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|---|---|---|---|---|---|---|
[
"Artificial intelligence",
"has use",
"web search engine"
] | null | null | null | null | 18 |
|
[
"Artificial intelligence",
"different from",
"intelligence amplification"
] | null | null | null | null | 21 |
|
[
"Artificial intelligence",
"has goal",
"artificial general intelligence"
] | null | null | null | null | 22 |
|
[
"Artificial intelligence",
"has goal",
"automated reasoning"
] | null | null | null | null | 23 |
|
[
"Artificial intelligence",
"has goal",
"knowledge representation"
] | null | null | null | null | 28 |
|
[
"Artificial intelligence",
"different from",
"artificial intelligence model"
] | null | null | null | null | 30 |
|
[
"Artificial intelligence",
"different from",
"artificial intelligence model type"
] | null | null | null | null | 31 |
|
[
"Artificial intelligence",
"influenced by",
"psychology"
] | null | null | null | null | 32 |
|
[
"Artificial intelligence",
"has goal",
"automated planning and scheduling"
] | null | null | null | null | 34 |
|
[
"Artificial intelligence",
"has goal",
"knowledge representation and reasoning"
] | Tools
Logic
Logic
is used for highly formalized kinds of knowledge representation and problem-solving, but it can be applied to other areas as well, although it is not effective in real-world circumstances where faster, probabilistic reasoning is required. | null | null | null | null | 35 |
[
"Artificial intelligence",
"significant event",
"AlphaGo versus Lee Sedol"
] | null | null | null | null | 39 |
|
[
"Artificial intelligence",
"has use",
"automated decision-making"
] | null | null | null | null | 42 |
|
[
"Mises Caucus",
"influenced by",
"Ron Paul"
] | The Libertarian Party Mises Caucus (LPMC) is a caucus within the United States Libertarian Party that promotes paleolibertarianism and a more radical version of libertarianism associated with the presidential campaigns of Ron Paul. It was founded in 2017 by Michael Heise, mainly in opposition to Nicholas Sarwark's position as party chairman, and the more pragmatic faction of the party associated with the presidential campaigns of Gary Johnson. It is named after classical liberal economist Ludwig von Mises.The caucus has support of some prominent libertarians, such as comedian Dave Smith, political commentator Tom Woods, and radio host Scott Horton. Ron Paul once called the caucus "the libertarian wing of the Libertarian Party". As of 2022, the Mises Caucus is the largest caucus of the Libertarian Party, and controls all leadership positions on the Libertarian National Committee as well as 37 state affiliates. | null | null | null | null | 0 |
[
"Mises Caucus",
"different from",
"Mises Institute"
] | null | null | null | null | 5 |
|
[
"The Canterbury Tales",
"narrative location",
"Kent"
] | null | null | null | null | 1 |
|
[
"The Canterbury Tales",
"influenced by",
"The Decameron"
] | Sources
No other work prior to Chaucer's is known to have set a collection of tales within the framework of pilgrims on a pilgrimage. It is obvious, however, that Chaucer borrowed portions, sometimes very large portions, of his stories from earlier stories, and that his work was influenced by the general state of the literary world in which he lived. Storytelling was the main entertainment in England at the time, and storytelling contests had been around for hundreds of years. In 14th-century England, the English Pui was a group with an appointed leader who would judge the songs of the group. The winner received a crown and, as with the winner of The Canterbury Tales, a free dinner. It was common for pilgrims on a pilgrimage to have a chosen "master of ceremonies" to guide them and organise the journey. Harold Bloom suggests that the structure is mostly original, but inspired by the "pilgrim" figures of Dante and Virgil in The Divine Comedy. New research suggests that the General Prologue, in which the innkeeper and host Harry Bailey introduces each pilgrim, is a pastiche of the historical Harry Bailey's surviving 1381 poll-tax account of Southwark's inhabitants.The Canterbury Tales contains more parallels to the Decameron, by Giovanni Boccaccio, than any other work. Like the Tales, the Decameron features a frame tale in which several different narrators tell a series of stories. In the Decameron, the characters have fled to the countryside to escape the Black Death. It ends with an apology by Boccaccio, much like Chaucer's Retraction to the Tales. A quarter of the tales in The Canterbury Tales parallel a tale in the Decameron, although most of them have closer parallels in other stories. Some scholars thus find it unlikely that Chaucer had a copy of the work on hand, surmising instead that he may have merely read the Decameron at some point. Chaucer may have read the Decameron during his first diplomatic mission to Italy in 1372. Chaucer used a wide variety of sources, but some, in particular, were used frequently over several tales, among them the Bible, Classical poetry by Ovid, and the works of contemporary Italian writers Petrarch and Dante. Chaucer was the first author to use the work of these last two. Boethius' Consolation of Philosophy appears in several tales, as do the works of John Gower, a friend of Chaucer's. Chaucer also seems to have borrowed from numerous religious encyclopaedias and liturgical writings, such as John Bromyard's Summa praedicantium, a preacher's handbook, and Jerome's Adversus Jovinianum. Many scholars say there is a good possibility Chaucer met Petrarch or Boccaccio. | null | null | null | null | 2 |
[
"The Canterbury Tales",
"different from",
"The Canterbury Tales"
] | null | null | null | null | 6 |
|
[
"The Canterbury Tales",
"topic's main category",
"Category:The Canterbury Tales"
] | null | null | null | null | 22 |
|
[
"Tangut script",
"based on",
"Chinese characters"
] | null | null | null | null | 0 |
|
[
"Tangut script",
"influenced by",
"Chinese characters"
] | null | null | null | null | 1 |
|
[
"Tangut script",
"different from",
"Chinese characters"
] | The Tangut script (Tangut: 𗼇𘝞; Chinese: 西夏文; pinyin: Xī Xià Wén; lit. 'Western Xia script') was a logographic writing system, used for writing the extinct Tangut language of the Western Xia dynasty. According to the latest count, 5863 Tangut characters are known, excluding variants. The Tangut characters are similar in appearance to Chinese characters, with the same type of strokes, but the methods of forming characters in the Tangut writing system are significantly different from those of forming Chinese characters. As in Chinese calligraphy, regular, running, cursive and seal scripts were used in Tangut writing.History
According to the History of Song (1346), the script was designed by the high-ranking official Yeli Renrong in 1036. The script was invented in a short period of time, and was put into use quickly. Government schools were founded to teach the script. Official documents were written in the script (with diplomatic ones written bilingually). A great number of Buddhist scriptures were translated from Tibetan and Chinese, and block printed in the script. Although the dynasty collapsed in 1227, the script continued to be used for another few centuries. The last known example of the script occurs on a pair of Tangut dharani pillars found at Baoding in present-day Hebei province, which were erected in 1502.Structure
[Tangut] is remarkable for being written in one of the most inconvenient of all scripts, a collection of nearly 5,800 characters of the same kind as Chinese characters but rather more complicated; very few are made up of as few as four strokes and most are made up of a good many more, in some cases nearly twenty... There are few recognizable indications of sound and meaning in the constituent parts of a character, and in some cases characters which differ from one another only in minor details of shape or by one or two strokes have completely different sounds and meanings.
Tangut characters can be divided into two classes: simple and composite. The latter are much more numerous. The simple characters can be either semantic or phonetic. None of the Tangut characters are pictographic, while the Chinese characters were at the time of their creation; this is one of the major differences between Tangut and Chinese characters. | null | null | null | null | 2 |
[
"Tangut script",
"has use",
"Tangut"
] | null | null | null | null | 4 |
|
[
"Tangut script",
"topic's main category",
"Category:Tangut script"
] | null | null | null | null | 7 |
|
[
"Pidgin Gulf Arabic",
"influenced by",
"Bengali"
] | null | null | null | null | 6 |
|
[
"Pidgin Gulf Arabic",
"influenced by",
"Malayalam"
] | null | null | null | null | 10 |
|
[
"Pidgin Gulf Arabic",
"influenced by",
"Gulf Arabic"
] | null | null | null | null | 11 |
|
[
"Pidgin Gulf Arabic",
"influenced by",
"Punjabi"
] | null | null | null | null | 12 |
|
[
"Mithraism",
"influenced by",
"Zoroastrianism"
] | Etymology
The name Mithras (Latin, equivalent to Greek "Μίθρας") is a form of Mithra, the name of an old, pre-Zoroastrian, and, later on, Zoroastrian, god – a relationship understood by Mithraic scholars since the days of Franz Cumont.
An early example of the Greek form of the name is in a 4th century BCE work by Xenophon, the Cyropaedia, which is a biography of the Persian king Cyrus the Great.The exact form of a Latin or classical Greek word varies due to the grammatical process of inflection. There is archaeological evidence that in Latin worshippers wrote the nominative form of the god's name as "Mithras". Porphyry's Greek text De Abstinentia (Περὶ ἀποχῆς ἐμψύχων), has a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word.Related deity-names in other languages include: | null | null | null | null | 0 |
[
"Mithraism",
"influenced by",
"ancient Roman religion"
] | null | null | null | null | 1 |
|
[
"Mithraism",
"topic's main category",
"Category:Mithraism"
] | null | null | null | null | 4 |
|
[
"Mithraism",
"different from",
"Mithridatism"
] | null | null | null | null | 5 |
|
[
"The New Wittgenstein",
"influenced by",
"Ludwig Wittgenstein"
] | The New Wittgenstein (2000) is a book containing a family of interpretations of the work of philosopher Ludwig Wittgenstein. In particular, those associated with this interpretation, such as Cora Diamond, Alice Crary, and James F. Conant, understand Wittgenstein to have avoided putting forth a "positive" metaphysical program, and understand him to be advocating philosophy as a form of "therapy." Under this interpretation, Wittgenstein's program is dominated by the idea that philosophical problems are symptoms of illusions or "bewitchments by language," and that attempts at a "narrow" solution to philosophical problems, that do not take into account larger questions of how the questioner conducts her life, interacts with other people, and uses language generally, are doomed to failure. | null | null | null | null | 2 |
[
"Socialist realism",
"influenced by",
"communism"
] | Characteristics
The purpose of socialist realism was to limit popular culture to a specific, highly regulated faction of emotional expression that promoted Soviet ideals. The party was of the utmost importance and was always to be favorably featured. The key concepts that developed assured loyalty to the party were partiinost' (party-mindedness), ideinost (idea- or ideological-content), klassovost (class content), pravdivost (truthfulness).There was a prevailing sense of optimism, as socialist realism's function was to show the ideal Soviet society. Not only was the present glorified, but the future was also supposed to be depicted in an agreeable fashion. Because the present and the future were constantly idealized, socialist realism had a sense of forced optimism. Tragedy and negativity were not permitted, unless they were shown in a different time or place. This sentiment created what would later be dubbed "revolutionary romanticism".Revolutionary romanticism elevated the common worker, whether factory or agricultural, by presenting his life, work, and recreation as admirable. Its purpose was to show how much the standard of living had improved thanks to the revolution, as educational information, to teach Soviet citizens how they should be acting and to improve morale. The ultimate aim was to create what Lenin called "an entirely new type of human being": The New Soviet Man. Art (especially posters and murals) was a way to instill party values on a massive scale. Stalin described the socialist realist artists as "engineers of souls".Common images used in socialist realism were flowers, sunlight, the body, youth, flight, industry, and new technology. These poetic images were used to show the utopianism of communism and the Soviet state. Art became more than an aesthetic pleasure; instead it served a very specific function. Soviet ideals placed functionality and work above all else; therefore, for art to be admired, it must serve a purpose. Georgi Plekhanov, a Marxist theoretician, states that art is useful if it serves society: "There can be no doubt that art acquired a social significance only in so far as it depicts, evokes, or conveys actions, emotions and events that are of significance to society."The themes depicted would feature the beauty of work, the achievements of the collective and the individual for the good of the whole. The artwork would often feature an easily discernible educational message.
The artist could not, however, portray life just as they saw it because anything that reflected poorly on Communism had to be omitted. People who could not be shown as either wholly good or wholly evil could not be used as characters. Art was filled with health and happiness: paintings showed busy industrial and agricultural scenes; sculptures depicted workers, sentries, and schoolchildren.Creativity was not an important part of socialist realism. The styles used in creating art during this period were those that would produce the most realistic results. Painters would depict happy, muscular peasants and workers in factories and collective farms. During the Stalin period, they produced numerous heroic portraits of Stalin to serve his cult of personality—all in the most realistic fashion possible. The most important thing for a socialist realist artist was not artistic integrity but adherence to party doctrine. | null | null | null | null | 0 |
[
"Socialist realism",
"different from",
"social realism"
] | null | null | null | null | 3 |
|
[
"Socialist realism",
"influenced by",
"AKhRR"
] | Association of Artists of Revolutionary Russia (AKhRR)
The Association of Artists of Revolutionary Russia (AKhRR) was established in 1922 and was one of the most influential artist groups in the USSR. The AKhRR worked to truthfully document contemporary life in Russia by utilizing "heroic realism". The term "heroic realism" was the beginning of the socialist realism archetype. AKhRR was sponsored by influential government officials such as Leon Trotsky and carried favor with the Red Army.In 1928, the AKhRR was renamed to Association of Artists of the Revolution (AKhR) in order to include the rest of the Soviet states. At this point the group had begun participating in state promoted mass forms of art like murals, jointly-made paintings, advertisement production and textile design. The group was disbanded April 23, 1932 by the decree "On the Reorganization of Literary and Artistic Organizations" serving as the nucleus for the Stalinist USSR Union of Artists. | null | null | null | null | 5 |
[
"Socialist realism",
"topic's main category",
"Category:Socialist realism"
] | null | null | null | null | 7 |
|
[
"Tristan und Isolde",
"lyrics by",
"Richard Wagner"
] | null | null | null | null | 6 |
|
[
"Tristan und Isolde",
"influenced by",
"Arthur Schopenhauer"
] | Tristan und Isolde (Tristan and Isolde), WWV 90, is an opera in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance Tristan and Iseult by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hoftheater und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama, a plot, or an action).
Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation), as well as by Wagner's affair with Mathilde Wesendonck. Widely acknowledged as a pinnacle of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonal ambiguity, orchestral colour, and harmonic suspension.
The opera was enormously influential among Western classical composers and provided direct inspiration to composers such as Anton Bruckner, Gustav Mahler, Richard Strauss, Alban Berg, Arnold Schoenberg, and Benjamin Britten. Other composers like Claude Debussy, Maurice Ravel, and Igor Stravinsky formulated their styles in contrast to Wagner's musical legacy. Many see Tristan as a milestone on the move away from common practice harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. Both Wagner's libretto style and music were also profoundly influential on the symbolist poets of the late 19th century and early 20th century.The autograph manuscript of the opera is preserved in the Richard Wagner Foundation.Influence of Schopenhauer
Wagner's friend the poet Georg Herwegh introduced him in late 1854 to the work of the philosopher Arthur Schopenhauer. The composer was immediately struck by the philosophical ideas to be found in The World as Will and Representation (Die Welt als Wille und Vorstellung), and the similarities between the two men's world-views became clear.Man, according to Schopenhauer, is driven by continued, unachievable desires, and the gulf between our desires and the possibility of achieving them leads to misery while the world is a representation of an unknowable reality. Our representation of the world is Phenomenon, while the unknowable reality is Noumenon: concepts originally posited by Kant. Schopenhauer's influence on Tristan und Isolde is most evident in the second and third acts. The second act, in which the lovers meet, and the third act, during which Tristan longs for release from the passions that torment him, have often proved puzzling to opera-goers unfamiliar with Schopenhauer's work.
Wagner uses the metaphor of Day and Night in the second act to designate the realms inhabited by Tristan and Isolde. The world of Day is one in which the lovers are bound by the dictates of King Marke's court and in which the lovers must smother their mutual love and pretend as if they do not care for each other: it is a realm of falsehood and unreality. Under the dictates of the realm of Day, Tristan was forced to remove Isolde from Ireland and to marry her to his Uncle Marke – actions against Tristan's secret desires. The realm of Night, in contrast, is the representation of intrinsic reality, in which the lovers can be together and their desires can be openly expressed and reach fulfilment: it is the realm of oneness, truth and reality and can only be achieved fully upon the deaths of the lovers. The realm of Night, therefore, becomes also the realm of death: the only world in which Tristan and Isolde can be as one forever, and it is this realm that Tristan speaks of at the end of Act II ("Dem Land das Tristan meint, der Sonne Licht nicht scheint"). In Act III, Tristan rages against the daylight and frequently cries out for release from his desires (Sehnen). In this way, Wagner implicitly equates the realm of Day with Schopenhauer's concept of Phenomenon and the realm of Night with Schopenhauer's concept of Noumenon. While none of this is explicitly stated in the libretto, Tristan's comments on Day and Night in Acts II and III, as well as musical allusions to Tristan in Die Meistersinger von Nürnberg and Parsifal make it very clear that this was, in fact, Wagner's intention.The world-view of Schopenhauer dictates that the only way for man to achieve inner peace is to renounce his desires: a theme that Wagner explored fully in his last opera, Parsifal. In fact Wagner even considered having the character of Parsifal meet Tristan during his sufferings in Act III, but later rejected the idea. | null | null | null | null | 7 |
[
"Tristan und Isolde",
"based on",
"Tristan"
] | Tristan und Isolde (Tristan and Isolde), WWV 90, is an opera in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance Tristan and Iseult by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hoftheater und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama, a plot, or an action).
Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation), as well as by Wagner's affair with Mathilde Wesendonck. Widely acknowledged as a pinnacle of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonal ambiguity, orchestral colour, and harmonic suspension.
The opera was enormously influential among Western classical composers and provided direct inspiration to composers such as Anton Bruckner, Gustav Mahler, Richard Strauss, Alban Berg, Arnold Schoenberg, and Benjamin Britten. Other composers like Claude Debussy, Maurice Ravel, and Igor Stravinsky formulated their styles in contrast to Wagner's musical legacy. Many see Tristan as a milestone on the move away from common practice harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. Both Wagner's libretto style and music were also profoundly influential on the symbolist poets of the late 19th century and early 20th century.The autograph manuscript of the opera is preserved in the Richard Wagner Foundation. | null | null | null | null | 13 |
[
"Tristan und Isolde",
"different from",
"Tristan und Isolde"
] | null | null | null | null | 15 |
|
[
"Afrofuturism",
"influenced by",
"science fiction"
] | null | null | null | null | 0 |
|
[
"Afrofuturism",
"different from",
"Africanfuturism"
] | Difference from Africanfuturism
In 2019, Nnedi Okorafor, a Nigerian-American writer of fantasy and science fiction, began strongly rejecting the term "afrofuturism" as a label for her work and coined the terms "Africanfuturism" and "Africanjujuism" to describe her works and works like hers. In October 2019, she published an essay titled "Defining Africanfuturism" that defines both terms in detail. In that essay, she defined Africanfuturism as a sub-category of science fiction that is "directly rooted in African culture, history, mythology and point-of-view and does not privilege or center the West", is centered with optimistic "visions in the future", and is written (and centered on) "people of African descent" while rooted in the African continent. As such, its center is African, often does extend upon the continent of Africa, and includes the black diaspora, including fantasy that is set in the future, making a narrative "more science fiction than fantasy" and typically has mystical elements. She differentiated this from Afrofuturism, which she said "positioned African American themes and concerns" at the center of its definition. She also described Africanjujuism as a subcategory of fantasy that "acknowledges the seamless blend of true existing African spiritualities and cosmologies with the imaginative."In August 2020, Hope Wabuke, a writer and assistant professor at the University of Nebraska-Lincoln of English and creative writing, noted that Afrofuturism, coined by Mark Dery, a white critic, in 1993, treats African-American themes and concerns in the "context of twentieth-century technoculture", which was later expanded by Alondra Nelson, arguing that Dery's conception of blackness began in 1619 and "is marked solely by the ensuing 400 years of violation by whiteness" that he portrayed as "potentially irreparable". Critical of this definition, saying it lacks the qualities of the "Black American diasporic imagination" and ability to conceive of "Blackness outside of the Black American diaspora" or independent from whiteness, Wabuke further explains how Africanfuturism is more specific and rids itself of the "othering of the white gaze and the de facto colonial Western mindset", free from what she calls the "white Western gaze" and saying this is the main difference "between Afrofuturism and Africanfuturism". She adds that, in her view, Africanfuturism has a different outlook and perspective than "mainstream Western and American science fiction and fantasy" and even Afrofuturism which is "married to the white Western gaze". Wabuke goes on to explain Africanfuturist and Africanjujuist themes in Okorafor's Who Fears Death and Zahrah the Windseeker, Akwaeke Emezi's Pet, and Buchi Emecheta's The Rape of Shavi.In February 2021, Aigner Loren Wilson of Tor.com explained the difficulty of finding books in the subgenre because many institutions "treat Africanfuturism and Afrofuturism like the same thing" even though the distinction between them is plain. She said that Africanfuturism is "centered in and about Africa and their people" while Afrofuturism is a sci-fi subcategory which is about "Black people within the diaspora", often including stories of those outside Africa, including in "colonized Western societies".
Wilson further outlined a list of stories and books from the genre, highlighting Africanfuturism: An Anthology (edited by Wole Talabi), Namwali Serpell's The Old Drift, Nnedi Okorafor's Lagoon, Nicky Drayden's The Prey of Gods, Oghenechovwen Donald Ekpeki's Ife-Iyoku, the Tale of Imadeyunuagbon, and Tochi Onyebuchi's War Girls. Another reviewer called Okorafor's Lagoon, which "recounts the story of the arrival of aliens in Nigeria", as an Africanfuturist work which requires a reader who is "actively engaged in co-creating the alternative future that the novel is constructing", meaning that the reader becomes part of the "creative conversation".Gary K. Wolfe reviewed Africanfuturism: An Anthology, which was edited by Wole Talabi, in February 2021. He credits Nnedi Okorafor for coining "Africanfuturism", noting its describes "more Africa-centered SF", although saying he is not sure whether her term "Africanjujuism", a parallel term for fantasy, will catch on. While saying that both are useful, he says that he does not like how they have to "do with the root, not the prefix", with "futurism" only describing a bit of science fiction and fantasy. He still calls the book a "solid anthology", saying it challenges the idea of viewing African science fiction as monolithic. Stories in the book include "Egoli" by T. L. Huchu, "Yat Madit" by Dilman Dila, "Behind Our Irises" by Tlotlo Tsamaase, "Fort Kwame" by Derek Lubangakene, "Rainmaker" by Mazi Nwonwu, "Fruit of the Calabash" by Rafeeat Aliyu, "Lekki Lekki" by Mame Bougouma Diene, and "Sunrise" by Nnedi Okorafor.Financial Times writer David Pilling wrote that Africancentrism "draws on the past, both real and imagined, to depict a liberated version of the future" which is planted in the African, rather than African-American, experience. He also notes criticism of Black Panther from some like Patrick Gathara, who says its depiction of Africa "differs little from the colonial view", and that one of Okorafor's books, Binti, is being "adapted for television by Hulu", arguing that its success is part of a wave of Africanfuturism. | null | null | null | null | 2 |
[
"Afrofuturism",
"influenced by",
"African diaspora"
] | null | null | null | null | 3 |
|
[
"Afrofuturism",
"topic's main category",
"Category:Afrofuturism"
] | null | null | null | null | 6 |
|
[
"Megan and Liz",
"influenced by",
"Taylor Swift"
] | null | null | null | null | 1 |
|
[
"Stadsfries dialects",
"influenced by",
"West Frisian"
] | null | null | null | null | 2 |
|
[
"Plan 9 from Bell Labs",
"influenced by",
"Unix"
] | Plan 9 from Bell Labs is a distributed operating system which originated from the Computing Science Research Center (CSRC) at Bell Labs in the mid-1980s and built on UNIX concepts first developed there in the late 1960s. Since 2000, Plan 9 has been free and open-source. The final official release was in early 2015.
Under Plan 9, UNIX's everything is a file metaphor is extended via a pervasive network-centric filesystem, and the cursor-addressed, terminal-based I/O at the heart of UNIX-like operating systems is replaced by a windowing system and graphical user interface without cursor addressing, although rc, the Plan 9 shell, is text-based.
The name Plan 9 from Bell Labs is a reference to the Ed Wood 1957 cult science fiction Z-movie Plan 9 from Outer Space. The system continues to be used and developed by operating system researchers and hobbyists.History
Plan 9 from Bell Labs was originally developed, starting in the late 1980s, by members of the Computing Science Research Center at Bell Labs, the same group that originally developed Unix and the C programming language. The Plan 9 team was initially led by Rob Pike, Ken Thompson, Dave Presotto and Phil Winterbottom, with support from Dennis Ritchie as head of the Computing Techniques Research Department. Over the years, many notable developers have contributed to the project, including Brian Kernighan, Tom Duff, Doug McIlroy, Bjarne Stroustrup and Bruce Ellis.Plan 9 replaced Unix as Bell Labs's primary platform for operating systems research. It explored several changes to the original Unix model that facilitate the use and programming of the system, notably in distributed multi-user environments. After several years of development and internal use, Bell Labs shipped the operating system to universities in 1992. Three years later, Plan 9 was made available for commercial parties by AT&T via the book publisher Harcourt Brace. With source licenses costing $350, AT&T targeted the embedded systems market rather than the computer market at large. Ritchie commented that the developers did not expect to do "much displacement" given how established other operating systems had become.By early 1996, the Plan 9 project had been "put on the back burner" by AT&T in favor of Inferno, intended to be a rival to Sun Microsystems' Java platform.
In the late 1990s, Bell Labs' new owner Lucent Technologies dropped commercial support for the project and in 2000, a third release was distributed under an open-source license. A fourth release under a new free software license occurred in 2002. In early 2015, the final official release of Plan 9 occurred.A user and development community, including current and former Bell Labs personnel, produced minor daily releases in the form of ISO images. Bell Labs hosted the development. The development source tree is accessible over the 9P and HTTP protocols and is used to update existing installations. In addition to the official components of the OS included in the ISOs, Bell Labs also hosts a repository of externally developed applications and tools.As Bell Labs has moved on to later projects in recent years, development of the official Plan 9 system had stopped. On March 23, 2021, development resumed following the transfer of copyright from Bell Labs to the Plan 9 Foundation. Unofficial development for the system also continues on the 9front fork, where active contributors provide monthly builds and new functionality. So far, the 9front fork has provided the system Wi-Fi drivers, Audio drivers, USB support and built-in game emulator, along with other features. Other recent Plan 9-inspired operating systems include Harvey OS and Jehanne OS.[t]he foundations of the system are built on two ideas: a per-process name space and a simple message-oriented file system protocol.
The first idea (a per-process name space) means that, unlike on most operating systems, processes (running programs) each have their own view of the namespace, corresponding to what other operating systems call the file system; a single path name may refer to different resources for different processes. The potential complexity of this setup is controlled by a set of conventional locations for common resources.The second idea (a message-oriented filesystem) means that processes can offer their services to other processes by providing virtual files that appear in the other processes' namespace. The client process's input/output on such a file becomes inter-process communication between the two processes. This way, Plan 9 generalizes the Unix notion of the filesystem as the central point of access to computing resources. It carries over Unix's idea of device files to provide access to peripheral devices (mice, removable media, etc.) and the possibility to mount filesystems residing on physically distinct filesystems into a hierarchical namespace, but adds the possibility to mount a connection to a server program that speaks a standardized protocol and treat its services as part of the namespace.
For example, the original window system, called 8½, exploited these possibilities as follows. Plan 9 represents the user interface on a terminal by means of three pseudo-files: mouse, which can be read by a program to get notification of mouse movements and button clicks, cons, which can be used to perform textual input/output, and bitblt, writing to which enacts graphics operations (see bit blit). The window system multiplexes these devices: when creating a new window to run some program in, it first sets up a new namespace in which mouse, cons and bitblt are connected to itself, hiding the actual device files to which it itself has access. The window system thus receives all input and output commands from the program and handles these appropriately, by sending output to the actual screen device and giving the currently focused program the keyboard and mouse input. The program does not need to know if it is communicating directly with the operating system's device drivers, or with the window system; it only has to assume that its namespace is set up so that these special files provide the kind of input and accept the kind of messages that it expects.
Plan 9's distributed operation relies on the per-process namespaces as well, allowing client and server processes to communicate across machines in the way just outlined. For example, the cpu command starts a remote session on a computation server. The command exports part of its local namespace, including the user's terminal's devices (mouse, cons, bitblt), to the server, so that remote programs can perform input/output using the terminal's mouse, keyboard and display, combining the effects of remote login and a shared network filesystem. | null | null | null | null | 1 |
[
"Plan 9 from Bell Labs",
"followed by",
"Inferno"
] | null | null | null | null | 7 |
|
[
"Plan 9 from Bell Labs",
"topic's main category",
"Category:Plan 9 from Bell Labs"
] | Plan 9 from Bell Labs is a distributed operating system which originated from the Computing Science Research Center (CSRC) at Bell Labs in the mid-1980s and built on UNIX concepts first developed there in the late 1960s. Since 2000, Plan 9 has been free and open-source. The final official release was in early 2015.
Under Plan 9, UNIX's everything is a file metaphor is extended via a pervasive network-centric filesystem, and the cursor-addressed, terminal-based I/O at the heart of UNIX-like operating systems is replaced by a windowing system and graphical user interface without cursor addressing, although rc, the Plan 9 shell, is text-based.
The name Plan 9 from Bell Labs is a reference to the Ed Wood 1957 cult science fiction Z-movie Plan 9 from Outer Space. The system continues to be used and developed by operating system researchers and hobbyists. | null | null | null | null | 28 |
[
"IRIX",
"influenced by",
"Unix"
] | null | null | null | null | 0 |
|
[
"IRIX",
"topic's main category",
"Category:IRIX"
] | null | null | null | null | 4 |
|
[
"Venetian Gothic architecture",
"influenced by",
"Byzantine architecture"
] | Islamic and Byzantine influence
The influence of Islamic architecture is reflected in some features of the Venetian style, in particular the use of colour and pattern on outside walls, and sometimes stone grills on windows, and perhaps purely decorative crenellations on rooflines. During the period the Venetian economy was heavily bound up with trade with both the Islamic world and the Byzantine Empire, and the architectural styles of these two are somewhat entangled, especially in the early Islamic period.As an example, decorating walls with large veneers of fancy coloured marble or other stones, which was certainly a Venetian taste, was also found in Byzantine and Islamic architecture, but both had derived it from imperial Roman architecture. There are still examples in Ravenna (ruled by Venice from 1440 to 1509), Milan as well as Rome, and very likely much of the stripping of these from other surviving Roman buildings had not yet taken place.
Venetians may also have regarded some aspects of Byzantine and Islamic architecture as reflecting the world of Early Christianity – all over Italy "eastern" costume very often served for biblical figures in art, and the paintings of some Venetians, for example St Mark Preaching at Alexandria by Gentile Bellini (c. 1505) also use clearly Islamic architecture (including stone grills), although also reflecting the Byzantine styles of Constantinople, which Bellini visited in 1479, only some twenty-five years after it became the Ottoman capital. There were also Venetian connections with Islamic styles though Sicily and southern Italy, and possibly al-Andalus (Islamic Spain). Venetians probably saw the eastern elements in their architecture in a complex way, reflecting and celebrating both their history and the cause of their trade-derived wealth.Venetian traders, and those of rival cities, reached into Persia and Central Asia in the Pax Mongolica after the Mongol conquests, from roughly 1240 to 1360. There were small Venetian colonies of merchants in Alexandria, as well as Constantinople. Venice's relations with the Byzantine Empire were still more intimate and complicated, involving many wars, treaties, and massacres. | null | null | null | null | 2 |
[
"Venetian Gothic architecture",
"influenced by",
"Moorish architecture"
] | null | null | null | null | 3 |
|
[
"Venetian Gothic architecture",
"topic's main category",
"Category:Venetian Gothic architecture"
] | null | null | null | null | 5 |
|
[
"Enhanced Data rates for GSM Evolution",
"influenced by",
"Global System for Mobile Communications"
] | null | null | null | null | 1 |
|
[
"Enhanced Data rates for GSM Evolution",
"said to be the same as",
"EGPRS"
] | null | null | null | null | 3 |
|
[
"AdventureRooms",
"influenced by",
"adventure game"
] | Its main influences were adventure computer games from the 1990s, and scientific experiments from his Physics classes.The scientific character of its games and the movie-like experience distinguishes AdventureRooms games from similar games. Another innovation was the introduction of "duels", where two teams can play the same game at the same time against each other.
This game option is used for larger groups, mainly by companies for team building events.In 2013 AdventureRooms started to offer a franchising system, and the company quickly spread around the globe. In July 2016 there were thirty-three active AdventureRooms locations worldwide.The average escape rate amounts to about 20%.As of July 2016, there were 33 active AdventureRooms centres: In Switzerland, Bern (founding centre, 4 games), Zurich (2 games), Lucerne (3 games), Davos (1 game) and Chur (2 games), in Germany, Cologne (1 game), Dresden (3 games) and Munich (2 games), in Austria, Vienna (2 games), in Italy, Florence (2 games), Bologna (1 game), Pavia (2 games), Perugia (3 games), Pisa (2 games) and Catania (2 games), in Spain, Palma de Mallorca (2 games) and Madrid (2 games), in Ireland, Dublin (2 games), in Oslo, Norway (3 games), in Cyprus, Nicosia (2 games), in Greece, Athens (4 games), in Estonia, Tallinn (3 games), in Qatar, Doha (2 games), in the USA, Connecticut (3 games), New Jersey (2 games) and Massachusetts (2 games), in Canada, Kitchener (3 games) and Niagara Falls (2 games), in Australia, Adelaide (3 games), in France, Toulon (2 games), Pau (2 games) and Toulouse (2 games) and in Peru, Lima (2 games). | null | null | null | null | 3 |
[
"The Book of Giants",
"influenced by",
"Book of Genesis"
] | null | null | null | null | 1 |
|
[
"The Book of Giants",
"main subject",
"cannibalism"
] | null | null | null | null | 4 |
|
[
"The Book of Giants",
"follows",
"Book of Enoch"
] | null | null | null | null | 9 |
|
[
"The Book of Giants",
"influenced by",
"Book of Enoch"
] | Origins in ancient Jewish tradition
Since before the latter half of the twentieth century, the Book of Giants had long been known as a Middle Iranian work (which some scholars now believe was written originally in Eastern Aramaic) that circulated among the Manichaeans as a composition attributed to Mani (c. AD 216 – 274)—a Parthian citizen of southern Mesopotamia who appears to have been a follower of Elkesai, a Jewish-Christian prophet and visionary who lived in the early years of the second century. Some scholars, concordant with supporting evidence for the ancient sect's geographical distribution, have posited both genetic and ritual-custom similarities between the Elcesaites and the earlier Second Temple Jewish sect of the Essenes (Essaioi "Saints").During the twentieth century a number of finds shed considerable light on the literary evidence for the Book of Giants. The 1943 publication by W. B. Henning of the Manichaean fragments from the Book of Giants discovered at Turfan in Western China (in what is now Xinjiang Province) have substantiated the many references to its circulation among, and use by, the Manichaeans. Further identification of the Manichaean Book of Giants was revealed in 1971 when Jósef T. Milik discovered several additional Aramaic fragments of Enochic works among the Dead Sea Scrolls; finding that the fragments bore close resemblance to Mani's Book of Giants, he concluded that Giants was originally an integral part of 1 Enoch itself. These fragmentary scrolls in Aramaic, which represented an Enochic tradition that was likely introduced to Mani in his sojourn with the Elcesaites, appeared to have been the primary source utilized by Mani in the compilation of his book, in which he made the legend of the Watchers and the giants "a cornerstone of his theological speculations." For many scholars, the Qumran fragments confirmed the Book of Giants to originally have been an independent composition from the Second Temple period.Among the fragments discovered at Qumran, ten manuscripts of the Book of Giants are identified by Loren Stuckenbruck. These fragments (1Q23, 1Q24, 2Q26, 4Q203, 4Q530, 4Q531, 4Q532, 4Q556, 4Q206, and 6Q8) were found in caves 1, 2, 4, and 6 at the site. These discoveries led to further classification of the Enochic works. In the third group of classification, ten Aramaic manuscripts contain parts of the Book of Giants which were only known through the Manichaean sources until the recognition of them at Qumran.There has been much speculation regarding the original language of the Book of Giants. It was generally believed to have had a Semitic origin. Indeed, the discovery of this text at Qumran led scholars, such as C. P. van Andel and Rudolf Otto, to believe that while these ancient Aramaic compositions of the book were the earliest known, the work probably had even earlier Hebrew antecedents. It was R. H. Charles, translator and publisher in 1906 of The Book of Enoch, who asserted that Enoch was "built upon the debris of" an older Noah saga than that in Genesis which only cryptically refers to the Enoch myth. But Milik himself offered his own hypothesis that Enoch's 'creation story' and law of God account naturally predate the Mosaic Sinai accounts in Genesis: He saw Genesis 6:1-4—long a puzzling passage to biblical scholars—as a quotation from what he believed ultimately to have been the earlier Enoch source. More recent scholarship, such as that of Klaus Beyer, indicates that the Book of Giants (parts of which have been found in Hebrew at Qumran) was "originally composed in Hebrew during the 3rd century BCE, while the names of the giants Gilgamesh and Hobabish betray a Babylonian provenance"—which Babylonian-origins claim based on the name appearances, however, is refuted by Martínez. | null | null | null | null | 10 |
[
"The Book of Giants",
"main subject",
"fallen angel"
] | null | null | null | null | 11 |
|
[
"The Book of Giants",
"main subject",
"nephilim"
] | null | null | null | null | 13 |
|
[
"The Book of Giants",
"main subject",
"Genesis flood narrative"
] | null | null | null | null | 15 |
|
[
"Swahili language",
"influenced by",
"Arabic"
] | Swahili, also known by its local name Kiswahili, is the native language of the Swahili people, who are found primarily in Kenya, Tanzania and Mozambique (along the East African coast and adjacent litoral islands). It is a Bantu language, though Swahili has borrowed a number of words from foreign languages, mainly Arabic and Persian, as well as words from Portuguese, English and German. Around forty percent of Swahili vocabulary consists of Arabic loanwords, including the name of the language (سَوَاحِلي sawāḥilī, a plural adjectival form of an Arabic word meaning 'of the coast'). The loanwords date from the era of contact between Arab slave traders and the Bantu inhabitants of the east coast of Africa, which was also the time period when Swahili emerged as a lingua franca in the region. The number of Swahili speakers, be they native or second-language speakers, is estimated to be around 80 million.Due to concerted efforts by the government of Tanzania, Swahili is one of three official languages (the others being English and French) of the East African Community (EAC) countries, namely Burundi, Kenya, Rwanda, Tanzania, and Uganda. It is a lingua franca of other areas in the African Great Lakes region and East and Southern Africa, including some parts of the Democratic Republic of the Congo (DRC), Malawi, Mozambique, the southern tip of Somalia, and Zambia. Swahili is also one of the working languages of the African Union and of the Southern African Development Community. The East African Community created an institution called the East African Kiswahili Commission (EAKC) which began operations in 2015. The institution currently serves as the leading body for promoting the language in the East African region, as well as for coordinating its development and usage for regional integration and sustainable development. In recent years South Africa, Botswana, Namibia, Ethiopia, and South Sudan have begun offering Swahili as a subject in schools or have developed plans to do so.
Shikomor (or Comorian), an official language in Comoros and also spoken in Mayotte (Shimaore), is closely related to Swahili and is sometimes considered a dialect of Swahili, although other authorities consider it a distinct language. In 2022, based on Swahili's growth as a prominent international language, the United Nations declared Swahili Language Day as 7 July to commemorate the date that Julius Nyerere adopted Swahili as a unifying language for African independence struggles. | null | null | null | null | 4 |
[
"Swahili language",
"used by",
"Swahili people"
] | null | null | null | null | 15 |
|
[
"Swahili language",
"different from",
"Swahili people"
] | null | null | null | null | 16 |
|
[
"Swahili language",
"topic's main category",
"Category:Swahili language"
] | null | null | null | null | 19 |
|
[
"Afrapix",
"influenced by",
"apartheid"
] | Afrapix was a collective agency of amateur and professional photographers who opposed Apartheid in South Africa and documented South Africa in the 1980s. The group was established in 1982 and dissolved itself in 1991.About Afrapix
Afrapix was independently funded by its members, who were both black and white. The group received both national and international feedback, as their photographs were used across the world. Oxfam used photographs by a number of Afrapix members to illustrate their 1990 publication 'We Cry for our Land: Farmworkers in South Africa', and some Afrapix pictures were also used in Oxfam's 'Front Line Africa: The Right to a Future' (1990). Afrapix members photographed their own projects and also conducted workshops in black communities that focused on photography and literacy through artwork. Afrapix members shared their technical knowledge while mentoring individuals in these areas.
As the period was known as the "struggle years," the photographs and projects produced through Afrapix were labelled as "struggle photography." Many of the photographers considered themselves political activists or had a political agenda, and worked to raise awareness about the evils of apartheid. The various artists of Afrapix agreed that they were a team working against apartheid, but that their inspirations came from different places.
Many of the images were of rallies or protests, instances of authority brutality, and impoverished areas. Kylie Thomas suggests that the history of social documentary photography in the Afrapix period is probably more complex and heterogenous than often suggested, especially when analysing the work of women photographers such as Gille De Vlieg and Gisèle Wulfsohn.A detailed timeline of Afrapix is accessible at the SA History Online website. | null | null | null | null | 2 |
[
"King James Version",
"influenced by",
"Septuagint"
] | null | null | null | null | 3 |
|
[
"King James Version",
"influenced by",
"Vulgate"
] | Apocrypha
Unlike the rest of the Bible, the translators of the Apocrypha identified their source texts in their marginal notes. From these it can be determined that the books of the Apocrypha were translated from the Septuagint—primarily, from the Greek Old Testament column in the Antwerp Polyglot—but with extensive reference to the counterpart Latin Vulgate text, and to Junius's Latin translation. The translators record references to the Sixtine Septuagint of 1587, which is substantially a printing of the Old Testament text from the Codex Vaticanus Graecus 1209, and also to the 1518 Greek Septuagint edition of Aldus Manutius. They had, however, no Greek texts for 2 Esdras, or for the Prayer of Manasses, and Scrivener found that they here used an unidentified Latin manuscript. | null | null | null | null | 6 |
[
"King James Version",
"based on",
"Masoretic Text"
] | null | null | null | null | 8 |
|
[
"King James Version",
"based on",
"Textus Receptus"
] | Variations in recent translations
A number of Bible verses in the King James Version of the New Testament are not found in more recent Bible translations, where these are based on modern critical texts. In the early seventeenth century, the source Greek texts of the New Testament which were used to produce Protestant Bible versions were mainly dependent on manuscripts of the late Byzantine text-type, and they also contained minor variations which became known as the Textus Receptus. With the subsequent identification of much earlier manuscripts, most modern textual scholars value the evidence of manuscripts which belong to the Alexandrian family as better witnesses to the original text of the biblical authors, without giving it, or any family, automatic preference.King James Only movement
The King James Only movement advocates the belief that the King James Version is superior to all other English translations of the Bible. Most adherents of the movement believe that the Textus Receptus is very close, if not identical, to the original autographs, thereby making it the ideal Greek source for the translation. They argue that manuscripts such as the Codex Sinaiticus and Codex Vaticanus, on which most modern English translations are based, are corrupted New Testament texts. One of them, Perry Demopoulos, was a director of the translation of the King James Bible into Russian. In 2010 the Russian translation of the KJV of the New Testament was released in Kyiv, Ukraine. In 2017, the first complete edition of a Russian King James Bible was released. In 2017, a Faroese translation of the King James Bible was released as well. | null | null | null | null | 9 |
[
"King James Version",
"topic's main category",
"Category:King James Version"
] | null | null | null | null | 11 |
|
[
"King James Version",
"used by",
"King James Only movement"
] | King James Only movement
The King James Only movement advocates the belief that the King James Version is superior to all other English translations of the Bible. Most adherents of the movement believe that the Textus Receptus is very close, if not identical, to the original autographs, thereby making it the ideal Greek source for the translation. They argue that manuscripts such as the Codex Sinaiticus and Codex Vaticanus, on which most modern English translations are based, are corrupted New Testament texts. One of them, Perry Demopoulos, was a director of the translation of the King James Bible into Russian. In 2010 the Russian translation of the KJV of the New Testament was released in Kyiv, Ukraine. In 2017, the first complete edition of a Russian King James Bible was released. In 2017, a Faroese translation of the King James Bible was released as well. | null | null | null | null | 19 |
[
"Genie (programming language)",
"influenced by",
"Python"
] | null | null | null | null | 1 |
|
[
"Suckless.org",
"influenced by",
"Unix philosophy"
] | suckless.org is a free software community of programmers working on projects with a focus on minimalism, simplicity, clarity, and frugality. The group developed the dwm and wmii window managers, surf, tabbed, and other programs that are said to adhere strictly to the Unix philosophy of "doing one thing and doing it well". | null | null | null | null | 2 |
[
"Suckless.org",
"influenced by",
"Plan 9"
] | null | null | null | null | 6 |
|
[
"Suckless.org",
"influenced by",
"worse is better"
] | null | null | null | null | 8 |
|
[
"Suckless.org",
"founded by",
"Anselm R. Garbe"
] | null | null | null | null | 12 |
|
[
"Signified and signifier",
"influenced by",
"Ferdinand de Saussure"
] | In semiotics, signified and signifier (French: signifié and signifiant) stand for the two main components of a sign, where signified pertains to the "plane of content", while signifier is the "plane of expression". The idea was first proposed in the work of Swiss linguist Ferdinand de Saussure, one of the two founders of semiotics.Concept of signs
The concept of signs has been around for a long time, having been studied by many classic philosophers such as Plato, Aristotle, Augustine, William of Ockham, and Francis Bacon, among others. The term semiotics derives from the Greek root seme, as in semeiotikos (an 'interpreter of signs').: 4 It was not until the early part of the 20th century, however, that Saussure and American philosopher Charles Sanders Peirce brought the term into more common use.While both Saussure and Peirce contributed greatly to the concept of signs, it is important to note that each differed in their approach to the study. It was Saussure who created the terms signifier and signified in order to break down what a sign was. He diverged from the previous studies on language as he focused on the present in relation to the act of communication, rather than the history and development of words and language over time.Succeeding these founders were numerous philosophers and linguists who defined themselves as semioticians. These semioticians have each brought their own concerns to the study of signs. Umberto Eco (1976), a distinguished Italian semiotician, came to the conclusion that "if signs can be used to tell the truth, they can also be used to lie.": 14 Postmodernist social theorist Jean Baudrillard spoke of hyperreality, referring to a copy becoming more real than reality. In other words, how the signifier becomes more important than the signified. French semiotician Roland Barthes used signs to explain the concept of connotation—cultural meanings attached to words—and denotation—literal or explicit meanings of words. Without Saussure's breakdown of signs into signified and signifier, however, these semioticians would not have had anything to base their concepts on. | null | null | null | null | 0 |
[
"Avant Window Navigator",
"influenced by",
"macOS"
] | null | null | null | null | 2 |
|
[
"Geneva School",
"influenced by",
"Ferdinand de Saussure"
] | null | null | null | null | 3 |
|
[
"Post-anarchism",
"influenced by",
"postmodernism"
] | Post-left anarchy
Post-left anarchy is a recent current in anarchist thought that promotes a critique of anarchism's relationship to traditional left-wing politics, such as its emphasis on class struggle, social revolution, labor unions, the working class, and identity politics. Influenced by anti-authoritarian postmodern philosophy, post-leftists reject Enlightenment rationalism and modernism and deconstruct topics such as gender. While a few advocate for armed insurrection, most advocate for creating spaces and affinity groups to act freely within current society rather than fighting for a utopian ideal. In the United States, CrimethInc., Anarchy: A Journal of Desire Armed, and Green Anarchy are associated with post-leftism, as are many primitivists. CrimethInc, which is influenced by situationism, anarcho-punk, and green anarchy, argues for a DIY folk approach to everyday life, including refusal of work, escaping gender roles, and straight edge lifestyle. | null | null | null | null | 1 |
[
"Post-anarchism",
"influenced by",
"post-structuralism"
] | Post-left anarchy
Post-left anarchy is a recent current in anarchist thought that promotes a critique of anarchism's relationship to traditional left-wing politics, such as its emphasis on class struggle, social revolution, labor unions, the working class, and identity politics. Influenced by anti-authoritarian postmodern philosophy, post-leftists reject Enlightenment rationalism and modernism and deconstruct topics such as gender. While a few advocate for armed insurrection, most advocate for creating spaces and affinity groups to act freely within current society rather than fighting for a utopian ideal. In the United States, CrimethInc., Anarchy: A Journal of Desire Armed, and Green Anarchy are associated with post-leftism, as are many primitivists. CrimethInc, which is influenced by situationism, anarcho-punk, and green anarchy, argues for a DIY folk approach to everyday life, including refusal of work, escaping gender roles, and straight edge lifestyle. | null | null | null | null | 2 |
[
"Post-anarchism",
"topic's main category",
"Category:Postanarchism"
] | null | null | null | null | 4 |
|
[
"Georges de La Tour",
"influenced by",
"Caravaggio"
] | null | null | null | null | 1 |
|
[
"Georges de La Tour",
"influenced by",
"Jacques Bellange"
] | null | null | null | null | 21 |
|
[
"Georges de La Tour",
"topic's main category",
"Category:Georges de La Tour"
] | null | null | null | null | 58 |
|
[
"JKT48",
"influenced by",
"AKB48"
] | Conception
Much like AKB48, the female Japanese idol group formed in 2005 in Akihabara, Tokyo, JKT48 is based on the concept of idols with whom fans can greet and develop connections with. JKT48 takes its name from the group's base city of Jakarta, Indonesia. The country was seen as a potential market for the idol business because of its relatively young population and the popularity of Japanese manga series. In order to bring the concept of AKB48 to Indonesia, producer Yasushi Akimoto and Dentsu Media Group Indonesia partnered with the country's largest media conglomerate, Global Mediacom, and Rakuten.
In an interview on CNN's TalkAsia program, Akimoto responded to the question of why he selected Indonesia as the first target of AKB48's overseas expansion: "People in Indonesia were interested in AKB48. That is why we decided to try it in Jakarta. Kids watched AKB on the internet and they want to do the same, but they don't know whether they have talent. Also it's difficult [for them] to go to Japan to audition."History
2011–2012: Formation
On 11 September 2011, the formation of JKT48 was announced at an AKB48 event held at Makuhari Messe in Chiba, Japan. Applicant interviews took place the following weeks, in late September 2011, and the first auditions were held a month after the initial announcement, from 8–9 October 2011. AKB48 member Minami Takahashi also visited Jakarta during the audition to promote JKT48 among fans of AKB48. Although applicants did not have to be Indonesian citizens, they did have to already reside in the country. Approximately 1,200 girls auditioned for the group, and 51 were selected to proceed to the second round. Finalists were judged based on their dance performance of "Heavy Rotation", from AKB48's single of the same name, and their performance of a song of their choice. JKT48's 28 first generation members, ages 12–21, were selected on 2 November 2011.On 17 December 2011, JKT48 made its first public appearance on the live music program 100% Ampuh on Global TV, performing "Heavy Rotation", with lyrics translated into Indonesian. | null | null | null | null | 2 |
[
"JKT48",
"topic's main category",
"Category:JKT48"
] | null | null | null | null | 29 |
|
[
"BNK48",
"influenced by",
"AKB48"
] | BNK48 (read B.N.K. Forty-eight) is a Thai idol girl group and the third international sister group of Japan's AKB48, following Indonesia's JKT48 and China's SNH48 (former).
After holding its first audition in mid-2016 and announcing its first-generation members in early 2017, the group officially debuted on 2 June 2017 and released the debut single, "Yak Cha Dai Phop Thoe", on 8 August 2017. Its second single, "Khukki Siangthai", released on 20 December 2017, was a great success. As of March 2023, the group has 43 members.
The group is named after Bangkok, the capital city of Thailand, where its theatre, BNK48 the Campus, is located. Orchid, a flower popular in the country, serves as both the colour and motif of the group.BNK48 announced the formation of their first sister group, CGM48 (named after the city of Chiang Mai), on 2 June 2019. CGM48 is the first domestic sister group to be launched outside Japan and second sister group of 48 Group in Thailand. | null | null | null | null | 4 |
[
"BNK48",
"topic's main category",
"Category:BNK48"
] | null | null | null | null | 5 |
|
[
"The Itchy & Scratchy Show",
"influenced by",
"Tom and Jerry"
] | Role in The Simpsons
The Itchy & Scratchy Show is a show within a show that appears occasionally in episodes of The Simpsons. They appear in the form of 15- to 60-second cartoons that are filled with gratuitous violence, usually initiated by Itchy the mouse against Scratchy the cat; Itchy is almost always the victor. Itchy & Scratchy airs as a segment on The Krusty the Clown Show, and also aired on its brief replacements, Sideshow Bob's Cavalcade of Whimsy, and Gabbo.Itchy & Scratchy is usually a parody of traditional cartoons or takeoffs on famous films, but the plot and content are always violent and bloody, with Itchy performing unprovoked acts of graphic violence and homicide unlike most classic cartoons. The most direct and obvious example is Tom and Jerry, an animated series which was also about a constant battle between a cat and a mouse, with the mouse usually victorious, though in Itchy & Scratchy, the mouse acts as the antagonist. Itchy & Scratchy also includes shorts such as Scratchtasia, a parody of Fantasia, and Pinitchio, a parody of Pinocchio. Animation-related jokes are prevalent in the show, such as the Manhattan Madness cartoon in "The Day the Violence Died", which is based on very early animated cartoons such as Gertie the Dinosaur. The cartoons also occasionally serve to play out an exaggerated form of the conflict in the surrounding episode. For example, in "Deep Space Homer" (season five, 1994), Homer is recruited by NASA, and later watches an Itchy & Scratchy cartoon which directly (and gruesomely) parodies the films 2001: A Space Odyssey and Alien.Characters
Shown in The Itchy & Scratchy Show
Itchy the mouse (voiced by Dan Castellaneta and Tress MacNeille) and Scratchy the cat (voiced by Harry Shearer) are the main characters in the show. The duo first appeared in The Tracey Ullman Show short "The Bart Simpson Show", which aired November 20, 1988; the performance style at the time was like Tom and Jerry. Their first appearance in The Simpsons was "There's No Disgrace Like Home". Itchy is a blue mouse and the show's villainous protagonist; he almost always succeeds in his relentless attempts in mutating or killing Scratchy and any other cats around. Scratchy is a threadbare, dim-witted black cat and the perpetual victim of Itchy's violent acts; as opposed to Tom of Tom and Jerry, Scratchy seldom antagonizes Itchy to provoke him in any way.Poochie (voiced by Dan Castellaneta when voiced by Homer Simpson, Alex Rocco when voiced by Roger Meyers, Jr.), is an orange dog that appeared in "The Itchy & Scratchy & Poochie Show" (season eight, 1997). In the episode, the producers of The Itchy & Scratchy Show believed the cartoons were getting stale, and needed a new character to reinvigorate the show. Homer Simpson gets the job of voicing Poochie, who is introduced in the cartoon, "The Beagle Has Landed". A product of marketing department thinking, Poochie was near-universally despised due to interfering with the graphic violence, and was permanently killed off in his second appearance, despite Homer's objections. The episode was both a reference to TV shows which added new characters purportedly to reinvigorate the show, and a commentary on the growing complaints of fans of The Simpsons. The original idea for the episode was that Poochie would be obnoxious because he was so rich, rather than because he was so cool. Poochie would later make brief speaking cameo appearances in "Treehouse of Horror IX", "Little Big Mom", and "The Nightmare After Krustmas". | null | null | null | null | 7 |
[
"Abbaye de Créteil",
"influenced by",
"François Rabelais"
] | null | null | null | null | 2 |
|
[
"Oggy and the Cockroaches",
"influenced by",
"Tom and Jerry"
] | Main
Oggy is a cat with a light blue body, green eyes, red nose, grey tummy and white feet. Oggy usually spends his time either watching TV or doing housework, when he's not chasing the cockroaches. Despite the constant mayhem caused by the cockroaches, Oggy has developed a sort of love–hate relationship with them, having lived with them for a long time. Whenever he finds himself alone in his house, he will eventually begin to miss the cockroaches along with their pranks (as seen in the episode "Priceless Roaches" and "So Lonely"/"Alone at last") followed by nothing interesting happening in his life. According to executive producer Marc du Pontavice and France Info, Oggy was named after punk rock musician Iggy Pop and the rock album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. In early episodes, Oggy, like his Tom and Jerry counterpart was the main punching bag in the series. He also has a fear of heights, as shown in "The Rise & the Fall"/"Vertigo" – however, it only applied for Jack's construction site.
The Cockroaches are a trio of cockroaches named Dee Dee, Marky and Joey (It is also implied that the roaches are named after members of the rock band The Ramones), who love playing tricks on Oggy and other characters such as Jack. However, if the cats left, they would miss each other as seen in "Moving Out". The cockroaches have wide heads, vibrantly-colored sclerae with long, pointed black noses and black feet. They also have black "caps" with their antennae, like Oggy.
Dee Dee is the youngest cockroach with a dark blue body, orange head and green eyes. Always hungry, his appetite sometimes reaches insane proportions, often resulting in the consumption of larger animals or other things that would otherwise be inedible (such as hyenas in one case and, due to the effects of a poisonous mushroom in another case, an insect; other instances include the fish on the wallpaper in "Oggy's Clone"/"Oggy's Costume" and a clownfish in "Scuba Diving"). He is known to like opera, with "Night at the Opera" focusing on this aspect. Sometimes it is shown that his feet are so foul-smelling that the juice they produce is toxic and can melt objects, as seen in "Caught in a Trap"/"High Security Fridge". He is named after bassist Dee Dee Ramone.
Marky is the tallest cockroach with a silver body, green head and pink eyes (originally red). Although Marky originally used to love causing mischief just like Dee Dee and Joey, he has grown to be more laid-back as the series progressed. In most episodes, he is shown with Dee Dee as his partner-in-crime. His hobbies are dating puppets and reading books (though never shown); he also has bad breath as revealed in "It's a Small World"/"Itsy-Bitsy Oggy". While his eyes changed to a less intense color, they turn red again at one point, in "Teleportation". He is named after drummer Marky Ramone.
Joey is a cockroach with a purple-pink body, pink right eye (originally red), a yellow left eye, and a lavender head. Even though he is the shortest roach in the group, he is the most intelligent, always being the brain in the plans, but is sometimes forced to go alone because Marky and Dee Dee often think that his plans are stupid. He loves money, but his efforts always fall short, usually ending with him getting swatted or beaten up. He is named after lead singer Joey Ramone.
Jack is a cat with an olive green body, yellow eyes, red nose, pale pink stomach, and white feet. In contrast to Oggy, he is more short-tempered, violent, and arrogant than him. He often finds himself building huge machinery, such as roach-catching contraptions, and is very interested in physics and chemistry (that is, the more explosive parts of it). Jack has an excellent relationship with Oggy, as he cares about him a lot, especially in the episode "Happy Birthday" where he tries to stop Oggy from committing suicide. Jack mostly lives and sleeps at Oggy's house, and owns a green jeep in which he and Oggy go for a variety of journeys, to the beach, and to go fishing. He is sometimes seen trying to propose to Monica, but the cockroaches' pranks always make it stop. In one episode ("Don't Rock the Cradle"/"Oggy the Babysitter"), Jack and Monica seem to have a baby together and ask Oggy to babysit their child. In "Just Married", Jack plans to get married but it got canceled at the end due to the cockroaches sneaking in and causing trouble. | null | null | null | null | 2 |
[
"Oggy and the Cockroaches",
"topic's main category",
"Category:Oggy and the Cockroaches"
] | null | null | null | null | 9 |
|
[
"Zebra Programming Language",
"influenced by",
"BASIC"
] | Zebra Programming Language (ZPL) is a page description language from Zebra Technologies, used primarily for labeling applications. The original language was superseded by ZPL II, but it is not fully compatible with the older version. ZPL II is supported by some non-Zebra label printers.Later, the Zebra BASIC Interpreter (ZBI) was integrated into printer software, which is seen as an advancement to ZPL II by the producer and is ANSI BASIC oriented. Primarily, it is intended to avoid a refactoring of code when changing the printer, if the old printer software was written by a label printer of a competitor. A possible use of ZBI could be for when the Zebra printer receives a foreign label format, which it would then convert to ZPL II on the fly so it can be printed. | null | null | null | null | 0 |
[
"PostScript",
"influenced by",
"Lisp"
] | The language
PostScript is a Turing-complete programming language, belonging to the concatenative group. Typically, PostScript programs are not produced by humans, but by other programs. However, it is possible to write computer programs in PostScript just like any other programming language.PostScript is an interpreted, stack-based language similar to Forth but with strong dynamic typing, data structures inspired by those found in Lisp, scoped memory and, since language level 2, garbage collection. The language syntax uses reverse Polish notation, which makes the order of operations unambiguous, but reading a program requires some practice, because one has to keep the layout of the stack in mind. Most operators (what other languages term functions) take their arguments from the stack, and place their results onto the stack. Literals (for example, numbers) have the effect of placing a copy of themselves on the stack. Sophisticated data structures can be built on the array and dictionary types, but cannot be declared to the type system, which sees them all only as arrays and dictionaries, so any further typing discipline to be applied to such user-defined "types" is left to the code that implements them.
The character "%" is used to introduce comments in PostScript programs. As a general convention, every PostScript program should start with the characters "%!PS" as an interpreter directive so that all devices will properly interpret it as PostScript. | null | null | null | null | 4 |
[
"PostScript",
"influenced by",
"Forth"
] | null | null | null | null | 5 |
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