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🔗 Music theory

The Parsons code, formally named the Parsons code for melodic contours, is a simple notation used to identify a piece of music through melodic motion — movements of the pitch up and down. Denys Parsons developed this system for his 1975 book The Directory of Tunes and Musical Themes. Representing a melody in this manner makes it easier to index or search for pieces, particularly when the notes values are unknown.

The book was also published in Germany in 2002 and reprinted by Piatkus as The Directory of Classical Themes in 2008.

🔗 Computing

The blinking twelve problem is a term used in software design. It usually refers to features in software or computer systems which are rendered unusable to most users by the complexity of the interface to them.

The usage emanates from the 'clock' feature provided on many VCRs manufactured in the late 1980s or early 1990s. The clock could be set by using a combination of buttons provided on the VCR in a specific sequence that was found complicated by most users. As a result, VCR users were known to seldom set the time on the VCR clock. This resulted in the default time of '12:00' blinking on the VCR display at all times of the day, which is the origin of this term.

"In most surveys, the majority of people have never time-shifted just because they don't know how to program their machines," said Tom Adams, a television analyst for Paul Kagan Associates, a media research firm, in 1990.

In software, 'the blinking twelve problem' thus refers to any situation in which features or functions of a program go unused for reasons that the designers never anticipated, largely because developers were unable to anticipate the level of understanding the users would have of the technology. The term may also refer to the challenge faced by developers of addressing the real causes of users' difficulties, as well as the challenge of providing helpful documentation or technical support without knowing beforehand how well the user understands their own problem.

In other instances, it can be used to reference the lack of basic user-friendly features in complex systems; stemming from the lack of a backup battery to keep the clock setting in a $300 VCR during even the briefest power interruption, when a $10 clock would have one.

The terms is usually used mostly by geeks, often in discussion forums. The term appears in the 1999 essay In the Beginning... Was the Command Line by Neal Stephenson.

🔗 Books 🔗 Food and drink

This Is the Boke of Cokery, or The Boke of Cokery, is believed to be the first cookery book printed in English. The name of the author is unknown. It was printed and published by Richard Pynson in 1500. The book remained in print for many years in the 16th century, but was superseded and forgotten by the 18th. The only known surviving copy of the book is in the possession of the Marquess of Bath at Longleat House, Wiltshire.

🔗 Russia 🔗 Russia/technology and engineering in Russia 🔗 Spaceflight 🔗 Spaceflight/space stations working group

The terms Androgynous Peripheral Attach System (APAS), Androgynous Peripheral Assembly System (APAS) and Androgynous Peripheral Docking System (APDS) are used interchangeably to describe a Russian family of spacecraft docking mechanisms, and are also sometimes used as generic names for any docking system in that family. A system similar to APAS-89/95 is used by the Chinese Shenzhou spacecraft.

🔗 Computing 🔗 Africa 🔗 Ancient Egypt 🔗 Novels 🔗 Novels/Science fiction 🔗 Science Fiction 🔗 Women writers 🔗 Egypt

The Mummy! A Tale of the Twenty-Second Century is an 1827 three-volume novel written by Jane Webb (later Jane C. Loudon). It concerns the Egyptian mummy of Cheops, who is brought back to life in the year 2126. The novel describes a future filled with advanced technology, and was the first English-language story to feature a reanimated mummy.

After her father's death, making her an orphan at the age of 17, Webb found that:

on the winding up of his affairs that it would be necessary to do something for my support. I had written a strange, wild novel, called the Mummy, in which I had laid the scene in the twenty-second century, and attempted to predict the state of improvement to which this country might possibly arrive.

She may have drawn inspiration from the general fashion for anything pharaonic, inspired by the French researches during the Napoleonic invasion of Egypt; the 1821 public unwrappings of Egyptian mummies in a theatre near Piccadilly, which she may have attended as a girl; and, very likely, the 1818 novel by Mary Shelley, Frankenstein; or, The Modern Prometheus. As Shelley had written of Frankenstein's creation, "A mummy again endued with animation could not be so hideous as that wretch," which may have triggered her later concept. In any case, at many points she deals in greater clarity with elements from the earlier book such as the loathing for the much-desired object and the immediate arrest for crime and attempt to lie one's way out of it. However, unlike the Frankenstein monster, the hideous revived Cheops is not shuffling around dealing out horror and death, but giving canny advice on politics and life to those who befriend him. In some ways The Mummy! may be seen as her reaction to themes in Frankenstein: her mummy specifically says he is allowed life only by divine favour, rather than being indisputably vivified only by mortal science, and so on, as Hopkins' 2003 essay covers in detail.

Unlike many early science fiction works (Shelley's The Last Man, and The Reign of King George VI, 1900–1925, written anonymously in 1763), Loudon did not portray the future as her own day with only political changes. She filled her world with foreseeable changes in technology, society, and even fashion. The hero, Edric Montague, lived in a peaceful and Catholic England under the rule of Queen Claudia. Her court ladies wear trousers and hair ornaments of controlled flame. Surgeons and lawyers may be steam-powered automatons. Air travel, by balloon, is commonplace. A kind of Internet is predicted in it. Besides trying to account for the revivification of the mummy in scientific terms—galvanic shock rather than incantations—"she embodied ideas of scientific progress and discovery, that now read like prophecies" to those later in the 19th century. Many of the incidents in the book can be seen as satirical or humorous. Her social attitudes have resulted in this book being ranked among feminist novels.

The Mummy!: Or a Tale of the Twenty-Second Century was published anonymously in 1827 by Henry Colburn in three volumes, as was usual in that day so that each small volume could be easily carried around. It drew many favourable reviews, including one in 1829 in The Gardener's Magazine on the inventions proposed in it. In 1830, the 46-year-old reviewer, John Claudius Loudon, sought out the 22-year-old Webb, and they married the next year.

🔗 Medicine 🔗 Psychology

Capgras delusion is a psychiatric disorder in which a person holds a delusion that a friend, spouse, parent, or other close family member (or pet) has been replaced by an identical impostor. It is named after Joseph Capgras (1873–1950), a French psychiatrist.

The Capgras delusion is classified as a delusional misidentification syndrome, a class of delusional beliefs that involves the misidentification of people, places, or objects. It can occur in acute, transient, or chronic forms. Cases in which patients hold the belief that time has been "warped" or "substituted" have also been reported.

The delusion most commonly occurs in individuals diagnosed with paranoid schizophrenia but has also been seen in brain injury, dementia with Lewy bodies, and other dementia. It presents often in individuals with a neurodegenerative disease, particularly at an older age. It has also been reported as occurring in association with diabetes, hypothyroidism, and migraine attacks. In one isolated case, the Capgras delusion was temporarily induced in a healthy subject by the drug ketamine. It occurs more frequently in females, with a female to male ratio of approximately 3 to 2.

🔗 Politics 🔗 Socialism 🔗 Chicago 🔗 Holidays 🔗 Organized Labour

International Workers' Day, also called Labour Day in some countries and often referred to as May Day, is a celebration of labourers and the working classes that is promoted by the international labour movement and occurs every year on 1 May, or the first Monday in May.

Traditionally, 1 May is the date of the European spring festival of May Day. The International Workers Congress held in Paris in 1889 established the Second International for labor, socialist, and Marxist parties. It adopted a resolution for a "great international demonstration" in support of working-class demands for the eight-hour day. The date was chosen by the American Federation of Labor to commemorate a general strike in the United States, which had begun on 1 May 1886 and culminated in the Haymarket affair on 4 May. The demonstration subsequently became a yearly event. The 1904 Sixth Conference of the Second International, called on "all Social Democratic Party organisations and trade unions of all countries to demonstrate energetically on the First of May for the legal establishment of the eight-hour day, for the class demands of the proletariat, and for universal peace".

The 1st of May, or first Monday in May, is a national public holiday in many countries, in most cases known as "International Workers' Day" or a similar name. Some countries celebrate a Labour Day on other dates significant to them, such as the United States and Canada, which celebrate Labor Day on the first Monday of September. In 1955, the Catholic Church dedicated 1 May to "Saint Joseph the Worker". Saint Joseph is the patron saint of workers and craftsmen, among others.

🔗 Music theory

A Picardy third () (French: tierce picarde), also known as a Picardy cadence, is a major chord of the tonic at the end of a musical section that is either modal or in a minor key. This is achieved by raising the third of the expected minor triad by a semitone to create a major triad, as a form of resolution.

For example, instead of a cadence ending on an A minor chord containing the notes A, C, and E, a Picardy third ending would consist of an A major chord containing the notes A, C♯, and E. Note that the minor third between the A and C of the A minor chord has become a major third in the Picardy third chord.

Musicologist Peter Kivy writes:

Even in instrumental music, the picardy third retains its expressive quality: it is the "happy third". ... Since at least the beginning of the seventeenth century, it is no longer enough to describe it as a resolution to the more consonant triad; it is a resolution to the happier triad as well. ... The picardy third is absolute music's happy ending. Furthermore, I hypothesize that in gaining this expressive property of happiness or contentment, the picardy third augmented its power as the perfect, most stable cadential chord, being both the most emotionally consonant chord, so to speak, as well as the most musically consonant.

According to Deryck Cooke, "Western composers, expressing the 'rightness' of happiness by means of a major third, expressed the 'wrongness' of grief by means of the minor third, and for centuries, pieces in a minor key had to have a 'happy ending' – a final major chord (the 'tierce de Picardie') or a bare fifth."

The Picardy third does not necessarily occur at the end of a section: it can be found at any perfect cadence or plagal cadence where the prevailing key is minor. As a harmonic device, the Picardy third originated in Western music in the Renaissance era.

🔗 Biography 🔗 Disambiguation

William Adams may refer to:

🔗 Mathematics

The 15-puzzle (also called Gem Puzzle, Boss Puzzle, Game of Fifteen, Mystic Square and many others) is a sliding puzzle that consists of a frame of numbered square tiles in random order with one tile missing. The puzzle also exists in other sizes, particularly the smaller 8-puzzle. If the size is 3×3 tiles, the puzzle is called the 8-puzzle or 9-puzzle, and if 4×4 tiles, the puzzle is called the 15-puzzle or 16-puzzle named, respectively, for the number of tiles and the number of spaces. The object of the puzzle is to place the tiles in order by making sliding moves that use the empty space.

The n-puzzle is a classical problem for modelling algorithms involving heuristics. Commonly used heuristics for this problem include counting the number of misplaced tiles and finding the sum of the taxicab distances between each block and its position in the goal configuration. Note that both are admissible, i.e. they never overestimate the number of moves left, which ensures optimality for certain search algorithms such as A*.