TASK DEFINITION: Write the right answer to the question based on the context passage.
PROBLEM: "Please remember me to myself!"
When sliding toward mania in 2016, I begged this of my therapist. He cocked his head.
"What do you mean?"
I had no idea—on a conscious level—what I was asking for, just that I felt in a desperate sense that the self I knew was slipping away. An inability to recognize myself either in my writing or in reflecting upon my own actions was taking over.
And then…? I didn't care.
I wanted to kiss girls.
Which is fine—just not something I ordinarily do.
I wanted to drink, smoke.
Again, fine—but not something I ordinarily do.
"Do I seem…okay?" I asked a colleague at work. A woman I barely knew. Insanely, I thought that since she worked with disabled students, many of whom struggled with mental illness, she would know mania when she saw it.
This was a rather foolish assumption—especially since she's an educator, not a psychiatrist, especially with how skilled I am at wearing the mask of calm, the face of sanity.
"You seem great, Julie. Cheery. Professional as always."
I let her reassurance placate me. Wanted to be placated.
Yet, within months I lost my job. And not only that, but a chance at a scholarship, two really important long term friendships—relationships I'd enjoyed since high school. I was hospitalized three times between September and February. I lost my ability to trust myself, lost my mind.
It is now a little over two years since I first felt that sliding. Twenty-six months since I knew that somewhere in the deepest parts of who I am, I was slipping. Nine seasons since I begged Dr. Poe, "Remember me to myself!"
I'm still recuperating.
Yes.
I have felt like I wasn't me. Question: What did Julie ask her colleague at work?

SOLUTION: "Do I seem okay?"

PROBLEM: WASHINGTON — In 2004, Desmond Meade, while serving a 15-year prison sentence for a drug offense in Florida, got a break. An appeals court returned his conviction to the original trial bench, allowing him to plead guilty to a lesser charge and get out of prison in three years, most of which he had already served.
But his freedom came with a price, something that didn't quite register with him at the time: as part of his plea agreement with prosecutors, Meade agreed to give up his civil rights: the right to vote, to serve on a jury and to run for office.
"At the time, when I first accepted the plea deal, I didn't understand the consequences," Meade says.
Fourteen years and a pair of college and law degrees later, Meade, now 50, still can't vote; his application to regain his civil rights was rejected in 2011. The reason: a new Florida law that requires felons like him to wait for seven years before they could apply for rights restoration.
Home to nearly a quarter of the nation's disenfranchised felons, Florida has become a battleground in a national debate over felony disenfranchisement laws. With lawmakers deeply divided over the issue, Meade says he wants the state's voters to change the system when they head to the polls on Nov. 6.
He's promoting a ballot initiative that would amend the state's constitution, restoring the voting rights of all felons in Florida (except those convicted of murder and sexual assault) after they've completed the terms of their sentence.
The measure enjoys broad voter support. A Quinnipiac University poll conducted in February showed that 67 percent of Floridians were in favor of restoring the voting rights of felons other than those convicted of murder and sexual assault. Another poll showed support at 71 percent.
"We're going to change the system," Meade says confidently. "What we're doing is taking the power out of the hands of politicians and we're allowing the citizens of the state of Florida to decide whether or not folks should have a second chance, to be able to vote." Question: Who got a law degree?

SOLUTION: Meade

PROBLEM: Think outside the box, whilst inside the box (studio):
As this studio is about working with constraints, I thought i'd google ‘constraints in filmmaking' and see what comes up. One of the first links was to a journal article by Heidi Philipsen entitled ‘Constraints in Film Making Processes Offer an Exercise to the Imagination'. Interestingly enough the first sentence of her article states: "I would like filmmakers interested in thinking "outside the box" to recognize that they can benefit from being placed "inside a box." I wonder if Paul had contemplated this whilst choosing the name for this studio.
Throughout her article Philipsen challenges the notion that creativity is an intangible innate quality, existing within the mind of one source, but rather creativity arises from a multitude of sources. Alike all things shared she suggests that creativity is easier to enhance by changing environmental conditions, rather than encouraging people to ‘think more creatively'. Perceiving creativity in this way allows you to see it as an organisationally influenced phenomenon, rather than a psychological  and individual phenomenon. Which enables you to have more control over creativity and to encourage creativity once being aware of how it can be environmentally enhanced. As Csikzentmihalyi (1996) states "a genuinely creative accomplishment is almost never the result of a sudden insight, a lightbulb flashing on in the dark, but comes after years of hard work".
Constraints, as Philipsen suggests is one such way to manipulate the environment to enhance creativity. Students who attended The Film School in Denmark, who were forced into working with constraints for their  projects eventually considered constraints to be both useful and inspirational. Such constraints included: making a scene with a specific theme, within a specific deadline and with other specific conditions concerning the use of camera, sound, actors etc. Students stated that these constraints ultimately made them feel secure, inspired and focused and encouraged them to become more experimental as each student wanted to make their own ‘personal film' and not the same kind of film as each of the other students. As many students stated it would have been much more difficult to make a film WITHOUT constraints than with. For it would have increased both the overwhelming options and the associated anxiety. Question: Who ate the cake

SOLUTION:
john

