Have a deep view into what people are curious about.

🔗 Politics

In political jargon, a self-licking ice cream cone is a self-perpetuating system that has no purpose other than to sustain itself. The phrase appeared to have been first used in 1992, in On Self-Licking Ice Cream Cones, a paper by Pete Worden about NASA's bureaucracy. James A. Vedda described it as "Why do humans go into space? So we can go farther into space!"

Since then, the term has been used to describe the habit of government funded organisations and programs spending taxpayer money to lobby for more funding from the taxpayer. Other things compared have included financial bubbles, chatshows and reality television. In The Irish Times, Kevin Courtney observed that "many organisations are also stuck in limbo, destined to keep lurching on without ever achieving their stated goal. That’s because their real goal is simply to carry on regardless." The Cold War infrastructure has also been compared to a self-licking ice cream cone, given that expensive projects continued to be financed long after world communism had ceased to pose a viable threat.

Richard Hoggart used the term to describe certain United Nations programmes.

In sport, the Bowl Alliance was criticised using the term.

🔗 Caves

Snottite, also snoticle, is a microbial mat of single-celled extremophilic bacteria which hang from the walls and ceilings of caves and are similar to small stalactites, but have the consistency of nasal mucus. In the Frasassi Caves in Italy, over 70% of cells in Snottite have been identified as Acidithiobacillus thiooxidans, with smaller populations including an archaeon in the uncultivated 'G-plasma' clade of Thermoplasmatales (>15%) and a bacterium in the Acidimicrobiaceae family (>5%).

The bacteria derive their energy from chemosynthesis of volcanic sulfur compounds including H₂S and warm-water solution dripping down from above, producing sulfuric acid. Because of this, their waste products are highly acidic (approaching pH=0), with similar properties to battery acid. Researchers at the University of Texas have suggested that this sulfuric acid may be a more significant cause of cave formation than the usual explanation offered of the carbonic acid formed from carbon dioxide dissolved in water.

Snottites were brought to attention by researchers Diana Northup and Penny Boston studying them (and other organisms) in a toxic sulfur cave called Cueva de Villa Luz (Cave of the Lighted House), in Tabasco, Mexico. Snottites were first discovered in this cave by Jim Pisarowicz in 1986, who also coined the term.

The BBC series Wonders of the Solar System saw Professor Brian Cox examining snottites and positing that if there is life on Mars, it may be similarly primitive and hidden beneath the surface of the Red Planet.

🔗 Computer science

Pearson hashing is a hash function designed for fast execution on processors with 8-bit registers. Given an input consisting of any number of bytes, it produces as output a single byte that is strongly dependent on every byte of the input. Its implementation requires only a few instructions, plus a 256-byte lookup table containing a permutation of the values 0 through 255.

This hash function is a CBC-MAC that uses an 8-bit substitution cipher implemented via the substitution table. An 8-bit cipher has negligible cryptographic security, so the Pearson hash function is not cryptographically strong, but it is useful for implementing hash tables or as a data integrity check code, for which purposes it offers these benefits:

• It is extremely simple.
• It executes quickly on resource-limited processors.
• There is no simple class of inputs for which collisions (identical outputs) are especially likely.
• Given a small, privileged set of inputs (e.g., reserved words for a compiler), the permutation table can be adjusted so that those inputs yield distinct hash values, producing what is called a perfect hash function.
• Two input strings differing by exactly one character never collide. E.g., applying the algorithm on the strings ABC and AEC will never produce the same value.

One of its drawbacks when compared with other hashing algorithms designed for 8-bit processors is the suggested 256 byte lookup table, which can be prohibitively large for a small microcontroller with a program memory size on the order of hundreds of bytes. A workaround to this is to use a simple permutation function instead of a table stored in program memory. However, using a too simple function, such as T[i] = 255-i, partly defeats the usability as a hash function as anagrams will result in the same hash value; using a too complex function, on the other hand, will affect speed negatively. Using a function rather than a table also allows extending the block size. Such functions naturally have to be bijective, like their table variants.

The algorithm can be described by the following pseudocode, which computes the hash of message C using the permutation table T:

algorithm pearson hashing is
    h := 0

    for each c in C loop
        h := T[ h xor c ]
    end loop

    return h

The hash variable (h) may be initialized differently, e.g. to the length of the data (C) modulo 256; this particular choice is used in the Python implementation example below.

🔗 Occupational Safety and Health 🔗 Scuba diving

An incident pit is a conceptual pit with sides that become steeper over time and with each new incident until a point of no return is reached. As time moves forward, seemingly innocuous incidents push a situation further toward a bad situation and escape from the incident pit becomes more difficult. An incident pit may or may not have a point of no return such as an event horizon.

It is a term used by divers, as well as engineers, medical personnel, and technology management personnel, to describe these situations and more importantly to avoid becoming ensnared.

🔗 Korea 🔗 China 🔗 East Asia 🔗 Writing systems 🔗 Japan 🔗 Japan/History 🔗 Japan/Culture 🔗 Korea/one or more inactive working groups 🔗 Japan/Education

The Thousand Character Classic (Chinese: 千字文; pinyin: Qiānzì Wén), also known as the Thousand Character Text, is a Chinese poem that has been used as a primer for teaching Chinese characters to children from the sixth century onward. It contains exactly one thousand characters, each used only once, arranged into 250 lines of four characters apiece and grouped into four line rhyming stanzas to make it easy to memorize. It is sung, much as children learning the Latin alphabet sing an "alphabet song." Along with the Three Character Classic and the Hundred Family Surnames, it has formed the basis of literacy training in traditional China.

The first line is Tian di xuan huang (traditional Chinese: 天地玄黃; simplified Chinese: 天地玄黄; pinyin: Tiāndì xuán huáng; Jyutping: tin1 dei6 jyun4 wong4; lit. 'Heaven and Earth Dark and Yellow') and the last line, Yan zai hu ye (焉哉乎也; Yān zāi hū yě; yin1 zoi1 fu4 jaa5) explains the use of the grammatical particles "yan", "zai", "hu", and "ye".

🔗 Shipwrecks

In maritime law, flotsam, jetsam, lagan, and derelict are specific kinds of shipwreck. The words have specific nautical meanings, with legal consequences in the law of admiralty and marine salvage. A shipwreck is defined as the remains of a ship that has been wrecked—a destroyed ship at sea, whether it has sunk or is floating on the surface of the water.

🔗 Politics

Liquid democracy is a form of delegative democracy whereby an electorate has the option of vesting voting power in delegates as well as voting directly themselves. Liquid democracy is a broad category of either already-existing or proposed popular-control apparatuses. Voters can either vote directly or delegate their vote to other participants; voters may also select different delegates for different issues. In other words, individual A of a society can delegate their power to another individual B – and withdraw such power again at any time.

Liquid democracy lies between direct and representative democracy. In direct democracy, participants must vote personally on all issues, while in representative democracy participants vote for representatives once in certain election cycles. Meanwhile, liquid democracy does not depend on representatives but rather on a weighted and transitory delegation of votes. Liquid democracy through elections can empower individuals to become sole interpreters of the interests of the nation. It allows for citizens to vote directly on policy issues, delegate their votes on one or multiple policy areas to delegates of their choosing, delegate votes to one or more people, delegated to them as a weighted voter, or get rid of their votes' delegations whenever they please.

Most of the available academic literature on liquid democracy is based on empirical research rather than on specific conceptualization or theories. Experiments have mostly been conducted on a local-level or exclusively through online platforms, however polity examples are listed below.

🔗 Internet culture 🔗 Skepticism 🔗 Alternative Views 🔗 Paranormal

John Titor (May 5, 6 or 7, 1998) is a name used on several bulletin boards during 2000 and 2001 by a poster claiming to be an American military time traveler from 2036. Titor made numerous vague and specific predictions regarding calamitous events in 2004 and beyond, including a nuclear war, none of which came true. Subsequent closer examination of Titor's assertions provoked widespread skepticism. Inconsistencies in his explanations, the uniform inaccuracy of his predictions, and a private investigator's findings all led to the general impression that the entire episode was an elaborate hoax. A 2009 investigation concluded that Titor was likely the creation of Larry Haber, a Florida entertainment lawyer, along with his brother Morey, a computer scientist.

🔗 Books

The Opium of the Intellectuals (French: L'Opium des intellectuels) is a book written by Raymond Aron and published in 1955. It was first published in an English translation in 1957.

🔗 Professional sound production 🔗 Record Production 🔗 The Beatles 🔗 Pop music

The Wall of Sound (also called the Spector Sound) is a music production formula developed by American record producer Phil Spector at Gold Star Studios, in the 1960s, with assistance from engineer Larry Levine and the conglomerate of session musicians later known as "the Wrecking Crew". The intention was to exploit the possibilities of studio recording to create an unusually dense orchestral aesthetic that came across well through radios and jukeboxes of the era. Spector explained in 1964: "I was looking for a sound, a sound so strong that if the material was not the greatest, the sound would carry the record. It was a case of augmenting, augmenting. It all fit together like a jigsaw."

A popular misconception holds that the Wall of Sound was created simply through a maximum of noise and distortion, but the method was actually more nuanced. To attain the Wall of Sound, Spector's arrangements called for large ensembles (including some instruments not generally used for ensemble playing, such as electric and acoustic guitars), with multiple instruments doubling or tripling many of the parts to create a fuller, richer tone. For example, Spector often duplicated a part played by an acoustic piano with an electric piano and a harpsichord. Mixed well enough, the three instruments would then be indistinguishable to the listener.

Among other features of the sound, Spector incorporated an array of orchestral instruments (strings, woodwind, brass and percussion) not previously associated with youth-oriented pop music. Reverb from an echo chamber was also highlighted for additional texture. He characterized his methods as "a Wagnerian approach to rock & roll: little symphonies for the kids". The combination of large ensembles with reverberation effects also increased the average audio power in a way that resembles compression. By 1979, the use of compression had become common on the radio, marking the trend that led to the loudness war in the 1980s.

The intricacies of the technique were unprecedented in the field of sound production for popular music. According to Beach Boys leader Brian Wilson, who used the formula extensively: "In the '40s and '50s, arrangements were considered 'OK here, listen to that French horn' or 'listen to this string section now.' It was all a definite sound. There weren't combinations of sound and, with the advent of Phil Spector, we find sound combinations, which—scientifically speaking—is a brilliant aspect of sound production."