Liquorice [lik-uh-rish] or licorice is the root of Glycyrrhiza glabra (a legume) from which a somewhat sweet flavor can be extracted. It is native to southern Europe and parts of Asia, and is not related to anise, star anise, or fennel, which are the sources of similar-tasting compounds. The word ‘liquorice’ is derived from the Greek ‘glukurrhiza’ (‘sweet root’). The flavor of liquorice comes mainly from a sweet-tasting compound called anethole, an aromatic, unsaturated ether compound also found in anise, fennel, and several other herbs. Much of the sweetness in liquorice comes from glycyrrhizin, a compound 30 to 50 times sweeter than sucrose (table sugar). Liquorice flavor is found in a wide variety of candies. In the UK and US these are usually sweet, but most of the taste is reinforced by aniseed oil, and the actual content of liquorice is very low. In continental Europe however, strong, salty liquorice candies are popular.
Interlingua [in-ter-ling-gwuh] is a planned language using words that are found in most West-European languages. It was made by IALA – a group of people (the most known was Alexander Gode) that worked on it for more than 20 years, and they finished and published the first dictionary in 1951. Interlingua was created on the base of languages: English, French, Spanish, Portuguese, and Italian. ‘Inter’ means ‘between’ or ‘to each other’; ‘lingua’ means ‘language.’ The goal of the language was to enable people of different countries to talk to each other easily. Because Interlingua was made by people to be easy, it is easier than natural languages to learn. Many thousands of people know Interlingua, and Interlingua speakers say that millions can understand it (read texts in it and listen to someone talk in it) without having to learn it first.
The expansive movements of science, technology, trade, diplomacy, and the arts, combined with the historical dominance of the Greek and Latin languages have resulted in a large common vocabulary among European languages. With Interlingua an objective procedure is used to extract and standardize the most widespread word or words for a concept found in a set of control languages: English, French, Italian, Spanish and Portuguese, with German and Russian as secondary references. Words from any language are eligible for inclusion, so long as their internationality is shown by their presence in these control languages. Hence, Interlingua includes such diverse word forms as Japanese ‘geisha’ and ‘samurai,’ Arabic ‘califa,’ Aboriginal ‘kanguru,’ and Finnish ‘sauna.’
The principle of linguistic relativity holds that the structure of a language affects the ways in which its speakers are able to conceptualize their world, i.e. their world view. Popularly known as the Sapir–Whorf hypothesis, or Whorfianism, the principle is often defined as having two versions: Strong (language determines thought and that linguistic categories limit and determine cognitive categories) and Weak (linguistic categories and usage influence thought and certain kinds of non-linguistic behavior). The term ‘Sapir-Whorf Hypothesis’ is a misnomer as the men never co-authored anything and never stated their ideas in terms of a hypothesis. The notion of ‘weak’ and ‘strong’ versions of Whorf’s principal of linguistic relativity is a misunderstanding of Whorf promulgated by Stuart Chase, whom Whorf considered ‘utterly incompetent by training and background to handle such a subject.’
Whorf’s principle of linguistic relativity was reformulated as a testable hypothesis; experiments were conducted to find out whether color perception varies between speakers of languages that classified colors differently. As the study of the universal nature of human language and cognition came into focus in the 1960s the idea of linguistic relativity fell out of favor among linguists. A 1969 study by Brent Berlin and Paul Kay claimed to demonstrate that color terminology is subject to universal semantic constraints, and hence to discredit the Sapir–Whorf hypothesis. From the late 1980s a new school of linguistic relativity scholars have examined the effects of differences in linguistic categorization on cognition, finding broad support for weak versions of the hypothesis in experimental contexts. Some effects of linguistic relativity have been shown in several semantic domains, although they are generally weak. Currently, a balanced view of linguistic relativity is espoused by most linguists holding that language influences certain kinds of cognitive processes in non-trivial ways, but that other processes are better seen as subject to universal factors. Research is focused on exploring the ways and extent to which language influences thought. The principle of linguistic relativity and the relation between language and thought has also received attention in varying academic fields from philosophy to psychology and anthropology, and it has also inspired and colored works of fiction and the invention of constructed languages.
Good Copy Bad Copy is a documentary about copyright and culture in the context of Internet, peer-to-peer file sharing and other technological advances, directed by Andreas Johnsen, Ralf Christensen, and Henrik Moltke. It features interviews with many people with various perspectives on copyright, including copyright lawyers, producers, artists, and filesharing service providers. A central point of the documentary is that ‘creativity itself is on the line’ and that a balance needs to be struck, or that there is a conflict, between protecting the right of those who own intellectual property and the rights of future generations to create. Artists interviewed include Girl Talk and DJ Danger Mouse, popular musicians of the mashup scene who cut and remix sounds from other songs into their own. The interviews with these artists reveal an emerging understanding of digital works and the obstacle to their authoring copyright presents.
‘Good Copy Bad Copy’ documents the conflict between current copyright law and recent technological advances that enable the sampling of music, as well as the distribution of copyrighted material via peer-to-peer file sharing search engines such as The Pirate Bay. MPAA (Motion Picture Association of America) CEO Dan Glickman is interviewed in connection with a raid by the Swedish police against The Pirate Bay in 2006. Glickman concedes that piracy will never be stopped, but states that they will try to make it as difficult and tedious as possible. Gottfrid Svartholm and Fredrik Neij from The Pirate Bay are also interviewed, with Neij stating that The Pirate Bay is illegal according to US law, but not Swedish law. In Nigeria, the documentary interviews individuals working within the Nigerian film industry, or Nollywood. In Brazil the Tecno brega industry and its unique approach to copyright and sampling is documented, featuring interviews with Ronaldo Lemos, Professor of Law FGV Brazil. Lemos explains that CDs or recorded music is treated merely as an advertisement for parties and concerts that generate revenue.
The Principality of Sealand is an unrecognized micronation, located on HM Fort Roughs, a former World War II Maunsell Sea Fort in the North Sea 10 km (six miles) off the coast of Suffolk, England. Since 1967, the facility has been occupied by the former British Major Paddy Roy Bates; his associates and family claim that it is an independent sovereign state. While it has been described as the world’s smallest nation, or a micronation, Sealand is not currently officially recognized by any established sovereign state. Although Roy Bates claims it is de facto recognized by Germany as they have sent a diplomat to the micronation, and by the UK after an English court ruled it did not have jurisdiction over Sealand, neither action constitutes de jure recognition as far as the respective countries are concerned.
In 1943, during World War II, HM Fort Roughs was constructed by the United Kingdom as one of the Maunsell Forts, primarily for defence against German mine-laying aircraft that might be targeting the estuaries that were part of vital shipping lanes; it comprised a floating pontoon base with a superstructure of two hollow towers joined by a deck upon which other structures could be added. The fort was towed to a position above the Rough Sands sandbar, where its base was deliberately flooded to allow it to sink to its final resting place on the sandbar. The location chosen was approximately six miles from the coast of Suffolk, outside the then three-mile territorial water claim of the United Kingdom and therefore in international waters. The facility (called Roughs Tower or HM Fort Roughs) was occupied by 150–300 Royal Navy personnel throughout World War II; not until well after the war, in 1956, were the last full-time personnel taken off HM Fort Roughs.
Simulated reality is the proposition that reality could be simulated—perhaps by computer simulation—to a degree indistinguishable from ‘true’ reality. It could contain conscious minds which may or may not be fully aware that they are living inside a simulation. This is quite different from the current, technologically achievable concept of virtual reality. Virtual reality is easily distinguished from the experience of actuality; participants are never in doubt about the nature of what they experience. Simulated reality, by contrast, would be hard or impossible to separate from ‘true’ reality.
Dietrich Varez (b. 1939) is an iconoclastic printmaker-painter. His work is among the most widely-recognized of any artist in Hawaii. A long-time resident of the Big Island, he is known primarily for scenes of Hawaiian mythology and of traditional Hawaiian life and stylized designs from nature. The studio where Varez works and lives is in a rural forested area near the small town of Volcano, Hawaii a few miles from the entrance to Hawaii Volcanoes National Park. He built the house himself after many years of living in tents or cabins on the land or in the Park. For most of his life there, he and his family have lived a self-sufficient pioneering life. They capture rainwater for their needs, and had no electricity for thirty years. The road to his home has been described as ‘barely passable.’ Varez and his wife rarely leave their homestead, virtually never travelling off-island.
Dr. K. Anders Ericsson is a Swedish psychologist and Professor of Psychology at Florida State University who is widely recognized as one of the world’s leading theoretical and experimental researchers on expertise. He is the co-editor of ‘The Cambridge Handbook of Expertise and Expert Performance,’ a volume released in 2006. Dr. Ericsson’s research with Herbert Simon on verbal reports of thinking is summarized in a book ‘Protocol Analysis: Verbal Reports as Data,’ which was revised in 1993. With Bill Chase he developed the Theory of Skilled Memory based on detailed analyses of acquired exceptional memory performance. Currently he studies the cognitive structure of expert performance in domains such as music, chess and sports, and how expert performers acquire their superior performance by extended deliberate practice.
The Missionary Church of Kopimism is a congregation of file sharers which hold that copying information as a sacred virtue. The sect, which is based in Sweden, is petitioning the Swedish government to have their church officially recognized as a religion. The sect’s followers are called Kopomists from ‘copy me.’ According to the church, ‘In our belief, communication is sacred.’
The OP-1 is a portable multi-function device incorporating a synthesizer, sampler and controller. Developed by Teenage Engineering in Stockholm, Sweden, the OP-1 was first released in 2011, though it appears in the 2010 music video for ‘One’ by Swedish House Mafia.
Natalism [neyt-l-iz-uhm] is a belief that promotes human reproduction. The term is taken from the Latin adjective form for ‘birth,’ ‘natalis.’ Natalism promotes child-bearing and glorifies parenthood. It typically advocates policies such as limiting access to abortion and contraception, as well as creating financial and social incentives for the population to reproduce. The degree of natalism is individual; the extreme end is ‘Natalism’ as a life stance (with the first letter capitalized), which holds natalism as of ultimate importance and everything else is only good to the extent it serves this purpose. The more moderate stance holds that there ought to be a higher rate of population growth than what is currently mainstream in industrialized countries. Philosophic motivations for natalism may include that of considering value in bringing potential future persons into existence.
Many religions, including Islam, Judaism, and some forms of Christianity, such as Roman Catholicism, with its sacrament of marriage, encourage procreation. The Amish are among the fastest-growing populations in the world, with an average of 6.8 children per family. A recent movement among conservative Protestants, known as the Quiverfull movement, advocates for large families.
Hair of the dog is a colloquial expression in the English language predominantly used to refer to alcohol that is consumed with the aim of lessening the effects of a hangover. The expression originally referred to a method of treatment of a rabid dog bite by placing hair from the dog in the wound. The use of the phrase as a metaphor for a hangover treatment dates back at least to the time of Shakespeare. It is possible that the phrase was used to justify an existing practice, ‘similia similibus curantur’ (Latin: ‘like cures like’), which dates back to ancient Greece.
The Millennium series (1954 – 2004) is a series of bestselling novels originally written in Swedish by the late Stieg Larsson. The primary characters in the series are Lisbeth Salander, an intelligent, eccentric woman in her twenties with a photographic memory and poor social skills, and Mikael Blomkvist, an investigative journalist and editor of a magazine called ‘Millennium.’ Blomkvist, the character, has a history similar to Larsson, the author. There are three books in the series: ‘The Girl with the Dragon Tattoo,’ ‘The Girl Who Played with Fire,’ and ‘The Girl Who Kicked the Hornets’ Nest.’ When he died suddenly of a heart attack in 2004, Larsson left behind manuscripts of the completed but unpublished novels written as a series. He had written them for his own pleasure after returning home from his job in the evening, and had made no attempt to get them published until shortly before his death.
When Larsson was 15 years old, he witnessed the gang rape of a girl, which led to his lifelong abhorrence of violence and abuse against women. The author never forgave himself for failing to help the girl, which inspired the themes of sexual violence against women in his books. Larsson was also influenced by the murders of three women (Melissa Nordell, Fadime Sahindal, and Catrine Da Costa) in writing the ‘Millennium’ series. All three women were killed either at the hands of men or as victims of horrific crimes. To Larsson there was no difference, and ‘systematic violence’ against women highly affected and inspired him to take action against these crimes through his writing. Eva Gabrielsson, Larsson’s longtime partner, wrote that ‘the trilogy allowed Stieg to denounce everyone he loathed for their cowardice, their irresponsibility, and their opportunism: couch-potato activists, sunny-day warriors, fair-weather skippers who pick and choose their causes; false friends who used him to advance their own careers; unscrupulous company heads and shareholders who wangle themselves huge bonuses… Seen in this light, Stieg couldn’t have had any better therapy for what ailed his soul than writing his novels.’
Idiom [id-ee-uhm] (Latin: idioma, ‘special property’) is an expression, word, or phrase that has a figurative meaning that is comprehended in regard to a common use of that expression that is separate from the literal meaning or definition of the words of which it is made. There are estimated to be at least 25,000 idiomatic expressions in the English language.
In linguistics, idioms are usually presumed to be figures of speech contradicting the principle of compositionality; yet the matter remains debated. Linguist John Saeed defines an ‘idiom’ as words collocated that became affixed to each other until metamorphosing into a fossilised term. This collocation—words commonly used in a group—redefines each component word in the word-group and becomes an idiomatic expression. The words develop a specialized meaning as an entity, as an idiom. Moreover, an idiom is an expression, word, or phrase whose sense means something different from what the words literally imply. The idiom ‘beating around the bush’ means to hint or discuss obliquely; nobody is literally beating any person or thing, and the bush is a metaphor. When a speaker uses an idiom, the listener might mistake its actual meaning, if he or she has not heard this figure of speech before. Idioms usually do not translate well; in some cases, when an idiom is translated into another language, either its meaning is changed or it is meaningless.