[20]

[21]

[22]

[23]

title: Fort of Santa Catarina (Portimão)

question: What does the text say about other Philippine military projects in the Algarve?

answer: No answer

critique: The text says that the Fort of Santa Catarina is one of the last Philippine military projects in the Algarve.

critique: The answer should mention Alexandre Massai's work.

critique: The text does not say anything about other Philippine military projects in the Algarve.

critique: The text does mention other Philippine military projects in the Algarve.

critique: It incorrectly lists that there is no answer, however the text does state other Philippine military projects in the Algarve.

text: The answer does not mention the Fort of São João do Arade.

category: coverage

question: What does the text say about the Fort of Santa Catarina's engineer?

answer: Alexandre Massai was a military engineer who toured the Algarve between 1617 and 1621 to reinforce numerous military fortifications along the coast. He was the leader of a committee of hundreds of specialists who traveled the mouth of the Arade River in 1621 to find the best site for the construction of a fortress to defend the lands along the southern extent of the River. Massai designed three proposed plans for the fortifications, all of which included an ample northern facade to serve as the principal entrance-way to the structure. The construction of the fortification began eight years later, in 1629, and was terminated in 1633.

critique: The answer should mention that Massai's work on the fort was lost in successive years.

critique: It is omitted that some of his work is lost in successive years after the alterations in design and function at the fort.

critique: The answer omits that Massai was one of the best examples of the work of Alexandre Massai.

critique: The answer should mention that the construction of the fort was terminated in 1633.

critique: The answer omits the damage done to the fort by the 1755 Lisbon earthquake.

critique: The answer omits the 1755 Lisbon earthquake and the 20th century remodeling of the fortress.

question: What does the text say about the fort's architecture?

answer: The fort is a trapezoidal plan, with the main gate oriented towards land, between battlements separated by ramps. The interior dependencies have been adapted into cafetaria and lookout; these spaces are single-height buildings consisting of rectangular spaces with doors, windows, and tiled roofs with chimneys. A wall that is opened by seven arches separates the interior spaces from the walled lookout over the beach. The curtain of walls provides access to the beach by the staircase.

critique: The answer misses to mention that the fort is accessible by a staircase implanted into the cliffs.

critique: It's omitted that the fort is situated in Portimão, on the coast and has access via a staircase in a cliff.

critique: The answer should mention the earthquake damage.

critique: The article doesn't mention the fort's architecture.

critique: The answer should mention the staircase implanted into the cliffs.

critique: The answer should mention the staircase.

critique: The answer omits the fort's construction.

question: What does the text say about the earthquakes that damaged the Fort of Santa Catarina?

answer: The 1755 Lisbon earthquake damaged the fortress. The public works to reconstruct the structure were divided into a period immediately after the event, while the remainder was carried out in the 1790s. An earthquake in 1969 also damaged the building. The fort was repaired in the 1960s using modern techniques.

critique: The second and third part are unnecessary information.

critique: The 1969 earthquake is not mentioned in the text.

critique: The answer omits the earthquake in 1621.

critique: The fort was repaired in the 1960s, not the 1960s.

critique: The 1969 earthquake is not relevant to the question.

text: The last sentence is not stated.