Problem: USB:

USB data is transmitted by toggling the data lines between the J state and the opposite K state. USB encodes data using the NRZI line coding; a 0 bit is transmitted by toggling the data lines from J to K or vice versa, while a 1 bit is transmitted by leaving the data lines as-is. To ensure a minimum density of signal transitions remains in the bitstream, USB uses bit stuffing; an extra 0 bit is inserted into the data stream after any appearance of six consecutive 1 bits. Seven consecutive received 1 bits is always an error. USB 3.0 has introduced additional data transmission encodings.

To ensure a minimum density of signal transitions  remains in the bitsream, what does USB use?
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A: bit stuffing


Problem: The World Intellectual Property Organization (WIPO) recognizes that conflicts may exist between the respect for and implementation of current intellectual property systems and other human rights. In 2001 the UN Committee on Economic, Social and Cultural Rights issued a document called "Human rights and intellectual property" that argued that intellectual property tends to be governed by economic goals when it should be viewed primarily as a social product; in order to serve human well-being, intellectual property systems must respect and conform to human rights laws. According to the Committee, when systems fail to do so they risk infringing upon the human right to food and health, and to cultural participation and scientific benefits. In 2004 the General Assembly of WIPO adopted The Geneva Declaration on the Future of the World Intellectual Property Organization which argues that WIPO should "focus more on the needs of developing countries, and to view IP as one of many tools for development—not as an end in itself".
Who said IP failures may infringe on human rights to food and health?
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Answer: the UN Committee on Economic, Social and Cultural Rights


Q: What is a question about this article? If the question is unanswerable, say "unanswerable".
The roots of hard rock can be traced back to the 1950s, particularly electric blues, which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, and posturing performances. Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, and particularly Pat Hare, who captured a "grittier, nastier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues" (1954). Other antecedents include Link Wray's instrumental "Rumble" in 1958, and the surf rock instrumentals of Dick Dale, such as "Let's Go Trippin'" (1961) and "Misirlou" (1962).
Who wrote "Misirlou" in 1961?
A: unanswerable


Context and question: The population grew rapidly, from 800,000 in 1814 to 914,000 in 1830 and 1,067,000 in 1846. The combination of economic and demographic factors led to hunger, housing shortages and a lack of work for young people. Thus, it is not surprising that people left Alsace, not only for Paris – where the Alsatian community grew in numbers, with famous members such as Baron Haussmann – but also for more distant places like Russia and the Austrian Empire, to take advantage of the new opportunities offered there: Austria had conquered lands in Eastern Europe from the Ottoman Empire and offered generous terms to colonists as a way of consolidating its hold on the new territories. Many Alsatians also began to sail to the United States, settling in many areas from 1820 to 1850. In 1843 and 1844, sailing ships bringing immigrant families from Alsace arrived at the port of New York. Some settled in Illinois, many to farm or to seek success in commercial ventures: for example, the sailing ships Sully (in May 1843) and Iowa (in June 1844) brought families who set up homes in northern Illinois and northern Indiana. Some Alsatian immigrants were noted for their roles in 19th-century American economic development. Others ventured to Canada to settle in southwestern Ontario, notably Waterloo County.
What was the population of Alsace in 1846?
Answer: 1,067,000


Question: Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
Is there an answer to this question: What two artists created four variations of the Concerto in C Major Op 3 6?

Answer: Don Giovanni and Beethoven


Problem: Philosophy of space and time:

However, asymmetry of causation can be observed in a non-arbitrary way which is not metaphysical in the case of a human hand dropping a cup of water which smashes into fragments on a hard floor, spilling the liquid. In this order, the causes of the resultant pattern of cup fragments and water spill is easily attributable in terms of the trajectory of the cup, irregularities in its structure, angle of its impact on the floor, etc. However, applying the same event in reverse, it is difficult to explain why the various pieces of the cup should fly up into the human hand and reassemble precisely into the shape of a cup, or why the water should position itself entirely within the cup. The causes of the resultant structure and shape of the cup and the encapsulation of the water by the hand within the cup are not easily attributable, as neither hand nor floor can achieve such formations of the cup or water. This asymmetry is perceivable on account of two features: i) the relationship between the agent capacities of the human hand (i.e., what it is and is not capable of and what it is for) and non-animal agency (i.e., what floors are and are not capable of and what they are for) and ii) that the pieces of cup came to possess exactly the nature and number of those of a cup before assembling. In short, such asymmetry is attributable to the relationship between temporal direction on the one hand and the implications of form and functional capacity on the other.

Symmetry is atributable to a ralationship of what kind of direction?
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A:
unanswerable