1.-class torpedo boat
The 1.-class torpedo boat was a designation in the Scandinavian countries for a type of fast steam ships on more than 80 tons .


1.-class torpedo boat, Royal Norwegian Navy
The Royal Norwegian Navy had ten torpedo boats built from 1892. 6 of which were still active at the German invasion of Norway in 1940.


1... R-32 opening
In shogi, 1... R-32  (2手目☖3二飛 niteme san-ni hi) is a Third File Rook opening in which White's rook is positioned on the 32 square on White's first move.


1... R-32 opening
When played by Black, the opening is known as 1. R-78 (初手７八飛 shote nana-hachi hi).


1.0 (album)
1.0 is the debut studio album by Black Rain, released on July 25, 1995 by Fifth Colvmn Records. The album was originally intended to be used as the score for the 1995 film  Johnny Mnemonic by Robert Longo.


1.0 (album), Reception
Sonic Boom said "the music does a much better job of backing up the film than the actual soundtrack does" and said "regardless of whither or not you enjoyed Johnny Mnemonic I suggest you pick up this soundtrack."


1.0 (album), Track listing
All tracks are written by Stuart Argabright, Chaz Cardoza, Thom Furtado and Shinichi Shimokawa.


1.000.000 (song)
"1.000.000" is a song recorded by Romanian recording artist Alexandra Stan for her debut studio album, Saxobeats (2011). Featuring the vocal collaboration of German-Zimbabwean rapper Carlprit, it was made available as a digital download on 22 February 2012 through Vae Victis and E2. The track was written by Andei Nemirschi, Marcel Prodan and Marcian Alin Soare, while being produced by Nemirschi and Prodan. Musically, "1.000.000" is an R&B and pop song which incorporates hip hop beats in its instrumentation; Stan repeats the word "million" over the chorus, which is reminiscent of Romanian band M&G's track "Milioane".


1.000.000 (song)
An accompanying music video for the single was uploaded on Prodan's YouTube channel on 22 December 2011, with it being filmed by Iulian Moga in Bucharest in the spawn of thirty hours. The visual portrays both Stan and Carlprit performing to the song in front of a graffiti backdrop and inside a mirrored room; one piece of the singer's clothing included a pair of shoes which was custom made in about forty-eight hours straight. With music critics generally praising "1.000.000", the recording experienced minor commercial success in Europe. It reached number thirteen on native Romanian Top 100, number ten in Israel, number thirty-four in Italy and number 203 in the Commonwealth of Independent States.


1.000.000 (song), Background and composition
After Carlprit's involvement with Stan in a remix of her 2011 single "Mr. Saxobeat", her manager and collaborator Marcel Prodan suggested that the pair work together in the future, which would result in "1.000.000". The song aired for the first time on French radio station Puls Radio. The track was written by Andrei Nemirschi, Prodan and Marcian Alin Soare, while being produced by Prodan and Nemirschi. "1.000.000" incorporates hip hop beats in its instrumentation, whilst Stan provides "warm" vocals.


1.000.000 (song), Background and composition
Carlprit opens the song by addressing the lyrics "You're one in a million" to Stan; she repeats the word "million" over the chorus, which is reminiscent of "Milioane" recorded by Romanian band M&G. Italian publication L'Altra Pagina described the single as an evolution in Stan's artistry, pointing out the absence of a saxophone in its composition unlike her previous material, and its style as being oriented to pop rather than her past dance works. According to Rodrigo of Yam-Magazine, the single is of the R&B and pop genre.


1.000.000 (song), Reception
The recording was generally acclaimed by music critics. Kevin Apaza, writing for Direct Lyrics, called the song "catchy and "super infectious", suggesting that "if promoted correctly '1.000.000' can slay European, and US charts." He went on praising its chorus for being "too cute", and labelling the recording as being "so simple, so generic, but so fire at the same time."


1.000.000 (song), Reception
Although Romanian music website Utv felt that the refrain's lyrics were "repetitive and monosyllabic", they acclaimed the track's rhythm and stated, "Moreover, Alexandra Stan accustomed us that once she releases a new single, this must be different from the previous ones." German magazine Klatsch–Tratsch said that "1.000.000" contains "gentle and sometimes quite very romantic tones", while AllMusic's Celeste Rhoads called the recording "addictive" during his review of Saxobeats. German portal Mix1 expected the single to become a hit and awarded it a score 6 out of 8.


1.000.000 (song), Reception
Music website Digijunkies praised Carlprit's contribution on "1.000.000", concluding that the recording is "supple on the dance floor and affectionate in the ear canal." In a mixed review for Saxobeats, Yam Magazine declared that the single "stands out for sounding different than the rest of the tracks [...] and Stan expresses herself well in the genre."


1.000.000 (song), Reception
Commercially, "1.000.000" experienced minor success in Europe. On her native Romanian Top 100, it reached number thirteen on 15 January 2012. Furthermore, it managed to chart at number ten in Israel. In the Commonwealth of Independent States, the song opened the Tophit chart at position 230 on 22 January 2012, with it reaching its highest peak at number 203 after two weeks. The track managed to chart at number thirty-four in Italy in its sixth week, and at twenty-one in Spain.


1.000.000 (song), Music video
An accompanying music video for the song was uploaded onto the YouTube channel of Prodan's label, Maan Studio, on 22 December 2011. It was directed by Iulian Moga in Bucharest in the spawn of thirty hours, in over five different settings, with Stan wearing six outfits throughout the clip. About the clothing, she confessed during an interview that she chose to look "precious and glamorous mixed with something urban, R&B and hip-hop" after consulting with her stylist Andra Moga. One of her pieces included a pair of shoes which were custom made in a span of forty-eight hours. Premiering on MTV on 21 December 2011 at 12:00, the visual does not have a plot, serving to emphasis her image.


1.000.000 (song), Music video
The clip opens with Carlprit riding a sparkling bicycle in front of a graffiti backdrop, with Stan sitting on a TV in front of him. Subsequently, they are both presented in a mirrored room. Until the track's breakdown is played, the two further dance to the song, following which the singer is portrayed captured in a cage and later laying on the floor covered by silver. The visual ends with the screen becoming dark and Stan looking into the camera. Website Direct Lyrics named the music video "cute", further explaining that "although nothing really happens, Alexandra just hangs around wearing different clothes in different scenes, she takes this opportunity to further strut her sexy figure." Los 40 Principales cited the visual for "1.000.000" as one of Stan's best clips ever.


1.000.000 (song), Credits and personnel
Credits adapted from the liner notes of Saxobeats and The Collection.


1.1-inch/75-caliber gun
The 1.1"/75 caliber gun was an American anti-aircraft weapon of World War II, used by the United States Navy. The name means that it had a bore diameter of 1.1 in (28 mm) and barrel caliber of 75 (1.1 inches × 75 = 82.5 in (2.1 m)). The gun was designed to replace the M2 Browning and four barrels were required to duplicate the rate of fire.


1.1-inch/75-caliber gun
The first shipboard installation in 1939, was quickly nicknamed the Chicago Piano, possibly because it was the size of a baby grand piano and looked a little like a baby grand without its lid. The name also references the "tommy guns" used by gangsters in Chicago. (Although the reminiscences of the sailors who served with these guns all agree on the nickname, no one seems to know where it originated.)


1.1-inch/75-caliber gun
By 1941, these guns had been mounted on destroyers, cruisers, battleships, aircraft carriers, and some auxiliary ships. Nearly a thousand guns had been produced before production shifted to more reliable shipboard anti-aircraft machine guns in 1942. Quantities were minimal; one mount for a destroyer, two mounts for pre-1930s battleships, and four mounts for North Carolina–class and newer battleships. On at least some ships they were director-controlled.


1.1-inch/75-caliber gun
The gun was very unpopular with its crews; it was said that due to its tendency to jam, the only way to fire one was to position a gunner's mate on his back underneath the mount, equipped with an assortment of wrenches and hammers to clear them. It was replaced by the 20 mm (0.79 in) Oerlikon cannon or the 40 mm (1.6 in) Bofors gun whenever possible, but served until the end of the war on some ships. A twin Bofors gun was about the same weight, and was a much more powerful gun. The air-cooled Oerlikon had similar effective range and rate of fire with considerably less weight. The Oerlikon could not sustain fire for as long as the water-cooled 1.1–inch, but six Oerlikons could be installed for the weight of a single 1.1–inch quad mount.


1.1-inch/75-caliber gun, History
The gun was based on patents of Richmond, Virginia, inventor Robert Hudson, who used a complicated gas-recoil operating system adapted to .30-06 Springfield and .50 BMG. The Navy's Bureau of Ordnance (BuOrd) had decided the M2 Browning was inadequate for future anti-aircraft duties, and modified Hudson's design for a new, high-velocity 1.1 inches (28 mm) cartridge. The water-cooled prototype was tested at Naval Surface Warfare Center Dahlgren Division in 1934:


1.1-inch/75-caliber gun, History
The 1.1 gun was designed as a weapon to be used against dive and horizontal bombers and as such supplement the defensive characteristics of the caliber .50 machine gun. The first definite action in this direction took place on October 11, 1928, when the Chief of the Bureau announced a meeting of a Special Board on Naval Ordnance for October 17 to consider and submit a plan for the development and test of a machine gun of 1" or greater. As a result of this and successive meetings, the decision was made to develop a 1.1" machine gun.


1.1-inch/75-caliber gun, History
On December 13, 1928, Mr. C.F. Jeansen, a Bureau Engineer, began an investigation of the weight of ammunition for the gun and in March 1929 Mr. Burk and Mr. Chadwick, likewise Bureau Engineers, were designated to design the gun mechanism. The round as finally adopted weighed 2 pounds and employed a .92 pound percussion-fuzed projectile. The design of the gun mechanism was completed in 1930 and tests on the initial models were carried out in March, April and May 1931.


1.1-inch/75-caliber gun, History
The tests, which demonstrated a cyclic rate of 90 r.p.m., were characterized by primer blow backs, misfires, and stuck cases—as well as magazine and cradle difficulties. During the next two years, designers corrected these faults and the cyclic rate increased to 140. The design was turned over to the Naval Gun Factory for production in 1934. It is interesting to note that work on the gun was financed not from regular Navy appropriations but from funds supplied through the National Industrial Recovery Act.


1.1-inch/75-caliber gun, History
Development proved difficult and the gun was not able to achieve its design goals in terms of accuracy and reliability and when finally available in quantity it was no longer deemed acceptable:


1.1-inch/75-caliber gun, History
In recognition of the growing necessity for antiaircraft fire, the more or less continuous Bureau experimentation with double-purpose guns during the 1920s finally culminated in the early 1930s in the development of the 5"/38 DP gun, which fulfilled its mission throughout the war with very little criticism. While the longer range antiaircraft gun field was taken care of, except for insufficient numbers, the situation was far from satisfactory in the short range category.


1.1-inch/75-caliber gun, History
Neither the .50 caliber machine gun, effective enough in plane-to-plane fire at pointblank range, nor the 1.1" which the Bureau developed in quadruple mounts in the 1930s, were competent to meet the menace of the Second World War plane. The 1.1", too heavy to serve as a "last-ditch" free mount and too light to span the gap between the small machine guns and the 5-inch guns, even had all its "bugs" been eliminated. The lack of adequate short range antiaircraft guns together with insufficient quantities of the best guns then available created a situation which by 1940 could hardly be termed anything but critical.


1.1-inch/75-caliber gun, History
Before the Japanese struck Pearl Harbor on 7 December, five 1.1–inch quad mounts had been sent to the Cavite Navy Yard, in the Philippines, for fitting to the cruiser USS Houston of the Asiatic Fleet. Four were mounted on Houston and the fifth was a spare. To the surprise of most at Cavite, the one spare left on the dock survived the Japanese bombing.


1.1-inch/75-caliber gun, History
Since the mount was too heavy for the few harbor patrol vessels still stationed in Manila Bay, the fifth spare mount was put on a barge, along with 25,000 rounds of 1.1–inch ammunition, taken to Corregidor and "donated" to the US Army. There is no further record of what happened with that one 1.1–inch mount sent to Corregidor.


1.1-inch/75-caliber gun, History
Some online articles referring to this "donated to the Army" mount exist. One states the guns were installed in a special concrete mount and used successfully against Japanese airplanes until destroyed by gunfire.


1.1-inch/75-caliber gun, History
The gun first saw action during the attack on Pearl Harbor. There are no records of which planes might have been hit by the large number of 1.1–inch rounds fired, but numerous accounts exist of damage caused by the impact-fuzed projectiles missing their targets and exploding like hand grenades when they returned to earth.


1.1-inch/75-caliber gun, Preserved
A restored 1.1–inch quad mount is installed on the museum ship North Carolina and another is on the hangar deck of Yorktown. The museum and park Freedom Park (Omaha, Nebraska) has a 1.1–inch quad mount on its grounds. One quad mount was at the Washington Navy Yard in the 1990s, and may still remain there. At least one quad mount still resides in storage with the battleship Texas.


1.1.1-Propellane
[ 1.1.1]Propellane is an organic compound, the simplest member of the propellane family. It is a hydrocarbon with formula C5H6 or C2(CH2)3. The molecular structure consists of three rings of three carbon atoms each, sharing one C–C bond.


1.1.1-Propellane
[ 1.1.1]Propellane is a highly strained molecule. The bonds of the two central carbon atoms have an inverted tetrahedral geometry, and the length of the central bond is 160 pm. The strength of that bond is disputed; estimates vary from 59–65 kcal/mol to no strength at all. The energy of the biradical state (with no central bond at all) is calculated to be 80 kcal/mol higher. At 114 °C it will spontaneously isomerize to 3-methylidenecyclobutene with a half-life of 5 minutes. Its strain energy is estimated to be 102 kcal/mol (427 kJ/mol).


1.1.1-Propellane
Surprisingly, [1.1.1]propellane is persistent at room temperature and is somewhat less susceptible to thermal decomposition than the less strained (90 kcal/mol) [ 2.2.2]propellane system, which has an estimated half-life of only about 1 h at 25 °C. This unusual stability is attributed to delocalisation of electron density from the bond between the central carbon atoms onto the bridging carbon atoms.


1.1.1-Propellane
The type of bonding in this molecule has been explained in terms of charge-shift bonding.


1.1.1-Propellane, Synthesis
[ 1.1.1]Propellane was first reported by K. Wiberg and F. Walker in 1982. The synthesis commences with cyclopropanation of 1,1-bis(chloromethyl)ethylene, according to the following scheme:


1.1.1-Propellane, Synthesis
Synthesis begins with conversion of the 1,3-di-carboxylic acid of bicyclo[1.1.1]pentane 1 in a Hunsdiecker reaction to the corresponding dibromide 2 followed by a coupling reaction with n-butyllithium. The final product 3 was isolated by column chromatography at −30 °C.


1.1.1-Propellane, Synthesis
However, a much simplified synthesis was published by Szeimies. It starts with dibromocarbene addition to the alkene bond of 3-chloro-2-(chloromethyl)propene 6 followed by deprotonation by methyllithium and nucleophilic displacements in 7 not isolated but kept in solution at −196 °C.


1.1.1-Propellane, Reactions, Acetic acid addition
[ 1.1.1]Propellane spontaneously reacts with acetic acid to yield a methylidenecyclobutane ester (4 above).


1.1.1-Propellane, Reactions, Polymerization
[ 1.1.1]Propellane undergoes a polymerization reaction where the central C–C bond is split and connected to adjacent monomer units, resulting in the so-called staffanes.


1.1.1-Propellane, Reactions, Polymerization
A radical polymerization initiated by methyl formate and benzoyl peroxide results in a distribution of oligomers. An anionic addition polymerization with n-butyllithium results in a fully polymerized product. X -ray diffraction of the polymer shows that the connecting C–C bonds have bond lengths of only 148 pm.


1.1.1-Propellane, Reactions, Polymerization
The compound 1,3-dehydroadamantane, which can be viewed as a bridged [1.3.3]propellane, also polymerizes in a similar way.


1.1.1.1
1.1.1.1 is a free Domain Name System (DNS) service by American company Cloudflare in partnership with APNIC. The service functions as a recursive name server providing domain name resolution for any host on the Internet. The service was announced on April 1, 2018. On November 11, 2018, Cloudflare announced a mobile application of their 1.1.1.1 service for Android and iOS. On September 25, 2019, Cloudflare released WARP, an upgraded version of their original 1.1.1.1 mobile application.


1.1.1.1, Service
The 1.1.1.1 DNS service operates recursive name servers for public use at the IP addresses listed below. The addresses are mapped to the nearest operational server by anycast routing. The DNS service is also available for Tor clients. Users can set up the service by manually changing their DNS resolvers to the IP addresses below. Mobile users on both Android and iPhone have the alternative of downloading the 1.1.1.1 mobile application, which automatically configures the DNS resolvers on the device.


1.1.1.1, Technology
1.1.1.1 is a recursive DNS resolver. Cloudflare runs an authoritative DNS resolver with a network of over 20 million Internet properties. With the recursor and the resolver on the same network, some DNS queries can be answered directly.


1.1.1.1, Technology
With the release of the 1.1.1.1 mobile application in November 2018, Cloudflare added the ability for users to encrypt their DNS queries over HTTPS (DoH) or TLS (DoT). Later on, a VPN tunnel was implemented based on Cloudflare's own BoringTun, a user space implementation of WireGuard written in Rust.


1.1.1.1, Technology, Prior usage of the IP address
Technology websites noted that by using 1.1.1.1 as the IP address for its service, Cloudflare exposed misconfigurations in existing setups that violated Internet standards (such as RFC1918). 1.1.1.1 was not a reserved IP address, yet was abused by many existing routers (mostly those sold by Cisco Systems) and companies for hosting login pages to private networks, exit pages or other purposes, rendering the proper routing of 1.1.1.1 impossible on those systems. Additionally, 1.1.1.1 is blocked on many networks and by multiple ISPs because the simplicity of the address means that it was previously often used inappropriately for testing purposes and not legitimate use. These previous uses have led to a huge influx of garbage data to Cloudflare's servers.


1.1.1.1, Technology, Cleanup of 1.1.1.1 and 1.0.0.1
The 1.0.0.0/8 IP block was assigned in 2010 to APNIC; before this time it was unassigned space. An unassigned IP space, however is not the same as a reserved IP space for private use (called a reserved IP address). For example, AT&T has said it is working on fixing this issue within its CPE hardware.


1.1.1.1, WARP
In September 2019, Cloudflare released a VPN service called WARP which is built into the 1.1.1.1 mobile app.


1.2-centimeter band
The 1.2-centimeter or 24 GHz band is a portion of the SHF (microwave) radio spectrum internationally allocated to amateur radio and amateur satellite use. The amateur radio band is between 24.00 GHz and 24.25 GHz, and the amateur satellite band is between 24.00 GHz and 24.05 GHz. Amateurs operate on a primary basis between 24.00 GHz and 24.05 GHz and on a secondary basis in the rest of the band. Amateur stations must accept harmful interference from ISM users. The allocations are the same in all three ITU regions.


1.2-centimeter band, List of notable frequencies, Wideband FM Channels
Common Wideband FM frequencies used with gunnplexers. Operation is in full-duplex with a 30 MHz split:


1.2-centimeter band, List of notable frequencies, Wideband FM Channels
† Also the center frequency for ISM devices operating in the band.


1.22.03.Acoustic
1.22.03.Acoustic, so named for the date it was recorded live at the Hit Factory, New York, is a live EP by Californian band Maroon 5. It contains acoustic versions of many of the songs on their international hit album, Songs About Jane, as well as two cover songs (The Beatles' "If I Fell" and AC/DC's "Highway to Hell"). The album was released on June 29, 2004.


1.22.03.Acoustic
The album reached No. 42 in the United States and was certified Gold by RIAA and Silver in the United Kingdom.


1.22.03.Acoustic, Critical reception
Giving the EP a C grade, Entertainment Weekly said that "Maroon 5 cement their reputation as kings of the new faceless pop," adding, "Adam Levine...sounds more grating than usual without the much-needed studio gloss."


1.22.03.Acoustic, Certifications
^ Shipments figures based on certification alone. Sales+streaming figures based on certification alone.


1.25-meter band
The 1.25-meter, 220 MHz or 222 MHz band is a portion of the VHF radio spectrum internationally allocated for amateur radio use on a primary basis in ITU Region 2, and it comprises frequencies from 220 MHz to 225 MHz. In the United States and Canada, the band is available on a primary basis from 222 to 225 MHz, with the addition of 219 to 220 MHz on a limited, secondary basis. It is not available for use in ITU Region 1 (except in Somalia) or ITU Region 3. The license privileges of amateur radio operators include the use of frequencies within this band, which is primarily used for local communications.


1.25-meter band, History
The 1.25-meter band has a very long and colorful history, dating back to before World War II.


1.25-meter band, History, Pre-Cairo Conference
Some experimental amateur use in the U.S. was known to occur on the "1 1⁄4-meter band" as early as 1933, with reliable communications achieved in fall of 1934.


1.25-meter band, History, The Cairo Conference
In 1938, the FCC gave U.S. amateurs privileges in two VHF bands: 2.5 meters (112 MHz) and 1.25 meters (224 MHz). Both bands (as well as 70 centimeters) were natural harmonics of the 5-meter band. Amateur privileges in the 2.5-meter band were later moved to 144–148 MHz (becoming the modern-day 2-meter band), and the old frequencies were reassigned to aircraft communication during World War II. At that time, the 1.25-meter band expanded to a 5 MHz bandwidth, spanning 220–225 MHz.


1.25-meter band, History, The VHF/UHF explosion
Amateur use of VHF and UHF allocations exploded in the late 1960s and early 1970s as repeaters started going on the air. Repeater use sparked a huge interest in the 2-meter and 70-centimeter (420–450 MHz) bands, however, this interest never fully found its way into the 1.25-meter band. Many amateurs attribute this to the abundance of commercial radio equipment designed for 136–174 MHz and 450–512 MHz that amateurs could easily modify for use on the 2-meter and 70-centimeter bands. There were no commercial frequency allocations near the 1.25-meter band, and little commercial radio equipment was available.


1.25-meter band, History, The VHF/UHF explosion
This meant that amateurs who wanted to experiment with the 1.25-meter band had to build their own equipment or purchase one of the few radios available from specialized amateur radio equipment manufacturers. Many of the repeaters which have been constructed for 1.25-meter operation have been based on converted land-mobile base station hardware, often extensively modifying equipment originally designed for other VHF bands.


1.25-meter band, History, U.S. Novice licensees get privileges
By the 1980s, amateur use of 2-meter and 70-centimeter bands was at an all-time high while activity on 1.25 meters remained stagnant. In an attempt to increase use on the band, many amateurs called for holders of Novice-class licenses (the entry-level class at that time) to be given voice privileges on the band. In 1987, the FCC modified the Novice license to allow voice privileges on portions of the 1.25-meter and 23-centimeter (1.24–1.30 GHz) bands. In response, some of the bigger amateur radio equipment manufacturers started producing equipment for 1.25 meters. However, it never sold well, and by the early 1990s, most manufacturers had stopped producing equipment for the band.


1.25-meter band, History, U.S. reallocation
In 1973, the FCC considered Docket Number 19759, which was a proposal to establish a Class E Citizen's band service at 224 MHz. The proposal was opposed by the ARRL and after the explosive growth of 27 MHz Citizen's Band usage, the FCC dropped consideration of the docket in 1977.


1.25-meter band, History, U.S. reallocation
In the late 1980s, United Parcel Service (UPS) began lobbying the FCC to reallocate part of the 1.25-meter band to the Land Mobile Service. UPS had publicized plans to use the band to develop a narrow-bandwidth wireless voice and data network using a mode called ACSSB (amplitude-companded single sideband). UPS's main argument for the reallocation was that amateur use of the band was very sparse and that the public interest would be better served by reallocating part of the band to a service that would put it to good use.


1.25-meter band, History, U.S. reallocation
In 1988, over the objections of the amateur radio community, the FCC adopted the 220 MHz Allocation Order, which reallocated 220–222 MHz to private and federal government land-mobile use while leaving 222–225 MHz exclusively for amateur use. The reallocation proceeding took so long, however, that UPS eventually pursued other means of meeting its communications needs. UPS entered into agreements with GTE, McCall, Southwestern Bell, and Pac-Tel to use cellular telephone frequencies to build a wireless data network.


1.25-meter band, History, U.S. reallocation
With the 220–222 MHz band then left unused, the FCC issued parts of the band to other private commercial interests via a lottery in hopes that it would spark development of super-narrowband technologies, which would help them gain acceptance in the marketplace. In the 1990s and into the 2000s paging companies made use of the 1.25-meter band. Most all such use ended by the mid-2000s, with the paging companies being purchased by others and services moved to newer systems, or having gone out of business.


1.25-meter band, History, Canadian reallocation
Until January 2006, Canadian amateur radio operators were allowed to operate within the entire 220–225 MHz band. Canadian operations within 120 km of the United States border were required to observe a number of restrictions on antenna height and power levels to coordinate use with non-amateur services in the United States.


1.25-meter band, History, Canadian reallocation
In 2005, Industry Canada decided to reallocate 220–222 MHz to land mobile users, similar to the US, but unlike in the US, a provision was included to allow the amateur service, in exceptional circumstances, to use the band in disaster relief efforts on a secondary basis. In addition, the band 219–220 MHz was allocated to the amateur service on a secondary basis. Both of these reallocations went into effect January 2006.


1.25-meter band, Band use, Scope of operation in North America
Today, the 1.25-meter band is used by many amateurs who have an interest in the VHF spectrum.


1.25-meter band, Band use, Scope of operation in North America
There are pockets of widespread use across the United States, mainly in New England and western states such as California and Arizona with more sporadic activity elsewhere. The number of repeaters on the 1.25-meter band has grown over the years to approximately 1,500 nationwide as of 2004.


1.25-meter band, Band use, Scope of operation in North America
The attention that band received in the late 1980s and early 1990s due to the reallocation of its bottom 2 MHz sparked renewed amateur interest. Many amateurs feared that lack of 1.25-meter activity would lead to reallocation of the remaining 3 MHz to other services. Today, new handheld and mobile equipment is being produced by amateur radio manufacturers, and it is estimated that more amateurs have 1.25-meter equipment now than at any point in the past.


1.25-meter band, Band use, Auxiliary stations
An auxiliary station, most often used for repeater control or link purposes or to remotely control another station, is limited in the United States to operation on frequencies above 144.5 MHz excluding 144.0–144.5 MHz, 145.8–146.0 MHz, 219–220 MHz, 222.00–222.15 MHz, 431–433 MHz, and 435–438 MHz. Operation of such control links in the crowded 2-meter band is problematic and on many frequencies in that band expressly prohibited, leaving 1.25-meter band frequencies as the lowest available for remote control of repeaters and unattended stations.


1.25-meter band, Band use, List of transceivers
Since the band is allocated mostly in ITU Region 2 (Somalia, in Region 1, being the only exception thus far), the major equipment manufacturers (Kenwood, Yaesu, and Icom) do not often offer transceiver models that cover the frequency range. (see US Novice licensees get privileges). This exacerbates the lack of usage of the 1.25-meter band, though manufacturers argue that what equipment they have produced hasn't sold well compared to other products.


1.25-meter band, Band use, List of transceivers
In recent years, Kenwood and Yaesu have both included the 1.25-meter band in some of their multiband handheld transceivers. The Kenwood TH-F6A and TH-D74A; the Yaesu VX-6R, VX-7R and VX-8R (USA and Canada version) include coverage of the 1.25-meter band in addition to the more popular 2-meter and 70-centimeter bands. Wouxun now has the KG-UVD1P in a 2-meter / 1.25-meter model, legal for use in the United States. In the 1980s, ICOM offered the IC-37A—a 220 MHz, 25-watt FM transceiver that can still be obtained as used equipment from various sources such as eBay and private collectors. In 2013, the BaoFeng UV-82X, an inexpensive 2-meter / 1.25-meter handheld, became available.


1.25-meter band, Band use, List of transceivers
Several 1.25-meter base/mobile transceivers are available. Among these are the Alinco DR-235T, the Jetstream JT220M, BTech UV-2501-220, BTech UV-25X4 quadband, and the TYT TH-9000 monoband radio, which comes in a 1.25-meter model.


1.25-meter band, Band use, List of transceivers
The Chinese company Wouxun offers a 2 m and 1.25 m dual-band HT, the KG-UVD1P. These have received FCC approval in the United States; but are awaiting approval by Industry Canada.


1.25-meter band, Band use, List of transceivers
Elecraft offers an all-mode (CW, FM, SSB) transverter for the band compatible with its K2 and K3 transceivers.


1.26
1.26 is a public art sculpture commission designed by artist Janet Echelman for Denver's inaugural Biennial of the Americas celebration in July 2010. The sculpture's name is a reference the 2010 Chile earthquake which may have resulted in a 1.26 microsecond shortening of the days on Earth. The sculpture's shape was inspired by NOAA's graphic simulation of the tsunami caused by the earthquake. The sculpture was hung outside the Denver Art Museum between the museum and the Civic Center Park's Greek Amphitheater. It was installed in Sydney in 2011, Amsterdam in 2012, and Singapore in 2014, and Durham in 2015. From May to October 2016, the work is installed in Quartier des Spectacles in Montreal.


1.3.8.
1.3.8. is a compilation album by death metal band Devourment, released in 2000 by Corpse Gristle. The album was reissued in 2004 by Displeased Records and Unmatched Brutality Records with an upgraded layout and new artwork. 1.3.8 was also released as a limited edition record by the label Night of the Vinyl Dead. It includes one new song called "Babykiller", three tracks from the Impaled demo, and all eight tracks from Molesting the Decapitated.


1.5 µm process
The 1.5 μm process is the level of MOSFET semiconductor process technology that was reached around 1981–1982, by leading semiconductor companies such as NEC, Intel and IBM.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II
The 1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II was a British light artillery piece designed during World War I. Originally intended for use in trench warfare, it was instead tested for air-to-air and air-to-ground use by aircraft. Although it fired shells and had no capability to launch rockets, it was widely but misleadingly known as the "Vickers-Crayford rocket gun."


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Design
Vickers designed the gun early in World War I, intending it as a piece of light artillery for use by infantry in trenches in attacking machine gun positions and pillboxes. To make it portable for infantry use, it was very small and light for a gun of its calibre. Its light construction dictated a low muzzle velocity, which resulted in it having a short range. It was too light to withstand the detonation of standard British explosive propellants, so its ammunition used ballistite packed in cambric bags instead.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Design
The gun fired a 1.2-pound (0.54 kg) high-explosive shell at 800 feet (244 meters) per second; it also could fire an armour-piercing round at 1,000 feet (305 meters) per second. The gun's 40x79R cartridge was a shortened version of the naval 40x158R anti-aircraft cartridge, with the shell case reduced from 158 mm (6.22 inches) to 79 mm (3.11 inches) in length.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Design
The gun was, for ease of use in trenches, single shot; the gunner had to extract the empty case of a fired cartridge manually and reload the gun after firing each round, which gave it a low rate of fire. It had a simple block breech with percussion gear, and was mounted on a non-recoiling frame consisting of a hydraulic buffer, trunnion block, and rear guide tube. Hand grips were mounted on the guide tube. The gun had a large muzzle brake to reduce recoil.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Design
Vickers manufactured the gun at its plant in Crayford, England.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Operational history
The concept of using the 1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II in the trenches was superseded by that of the trench mortar, which was simpler, cheaper, easily portable, and more effective.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Operational history
With the gun no longer wanted in the trenches, it was decided to adapt it for use on aircraft as an air-to-air weapon against airships and observation balloons and for use against ground targets such as trains, ammunition dumps, and tanks. When mounted aboard aircraft, the gun could fire incendiary, armor-piercing, and high-explosive cartridges. The incendiary shell in flight emitted very hot flames from two openings in its base, which made it look as if the gun had fired a rocket; this led to the gun's misleading but widely used popular name of "Vickers-Crayford rocket gun."


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Operational history
The gun was approved for aircraft use in 1917. For operational testing, it was fitted to F.E.2b aircraft of Nos. 100 and 102 Squadrons, Royal Flying Corps, in April 1917. The squadrons tested it on night operations and reported mixed results. No. 102 Squadron's Captain T. J. C. Martin, an F.E.2b pilot, reported that his observer stopped a train after firing about 30 rounds at it, and that it took his observer 30 minutes to fire 50 aimed rounds; he submitted an enthusiastic report on the gun and its potential.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Operational history
No. 100 Squadron, however, reported problems with the gun: Its report stated, "Sometimes the shell does not leave the barrel for some time after the striker has been released;"in one incident, a gunner who thought the gun had misfired was about to open the breech to remove what he thought was a hung round when the shell went off in a shower of sparks. This led the squadron to require gunners to wait five minutes before removing a misfire. The gun also suffered from weak trigger springs and some of its shells had defective primers.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Operational history
The British hoped that the gun would prove useful in attacking German airships over the United Kingdom, mounted on British fighters so as to be able to fire upward into an airship flying above the fighter. Plans to mount the gun on the Parnall Scout fighter apparently did not come to fruition. At the request of the War Office, Vickers built a single prototype of the Vickers F.B.25 two-seat night fighter to employ the gun, but the F.B.25 failed official tests and crashed in May 1917 on the way to Martlesham Heath. The Royal Aircraft Factory N.E.1 night fighter was also constructed to the same specification to carry the gun; though it flew well, it lacked the performance for use as a night-fighter.


1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II, Operational history
After the failure of both the F.B.25 and N.E.1 to win production orders, interest in operational employment of the 1.59-inch Breech-Loading Vickers Q.F. Gun, Mk II appears to have waned; moreover, the introduction of an incendiary round for use in machine guns had made aerial use of the gun less desirable. The gun was withdrawn from use entirely, apparently after the end of World War I, except for use by specially trained personnel.


1.6 Band
1.6 Band was an American hardcore punk band consisting of Kevin Egan (formerly of Beyond, later with The Last Crime, $24,000), Lance Jaeger (also of Beyond), Vin Novara (later with Crownhate Ruin, Canyon, Gena Rowlands Band, Alarms & Controls), and Mike Yanicelli (later with Die 116, Moses, and various Bluegrass bands in New Jersey).


1.6 Band, Early history
The band was originally formed in 1989 by Jaeger, Novara, and Yanicelli in Holbrook, Long Island, New York, with an assortment of other musicians attempting a variety of music styles. Early in 1991, they began writing and recording with Egan, soon after adopting the name 1.6 Band. Following the demo recording of all new songs written with Egan, they played their first show at a backyard party in Lake Ronkonkoma, New York in July 1991.


1.6 Band, Early history
During the fall of 1991 they recorded their first EP, 1.6 Band (a.k.a. "Tongue Family Style"), with Wharton Tiers. For the rest of 1991 and much of 1992, 1.6 Band performed extensively on the east coast of the US in a series of two-to-three show road trips. Before Novara relocated to the Maryland suburbs of Washington DC in September 1992 to finish college, the group recorded their only LP, again with Tiers. Concurrently, Yanicelli began playing in Die 116, leaving that group within a year.


1.6 Band, Early history
The summer of 1993 brought more short road trips and another EP recorded with Tiers, Pimpin' Ain't Easy. 1.6 Band played their last show of that era in Washington, DC at the Beta-Punks Warehouse in October 1993.


1.6 Band, Reunion
In 2009 the band reunited to write new music and for select shows. After playing live with the likes of Rorschach, they recorded four new songs with Chris Pierce at Technical Ecstasy, which resulted in the Checkered Past of All Things Present EP released by Metastasis Records.


1.6 Band, Reaction
The Guardian described the band as "surprisingly musical, like the Minutemen in a very, very bad mood", referring to the 1980s punk band. All Music Guide claims: "1.6 Band isn't the first group mentioned when '90s hardcore comes up, but, after a few listens to this disc [1.6 Band Broke Up], it may seem like they deserve a little more credit than they've received."


1.8KS7800
1.8KS7800 is a solid propellant rocket engine designed by Aerojet and used in the AIM-7A, AIM7B and AIM7C Sparrow missiles. The designation 1.8KS7800 means that the engine burns during 1.8 seconds and generates 7,800 pounds of thrust.


1.96
In probability and statistics, 1.96 is the approximate value of the 97.5 percentile point of the standard normal distribution. 95% of the area under a normal curve lies within roughly 1.96 standard deviations of the mean, and due to the central limit theorem, this number is therefore used in the construction of approximate 95% confidence intervals. Its ubiquity is due to the arbitrary but common convention of using confidence intervals with 95% coverage rather than other coverages (such as 90% or 99%). This convention seems particularly common in medical statistics, but is also common in other areas of application, such as earth sciences, social sciences and business research.


1.96
There is no single accepted name for this number; it is also commonly referred to as the "standard normal deviate", "normal score" or "Z score" for the 97.5 percentile point, or .975 point.


1.96
If X has a standard normal distribution, i.e. X ~ N(0,1),


1.96
One notation for this number is z.975. From the probability density function of the standard normal distribution, the exact value of z.975 is determined by


1.96, History
The use of this number in applied statistics can be traced to the influence of Ronald Fisher's classic textbook, Statistical Methods for Research Workers, first published in 1925:


1.96, History
"The value for which P = .05, or 1 in 20, is 1.96 or nearly 2 ; it is convenient to take this point as a limit in judging whether a deviation is to be considered significant or not."


1.96, History
In Table 1 of the same work, he gave the more precise value 1.959964. In 1970, the value truncated to 20 decimal places was calculated to be


1.96, History
The commonly used approximate value of 1.96 is therefore accurate to better than one part in 50,000, which is more than adequate for applied work.


1.96, History
Some people even use the value of 2 in the place of 1.96, reporting a 95.4% confidence interval as a 95% confidence interval. This is not recommended but is occasionally seen.


1.96, Software functions
The inverse of the standard normal CDF can be used to compute the value. The following is a table of function calls that return 1.96 in some commonly used applications:


1.9KS2150
If Wiktionary has a definition already, change this tag to {{TWCleanup2}} or else consider a soft redirect to Wiktionary by replacing the text on this page with {{Wi}}. If Wiktionary does not have the definition yet, consider moving the whole article to Wiktionary by replacing this tag with the template {{Copy to Wiktionary}}.


1.9KS2150
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1.9KS2150
1.9KS2150 is a solid propellant rocket engine designed by RPI and used in some stages of the Cajun Dart, Deacon and Loki rockets. It was used in at least 617 launches.


1.Cuz
1.Cuz is a Swedish rapper from Hässelby in Stockholm, born in Somalia. He always performs wearing a white and black balaclava over his head to cover it, and has not revealed his true name or identity to the public.


1.Cuz
He has spent two years in prison, an experience that has influenced his music.


1.Cuz
His music career started when he released the song "Akta mannen" in late November 2018, and in December 2019 his first studio album 1 År peaked at number one on the Swedish Albums Chart.


1.FK Nová Paka
1.FK Nová Paka is a Czech football club located in the town of Nová Paka in the Hradec Králové Region. It currently plays in Divize C, which is in the Czech Fourth Division. The club has taken part in the Czech Cup numerous times, reaching the second round in 2011–12.


1/100 Regularity Rally
The 1/100 regularity rally is a typically European format of regularity rally often for classic cars. As with other regularity rallies, the aim is not to be the fastest but rather to stay on the prescribed time across all timed checkpoints. Accordingly, 1/100 regularity rallies carry a negligible risk of damage to the vehicles and participants.


1/100 Regularity Rally
1/100 regularity rallies are generally conducted on open, public roads alongside regular traffic, without the contestants knowing the route in advance. Teams usually take off at fixed intervals, creating a field that is spread along the course. The route is described in a roadbook sign by sign, to be deciphered by the navigator. In addition to having to adhere to the prescribed arrival times to the timed checkpoints, the route is also sprinkled with 1/100 challenges - where the denomination of the rally comes from.


1/100 Regularity Rally
1/100 challenges are special tasks between ordinary stages of the rally, timed to the accuracy of 1/100 second (0.01s). The roadbook will usually include a chart with the layout for each challenge with their prescribed completion times, and competitors would receive penalty points for every 0.01s too early or too late across the finish line.


1/100 Regularity Rally, Characteristics
A typical 1/100 regularity rally may run for a few hours or it may run over a series of stages over a few days.


1/100 Regularity Rally, Characteristics
Competitors are usually briefed about the event at the start, and may be required to submit their cars for inspection. Each team is given a roadbook and a timecard prior to departure. This timecard will record departure and arrival times at all timed checkpoints.


1/100 Regularity Rally, Characteristics
Teams' scores are determined by adding all penalty points from timed checkpoints, 1/100 challenges, missing stamps or other control measures, and route errors. In addition, some events apply a multiplier to the overall score of participants based on the year of manufacture of their vehicle, to offset any potential advantage of more modern technology.


1/100 Regularity Rally, Equipment
Most 1/100 regularity rallies require a stopwatch to complete. The rules of each event determine what kind of devices are permitted. Some common aids include:


1/100 Regularity Rally, Notable 1/100 Regularity Rallies
Austria's famous Silvretta Classic has been held since 1998 with over 150 cars attending every year. The hosting Motor Klassik magazine organises several similar rallies, such as the annual Paul Pietsch Classic and the Sachsen Classic.


1/100 Regularity Rally, Notable 1/100 Regularity Rallies
The Hungarian Oldtimer Supercup comprises 4-8 rallies for classic cars every year since 2002, based on the 1/100 regularity format.


1/100 Regularity Rally, Notable 1/100 Regularity Rallies
From 2012 Australia has been hosting their own 1/100 regularity series called the Australia Classic.


1/100 Regularity Rally, Notable 1/100 Regularity Rallies
In 2009, in episode 6 of season 13 of Top Gear Jeremy Clarkson and his team participated in the Rally Clásico Isla Mallorca, a 1/100 regularity rally in Mallorca.


1/2 & 1/2
"1/2 & 1/2" is a single by Gang Starr (feat. M.O.P. ), taken from the soundtrack album Blade: Music from and Inspired by the Motion Picture, although it was not featured in the film itself. The song was later included on Gang Starr's album Full Clip: A Decade of Gang Starr. The track features samples from Jimmy Webb's "Gymnast's Ballet (Fingerpainting)", Mobb Deep's "Survival of the Fittest", M.O.P. 's "New Jack City", and Brother Arthur's "What You Gonna Do".


1/2 & 1/2
The B-side to the single was "Gangsta Bounce" by Wolfpak.


1/2 + 1/4 + 1/8 + 1/16 + ⋯
In mathematics, the infinite series 1/2 + 1/4 + 1/8 + 1/16 + ··· is an elementary example of a geometric series that converges absolutely. The sum of the series is 1. In summation notation, this may be expressed as


1/2 + 1/4 + 1/8 + 1/16 + ⋯
The series is related to philosophical questions considered in antiquity, particularly to Zeno's paradoxes.


1/2 + 1/4 + 1/8 + 1/16 + ⋯, Proof
is defined to mean the limit of the partial sum of the first n terms


1/2 + 1/4 + 1/8 + 1/16 + ⋯, Proof
as n approaches infinity. By various arguments, one can show that this finite sum is equal to


1/2 + 1/4 + 1/8 + 1/16 + ⋯, Proof
As n approaches infinity, the term 12n{\displaystyle {\frac {1}{2^{n}}}} approaches 0 and so sn tends to 1.


1/2 + 1/4 + 1/8 + 1/16 + ⋯, History, Zeno's paradox
This series was used as a representation of many of Zeno's paradoxes. For example, in the paradox of Achilles and the Tortoise, the warrior Achilles was to race against a tortoise. The track is 100 meters long. Achilles could run at 10 m/s, while the tortoise only 5. The tortoise, with a 10-meter advantage, Zeno argued, would win. Achilles would have to move 10 meters to catch up to the tortoise, but the tortoise would already have moved another five meters by then. Achilles would then have to move 5 meters, where the tortoise would move 2.5 meters, and so on. Zeno argued that the tortoise would always remain ahead of Achilles.


1/2 + 1/4 + 1/8 + 1/16 + ⋯, History, Zeno's paradox
The Dichotomy paradox also states that to move a certain distance, you have to move half of it, then half of the remaining distance, and so on, therefore having infinitely many time intervals. This can be easily resolved by noting that each time interval is a term of the infinite geometric series, and will sum to a finite number.


1/2 + 1/4 + 1/8 + 1/16 + ⋯, History, The Eye of Horus
The parts of the Eye of Horus were once thought to represent the first six summands of the series.


1/2 + 1/4 + 1/8 + 1/16 + ⋯, History, In a myriad ages it will not be exhausted
A version of the series appears in the ancient Taoist book Zhuangzi. The miscellaneous chapters "All Under Heaven" include the following sentence: "Take a chi long stick and remove half every day, in a myriad ages it will not be exhausted."


1/2 Gentlemen/Not Beasts
1/2 Gentlemen/Not Beasts is the debut album by American rock band Half Japanese. Originally released in 1980 by Armageddon Records as a triple record, it was re-released in 1992 on CD on T.E.C. Tones with additional material. Fire Records reissued it again in 2013 on three-CD and four-LP sets on Record Store Day 2013 with further additional material, limited to 1,000 copies in each format.


1/2 Gentlemen/Not Beasts, Style
The music has a sound more raw than garage rock, and has a very low fidelity recording. Most of the songs are originals with covers of a few of the band's influences interspersed. Most tracks are very loud and have an almost no wave sound, though some tracks are very meditative Krautrock-influenced instrumentals.


1/2 Gentlemen/Not Beasts, Legacy
Half Japanese have since played with many important artists of the experimental or alternative persuasion, such as Sonic Youth and Nirvana. Daniel Johnston has made a record with Half Japanese's vocalist, Jad Fair.


1/2 Gentlemen/Not Beasts, Track listing
All tracks are written by David and Jad Fair, except where noted.


1/2 Lovesong
"1/2 Lovesong" is a song by German rock band Die Ärzte. It's the sixth track and the third single from their 1998 album 13. The song was composed by Bela B.


1/2 Lovesong
The song is about missing a loved one during a hard time in a relationship. The music video is black-and-white and shows the band singing the song in a room.


1/2 Prince
1⁄2 Prince (1⁄2 王子 Èrfēnzhīyī Wángzǐ) is a series of nine Taiwanese novels written by Yu Wo (御我). They are published by Min-Hsien Cultural Enterprise in Taiwan and were released between October 4, 2004 and August 15, 2005. In 2006, the novels were adapted into a manhua by Choi Hong Chong (蔡鴻忠) which were published by Tong Li Publishing. The plot takes place in a futuristic world where surreal virtual reality games exist. The protagonist is a 19-year-old female student named Feng Lan (風藍), who is challenged into playing the newly arrived game Second Life by her twin brother.


1/2 Prince
As the first person to log into the game, Feng Lan is given a wish which she uses to give herself the privilege of creating a male avatar whom she names as Prince. In game, she strives to prove to her brother Feng Yang Ming (風揚名) that she can be a capable player.


1/2 Prince, Plot
Feng Lan is a 19-year-old girl who is challenged by her twin brother to play a virtual reality game called Second Life. Being the first player to log onto the game, she is allowed to distinguish her real life looks from her avatar; thus she creates a handsome male elf named Prince. In game, she forms a team called the Odd Squads which consists of: Lolidragon, a female hidden game moderator; Ugly Wolf, a beast race Priest character; Doll, a necromancer; Guilastes, a bard with an attraction to Prince; and Yu Lian, a female mage.


1/2 Prince, Plot
As the story progresses, the Odd Squads compete in a tournament emerging victorious and are awarded a large city which they name as Infinity City which Prince is voted to lead. Before the city is open to the public, Prince leaves in search of comrades to serve under her and wanders onto another continent. There, she befriends her real life friends, Lu Jing and Yun Fei and becomes involved in a hidden quest which awards her with two NPCs with self-awareness, Kenshin and Sunshine.


1/2 Prince, Plot
As the plot progresses, Prince learns that a self-aware NPC named Lord of Life is commanding an army of NPCs to delete the humans which will prevent them from returning to the game. In response, Prince gathers players throughout the game in order to combat the threat. It is revealed Long Dian is the cause of the AI rebellion and wishes to gain eternal life through Second Life. Long Dian's NPCs take control of the world's superweapons and forces the world's best scientists to give him a new body. Prince and her companions defeat Long Dian's new super-human body, ending his reign of terror. During the battle, Guilastes saves Feng Lan's life and Feng Lan eventually chooses and marries Guilastes.


1/2 Prince, Plot, Characters
Feng Lan (風藍 Fēng Lán) is a 19-year-old girl who was given permission to create a male character in Second Life, whom she named 'Prince' (王子 Wángzǐ). As Prince, she becomes infamous for her handsome looks and cruelty in battle, even earning the nickname 'Blood Elf'. She eventually teams up with five other players to become "Odd Squad". The team consists of: Lolidragon (小龍女 Xiăo Lóng Nǚ), a human thief and hidden gamemaster who assists Feng Lan in her avatar creation.


1/2 Prince, Plot, Characters
Her true identity is Long Shui Han, daughter of the owner of Second Life; Ugly Wolf (醜狼 Chŏu Láng), the bestial healer and strategist of the Odd Squad. His real life identity is Feng's university doctor, Li Tian Lang (李天狼 Lĭ Tiān Láng); Doll (娃娃 Wáwa), a bouncy necromancer who uses Second Life as an escape from her duties as a real-life princess; Guiliastes (居里亞斯特斯 Jǖlĭāsītèsī), a bard who quickly fell head-over-heels for Prince, eagerly joining Odd Squad and taking up the position of long-ranged attacker.


1/2 Prince, Plot, Characters
As Min Gui Wen (閔居文 Mĭn Guì Wén), he's Feng Lan's genius university professor; and Yu Lian (羽憐 Yŭ Lián), a mild-mannered mage and financial manager of Odd Squad, she's actually a servant of Doll's and joined Second Life in order to keep an eye on her. She and Ugly Wolf fell in love and were later married. As the story progresses, the group also gain in game pets. Prince gains a talking meatbun and two self-aware NPCs, a swordsman named Kenshin(劍心 Jiànxīn) and a powerful mage named Sunshine(陽光 Yángguāng), while, Guiliastes receives a Phoenix. After winning a mass of land through a tournament, the Odd Squad begins building an empire called Infinity City (無垠城 Wú Yín Chéng).


1/2 Prince, Plot, Characters
Dark Emperor is a team led by Wicked (邪靈 Xié Líng). His real life identity is Zhuo Ling Bin (卓靈斌 Zhuó Líng Bīn), Feng Lan's senior in university who has harbored feelings towards her for the past eight years. After learning Feng is Prince, he becomes protective of her in game and prevents Guiliastes' advances towards her. His team consists of: Ming Huang (明皇 Míng Huáng), his short-tempered real life younger brother; Feng Wu Qing (風無情 Fēng Wú Qíng), Feng's twin brother; and minor characters named Ambusher (狙擊手Zŭ Jì Shŏu), Playboy Lord (偷香公子 Tōu Xiāng Gōng Zĭ), and Black Lily (黑百合 Hēi Băi Hé).


1/2 Prince, Plot, Characters
While starting out, Prince was helped by Snow White Rose's (雪白玫瑰 Xuě Bái Méi Guì) and Fairsky's (晴天 Qíng Tiān) group. Rose and Fairsky developed a strong crush on Prince but are able to move on; Fairsky later develops a relationship with Sunshine. Rose's real life identity is Feng Lan's cousin by marriage.


1/2 Prince, Plot, Characters
During Prince's recruitment for Infinity City, she becomes involved in the affairs of in game player Nan Gong Zui (南宮罪). Nan Gong's sister, Ice Phoenix (浴冰鳳凰 Yù Bīng Fèng Huáng), falls for a playboy in Second Life named Fan (梵 Fàn). Fan does not care for Phoenix and uses her feelings for him to his advantage. As such, Prince intervenes, allowing Phoenix to realize Fan's true personality.


1/2 Prince, Plot, Characters
Lu Jing (綠晶 Lü Jing) and Yun Fei (古雲非) are Feng Lan's classmates. Their in game classes are Daoshi and Barrier Master respectively. She meets them in Second Life when she wanders onto another continent. She later takes the two and has them join Infinity City. As the series progresses, two are able to deduce her identity as Prince.


1/2 Prince, Plot, Characters
The Lord of Life is a self-aware NPC who controls Second Life. Due to the influences of Long Dian (龍典 Lóng Diǎn), the main programmer of Second Life, the Lord forms an army of NPCs to remove humans from the game of Second Life. Since Feng Lan began playing Second Life, the Lord had taken an interest in her and had been watching and assisting her in her adventures.


1/2 Prince, Media, Novels
The series is written by Yu Wo and was published by Min-Hsien Cultural Enterprise in Taiwan between October 4, 2004 and August 15, 2005. The novels were reprinted in 2012 with redone artwork and character descriptions when the eighth volume, signifying the end of the story, was released.


1/2 Prince, Media, Manhua
Written by Yu Wo and illustrated by Choi Hong Chong, the 1/2 Prince manhua was serialized in Dragon Youth Comic (龍少年 Lóng Shàonián).


1/2 − 1/4 + 1/8 − 1/16 + ⋯
In mathematics, the infinite series 1+1/2+1/4+1/8 is a simple example of an alternating series that converges absolutely.


1/2 − 1/4 + 1/8 − 1/16 + ⋯
It is a geometric series whose first term is 1/2 and whose common ratio is −1/2, so its sum is


1/2 − 1/4 + 1/8 − 1/16 + ⋯, Hackenbush and the surreals
The series has the form of a positive integer plus a series containing every negative power of two with either a positive or negative sign, so it can be translated into the infinite blue-red Hackenbush string that represents the surreal number 1/3:


1/2 − 1/4 + 1/8 − 1/16 + ⋯, Hackenbush and the surreals
In terms of the Hackenbush game structure, this equation means that the board depicted on the right has a value of 0; whichever player moves second has a winning strategy.


1/3 no Junjō na Kanjō
"1/3 no Junjō na Kanjō" (1/3の純情な感情, "1/3 Pure Heart Emotion") is a song by the Japanese rock band Siam Shade, released in 1997. The song was first released as their sixth single on November 27, 1997, and also featured on their fourth studio album Siam Shade IV - Zero, released on January 21, 1998.


1/3 no Junjō na Kanjō
It is the band's best known work and best-selling single, reaching number three on the Oricon chart, and was the 31st best-selling single of 1998 with 698,520 copies sold. By 2016, this number had grown to over 800,000 copies. The title song was used as the sixth ending theme of the Rurouni Kenshin anime series. The single was reissued in the standard 12 cm CD format on November 14, 2007.


1/3 no Junjō na Kanjō, Track listing
All songs written and composed by Siam Shade. Arranged by Masao Akashi.


1/3 no Junjō na Kanjō, Flow
Flow recorded a cover version of "1/3 no Junjō na Kanjō" for release as their twenty first single on March 9, 2011. The recording features Siam Shade's lead guitarist Daita and was included on their 2011 compilation album Anime Best. The single reached number 20 on the Oricon chart and charted for 4 weeks.


1/3 no Junjō na Kanjō, Flow
Written and composed by Siam Shade. Arranged by Flow and Daita.


1/3 no Junjō na Kanjō, Other cover versions
In 2010, "1/3 no Junjō na Kanjō" was covered by Mikuni Shimokawa for her album Replay! Shimokawa Mikuni Seishun Anison Cover III. Heavy metal musician Eizo Sakamoto covered it for his Super Anime Song Legend of the 1990s album in October. That same month it was covered by both Jani Lane and Acid Black Cherry for the tribute album Siam Shade Tribute, the former being an English-language version.


1/3 no Junjō na Kanjō, Other cover versions
In 2011, it was covered by Nogod on the compilation Crush! -90's V-Rock Best Hit Cover Songs-, which was released on January 26 and features current visual kei bands covering songs from bands that were important to the '90s visual kei movement. Pop trio Buono! covered it for their album Partenza in August 2011. A cover by Venus appears in the November 2011 rhythm video game Reflec Beat Limelight.


1/3 no Junjō na Kanjō, Other cover versions
Inzargi, vocalist of Megamasso, covered "1/3 no Junjō na Kanjō" for his 2012 cover album.


1/3 no Junjō na Kanjō, Other cover versions
It was covered by Fest Vainqueur for the compilation album Counteraction - V-Rock covered Visual Anime songs Compilation-, which was released on May 23, 2012, and features covers of songs by visual kei bands that were used in anime.


1/3 no Junjō na Kanjō, Other cover versions
Japanese American singer Kylee recorded an English-language version for her 2013 Japan-only Crazy for You EP.


1/3 no Junjō na Kanjō, Other cover versions
Fantôme Iris, a fictional visual kei band from multimedia franchise Argonavis from BanG Dream! covered the song and added in the game started on Juny 10, 2021.


1/38 National Guard Command
The 1/38 National Guard Command "Bizani" (Greek: 1/38 Διοίκηση Ταγμάτων Εθνοφυλακής «ΜΠΙΖΑΝΙ», 1/38 ΔΤΕ) is an infantry unit of the Hellenic Army, based in Rhodes island as part of the 95th National Guard Higher Command. It carries on the traditions of the elite 1/38 Evzone Regiment (1/38 Σύνταγμα Ευζώνων, 1/38 ΣΕ).


1/38 National Guard Command, History
The 1/38 Evzone Regiment was formed in Karditsa, Thessaly, as the 1st Evzone Regiment (1° Σύνταγμα Ευζώνων) shortly before the outbreak of the Balkan Wars, from the 8th and 9th independent Evzone battalions. It participated in the Balkan Wars, initially as part of the 6th Infantry Division, fighting in the battles of Sarantaporos, Giannitsa, Bizani (where it played a distinguished role under Major Ioannis Velissariou), Kilkis–Lachanas and Kresna–Djumaya (where the regiment lost almost half its strength and all three of its battalion commanders).


1/38 National Guard Command, History
After the Balkan Wars, the regiment was based in Larissa. In May 1917, during the National Schism, the French Army, in support of the Venizelist Provisional Government of National Defence at Thessaloniki, entered Thessaly and ordered the disarmament of the Greek military units in the region, still loyal to the royal government in Athens. The regiment refused to obey the command to surrender its weapons, and retreated west towards the mountains. The French launched a pursuit of the unit, encircling it and forcing it to surrender. The unit was disbanded and most of its officers were imprisoned until August, when, after the exile of King Constantine I and the assumption of the government by Venizelos, Greece formally entered World War I on the side of the Entente.


1/38 National Guard Command, History
The 1/38 Regiment was re-formed at Larissa as part of the 1st Infantry Division, and participated in the Macedonian front operations in 1918, recapturing the city of Serres. The regiment subsequently fought in the Asia Minor Campaign from the Greek landing at Smyrna on 2 May 1919 until its final retreat from Asia Minor on 1 September 1922. On 10 November 1921, the regiment was awarded the highest Greek military distinction, the Commander's Cross of the Cross of Valour, for its performance in the field. After its return from Asia Minor, the regiment demobilized and returned to its peacetime garrison at Larissa. It remained there, under the 1st Infantry Division, until the Army reorganization of 1929, when it was disbanded.


1/38 National Guard Command, History
In December 1975, the 121st Special Covering Regiment (121 ΕΣΠ) at Ano Kalamonas in Rhodes, was renamed into the 38th Hellenic Gendarmerie Command (38η Διοίκηση Ταγμάτων Ελληνικής Χωροφυλακής, 38 ΔΤΕΧ), reviving the traditions of the 1/38. This connection was further emphasized in September 2000, when the unit received its current name, 1/38 National Guard Command "Bizani" (1/38 Διοίκηση Ταγμάτων Εθνοφυλακής «ΜΠΙΖΑΝΙ»).


1/3rd Lancers Battalion
The 1st/3rd Lancers Battalion (French: 1/3 Bataillon de Lanciers) is an infantry battalion in the Land Component of the Belgian armed forces. It is an amalgamation of the former 1st Lancers Regiment and the 3rd Lancers Regiment which has been re-rolled in to an Infantry battalion but maintains Cavalry customs and traditions. The battalion is a motorized infantry unit of the Motorized Brigade. The amalgamated unit served in Kosovo.


1/3rd Lancers Battalion, Organisation
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1/3–2/3 conjecture
In order theory, a branch of mathematics, the 1/3–2/3 conjecture states that, if one is comparison sorting a set of items then, no matter what comparisons may have already been performed, it is always possible to choose the next comparison in such a way that it will reduce the number of possible sorted orders by a factor of 2/3 or better. Equivalently, in every finite partially ordered set that is not totally ordered, there exists a pair of elements x and y with the property that at least 1/3 and at most 2/3 of the linear extensions of the partial order place x earlier than y.


1/3–2/3 conjecture, Example
The partial order formed by three elements a, b, and c with a single comparability relationship, a ≤ b, has three linear extensions, a ≤ b ≤ c, a ≤ c ≤ b, and c ≤ a ≤ b. In all three of these extensions, a is earlier than b. However, a is earlier than c in only two of them, and later than c in the third. Therefore, the pair of a and c have the desired property, showing that this partial order obeys the 1/3–2/3 conjecture.


1/3–2/3 conjecture, Example
This example shows that the constants 1/3 and 2/3 in the conjecture are tight; if q is any fraction strictly between 1/3 and 2/3, then there would not exist a pair x, y in which x is earlier than y in a number of partial orderings that is between q and 1 − q times the total number of partial orderings.


1/3–2/3 conjecture, Example
More generally, let P be any series composition of three-element partial orders and of one-element partial orders, such as the one in the figure. Then P forms an extreme case for the 1/3–2/3 conjecture in the sense that, for each pair x, y of elements, one of the two elements occurs earlier than the other in at most 1/3 of the linear extensions of P. Partial orders with this structure are necessarily series-parallel semiorders; they are the only known extreme cases for the conjecture and can be proven to be the only extreme cases with width two.


1/3–2/3 conjecture, Definitions
A partially ordered set is a set X together with a binary relation ≤ that is reflexive, antisymmetric, and transitive. A total order is a partial order in which every pair of elements is comparable. A linear extension of a finite partial order is a sequential ordering of the elements of X, with the property that if x ≤ y in the partial order, then x must come before y in the linear extension. In other words, it is a total order compatible with the partial order.


1/3–2/3 conjecture, Definitions
If a finite partially ordered set is totally ordered, then it has only one linear extension, but otherwise it will have more than one. The 1/3–2/3 conjecture states that one can choose two elements x and y such that, among this set of possible linear extensions, between 1/3 and 2/3 of them place x earlier than y, and symmetrically between 1/3 and 2/3 of them place y earlier than x.


1/3–2/3 conjecture, Definitions
There is an alternative and equivalent statement of the 1/3–2/3 conjecture in the language of probability theory. One may define a uniform probability distribution on the linear extensions in which each possible linear extension is equally likely to be chosen. The 1/3–2/3 conjecture states that, under this probability distribution, there exists a pair of elements x and y such that the probability that x is earlier than y in a random linear extension is between 1/3 and 2/3.


1/3–2/3 conjecture, Definitions
Kahn & Saks (1984) define δ(P), for any partially ordered set P, to be the largest real number δ such that P has a pair x, y with x earlier than y in a number of linear extensions that is between δ and 1 − δ of the total number of linear extensions. In this notation, the 1/3–2/3 conjecture states that every finite partial order that is not total has δ(P) ≥ 1/3.


1/3–2/3 conjecture, History
The 1/3–2/3 conjecture was formulated by Kislitsyn (1968), and later made independently by Michael Fredman and by Nati Linial (1984). It was listed as a featured unsolved problem at the founding of the journal Order, and remains unsolved; Brightwell, Felsner & Trotter (1995) call it "one of the most intriguing problems in the combinatorial theory of posets."


1/3–2/3 conjecture, History
A survey of the conjecture is given by Brightwell (1999).


1/3–2/3 conjecture, Partial results
The 1/3–2/3 conjecture is known to be true for certain special classes of partial orders, including partial orders of width two, partial orders of height two, partial orders with at most 11 elements, partial orders in which each element is incomparable to at most six others, series-parallel partial orders, semiorders. and polytrees. In the limit as n goes to infinity, the proportion of n-element partial orders that obey the 1/3–2/3 conjecture approaches 100%.


1/3–2/3 conjecture, Partial results
Brightwell, Felsner & Trotter (1995) proved that, for any finite partial order P that is not total, δ(P) ≥ 1/2 − √5/10 ≈ 0.276. Their results improve previous weaker bounds of the same type. They use the probabilistic interpretation of δ(P) to extend its definition to certain infinite partial orders; in that context, they show that their bounds are optimal, in that there exist infinite partial orders with δ(P) = 1/2 − √5/10.


1/3–2/3 conjecture, Applications
Kahn & Saks (1984) proposed the following application for the problem:suppose one wishes to comparison sort a totally ordered set X, for which some partial order information is already known in the form of a partial order on X. In the worst case, each additional comparison between a pair x and y of elements may yield as little information as possible, by resolving the comparison in a way that leaves as many linear extensions as possible compatible with the comparison result.


1/3–2/3 conjecture, Applications
The 1/3–2/3 conjecture states that, at each step, one may choose a comparison to perform that reduces the remaining number of linear extensions by a factor of 2/3; therefore, if there are E linear extensions of the partial order given by the initial information, the sorting problem can be completed in at most log3/2E additional comparisons.


1/3–2/3 conjecture, Applications
However, this analysis neglects the complexity of selecting the optimal pair x and y to compare. Additionally, it may be possible to sort a partial order using a number of comparisons that is better than this analysis would suggest, because it may not be possible for this worst-case behavior to occur at each step of a sorting algorithm. In this direction, it has been conjectured that logφE comparisons may suffice, where φ denotes the golden ratio.


1/3–2/3 conjecture, Applications
A closely related class of comparison sorting problems is considered by Fredman (1976), among them the problem of comparison sorting a set X when the sorted order of X is known to lie in some set S of permutations of X. Here S is not necessarily generated as the set of linear extensions of a partial order. Despite this added generality, Fredman shows that X can be sorted using log2|S| + O(|X|) comparisons, expressed in big O notation. This same bound applies as well to the case of partial orders and shows that log2E + O(n) comparisons suffice.


1/3–2/3 conjecture, Generalizations and related results
Kahn & Saks (1984) conjectured that, in the limit as w tends to infinity, the value of δ(P) for partially ordered sets of width w should tend to 1/2. In particular, they expect that only partially ordered sets of width two can achieve the worst case value δ(P) = 1/3, and Aigner (1985) stated this explicitly as a conjecture. The smallest known value of δ(P) for posets of width three is 14/39, and computer searches have shown that no smaller value is possible for width-3 posets with nine or fewer elements. Another related conjecture, again based on computer searches, states that there is a gap between 1/3 and the other possible values of δ(P): whenever a partial order does not have δ(P) exactly 1/3, it has δ(P) ≥ 0.348843.


1/3–2/3 conjecture, Generalizations and related results
Marcin Peczarski has formulated a "gold partition conjecture" stating that in each partial order that is not a total order one can find two consecutive comparisons such that, if ti denotes the number of linear extensions remaining after i of the comparisons have been made, then (in each of the four possible outcomes of the comparisons) t0 ≥ t1 + t2. If this conjecture is true, it would imply the 1/3–2/3 conjecture: the first of the two comparisons must be between a pair that splits the remaining comparisons by at worst a 1/3–2/3 ratio. The gold partition conjecture would also imply that a partial order with E linear extensions can be sorted in at most logφE comparisons; the name of the conjecture is derived from this connection with the golden ratio.


1/3–2/3 conjecture, Generalizations and related results
It is #P-complete, given a finite partial order  P and a pair of elements x and y, to calculate the proportion of the linear extensions of P that place x earlier than y.


1/4 + 1/16 + 1/64 + 1/256 + ⋯
In mathematics, the infinite series 1/4 + 1/16 + 1/64 + 1/256 + ⋯ is an example of one of the first infinite series to be summed in the history of mathematics; it was used by Archimedes circa 250–200 BC. As it is a geometric series with first term 1/4 and common ratio 1/4, its sum is


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Visual demonstrations
The series 1/4 + 1/16 + 1/64 + 1/256 + ⋯ lends itself to some particularly simple visual demonstrations because a square and a triangle both divide into four similar pieces, each of which contains 1/4 the area of the original.


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Visual demonstrations
In the figure on the left, if the large square is taken to have area 1, then the largest black square has area 1/2 × 1/2 = 1/4. Likewise, the second largest black square has area 1/16, and the third largest black square has area 1/64. The area taken up by all of the black squares together is therefore 1/4 + 1/16 + 1/64 + ⋯, and this is also the area taken up by the gray squares and the white squares. Since these three areas cover the unit square, the figure demonstrates that


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Visual demonstrations
Archimedes' own illustration, adapted at top, was slightly different, being closer to the equation


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Visual demonstrations
The same geometric strategy also works for triangles, as in the figure on the right: if the large triangle has area 1, then the largest black triangle has area 1/4, and so on. The figure as a whole has a self-similarity between the large triangle and its upper sub-triangle. A related construction making the figure similar to all three of its corner pieces produces the Sierpiński triangle.


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Proof by Archimedes
Archimedes encounters the series in his work Quadrature of the Parabola. He is finding the area inside a parabola by the method of exhaustion, and he gets a series of triangles; each stage of the construction adds an area 1/4 times the area of the previous stage. His desired result is that the total area is 4/3 times the area of the first stage. To get there, he takes a break from parabolas to introduce an algebraic lemma:


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Proof by Archimedes
Proposition 23. Given a series of areas A, B, C, D, … , Z, of which A is the greatest, and each is equal to four times the next in order, then


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Proof by Archimedes
and adding A to both sides gives the desired result.


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Proof by Archimedes
Today, a more standard phrasing of Archimedes' proposition is that the partial sums of the series 1 + 1/4 + 1/16 + ⋯ are:


1/4 + 1/16 + 1/64 + 1/256 + ⋯, Proof by Archimedes
This form can be proved by multiplying both sides by 1 − 1/4 and observing that all but the first and the last of the terms on the left-hand side of the equation cancel in pairs. The same strategy works for any finite geometric series.


1/4 + 1/16 + 1/64 + 1/256 + ⋯, The limit
Archimedes' Proposition 24 applies the finite (but indeterminate) sum in Proposition 23 to the area inside a parabola by a double reductio ad absurdum. He does not quite take the limit of the above partial sums, but in modern calculus this step is easy enough:


1/4 + 1/16 + 1/64 + 1/256 + ⋯, The limit
Since the sum of an infinite series is defined as the limit of its partial sums,


1/4 inch Akai
The 1/4 inch Akai is a portable helical scan EIA and CCIR analog recording video tape recorder (VTR) with two video record heads on the scanning drum. The units were available with an optional RF modulator to play back through a TV set, as well as a detachable video monitor. The Akai Electric Ltd. VTR plant was in Tokyo, Japan.


1/4 inch Akai, Black-and-white models
Akai model VTS-100 was introduced in 1967 and was a B&W portable VTR with a one tube camera.


1/4 inch Akai, Black-and-white models
The Akai X500-VT is perhaps the oddest of the Akai format machines in as much as it is both a stereo reel to reel audio recorder of 3.3/4 and 7.5 inch per sec tape speed having an auto reverse function, as well as a video recorder combined in the same machine. Two separate tape paths are used and according to the way the tape is threaded, either two channel stereo audio 4-track, or black and white video with monoaural sound could be recorded and played. Tape speed for video recording like the VT100 and VT110 is 11.1/4 Inch per sec.


1/4 inch Akai, Black-and-white models
For the time, this machine was very advanced using many innovations not used in other domestic video machines for many years, such as inverter drive video head motor to name but one. About 10 years later when Sony introduced the Beta format, the first couple of models the video head speed was controlled by a line synchronised AC motor and eddy-current brake.


1/4 inch Akai, Black-and-white models
The X500VT was sold only in Japan and the United States (under the Rheem/Roberts re-badge agreement) and in very low quantities due to its high cost. the highest serial number known to author is 00050, indicating the probability of only a tiny production run.


1/4 inch Akai, Black-and-white models
Akai produced two types of portable black and white VTR using 1/4 inch tape: Portables using an open reel of 13 cm diameter (VT-100/-110/-120), and a single stationary model using a 27 cm open reel, designated VT-700.


1/4 inch Akai, Color model
Akai model VTS-150 was introduced in 1974. It recorded composite video on 1/4 inch reel-to-reel videotape and could record and play back B&W or color. It came with a hand-held two-tube camera with a zoom lens. The system was very small and lightweight for its time. The VTR with the video camera weighed only 22 pounds. A single cable was used to connect the ENG camera to the VTR for power, video and the microphone audio. This model was available in NTSC, PAL and SECAM television formats.


1/42
1/42 is the only live recorded album for the Japanese band Mr.Children, released as a limited edition with 500,000 units in September 1999.


1/42
Its title was derived from the number of the places where the band played on that year's their concert tour entitled Discovery. All tracks were adopted from the live performance at the Makomanai Ice Arena, recorded on July 26, 1999, except for the additional track "Dakishimetai" that was recorded in the gig at the Okinawa Ginowan Seaside Park.


1/42
The double album debuted at the position of #1 on the Japanese Oricon albums chart and sold out 7 weeks later from its release. Finally the album was certified RIAJ double-platinum status, selling estimated more than 500,000 copies.


1/6 (EP)
1/6 (also written as and pronounced One Sixth) is the third extended play by South Korean singer Sunmi. It was released by Abyss Company on August 6, 2021. It is the singer's first Korean EP in nearly three years, following  Warning (2018). The singer's third extended play features six songs including the lead single, "You Can't Sit with Us".


1/6 (EP)
The visual concept of 1/6 is a throwback to the early 2000s. The EP deals with the profound inner emotions such as anger, confusion, sadness and happiness that "we can't help but go through in the gravity of our lives." The mini album is primarily a retro-styled pop record that combines synthwave, dance-pop, bubblegum pop and city pop elements.


1/6 (EP), Background
South Korean singer-songwriter Sunmi released her second extended play, Warning, on September 4, 2018. The EP produced the hit singles like: "Gashina", "Heroine" and "Siren". On July 14, 2021, Sunmi’s label Abyss Company confirmed in a statement to Newsen that the singer is in the midst of preparations for a "new album" and is "aiming for an August comeback". On July 19, the singer revealed that 1/6 would be released on August 6, 2021. Sunmi unveiled the track listing to the EP on the her official social media accounts and website, revealing "You Can't Sit with Us" as the lead single on July 26. The music video teaser for the lead single was released on August 1.


1/6 (EP), Background
During an online media conference, Sunmi described the EP as "a fit for Sunmi" and expressed her desire to be an artist who cannot easily be copied. The singer also wanted to "give comfort, fun, and lightness to those who are feeling heavy and weighed down right now." The album's title 1/6 comes from the quote, "On the moon where gravity is one-sixth, will the weight of anxiety also be one-sixth? ".


1/6 (EP), Composition
The standard edition of 1/6 is slightly under twenty minutes long. The mini album includes six songs that showcase the singer's vocal skills. 1/6 is primarily a retro pop record, encompassing synthwave, dance-pop, bubblegum pop, city pop and 1980s mainstream music elements. NME observed that the EP "uses the lively retro elements to give insight into her personal struggles and anxieties." On it, Sunmi opens up about her experiences with borderline personality disorder.


1/6 (EP), Composition
Through the six songs, Sunmi is talking about the deep emotions of life, such as sadness, happiness, anger, and confusion, which are "inevitable through the weight of life and the gravity of life." The mini album's texture has been described as lighter, brighter, dreamy, glossy and more free, departing from the theme of painful love and breakup of her second extended play Warning.


1/6 (EP), Composition, Songs
The opening track, "You Can't Sit with Us", is a synthwave-inspired song characterized by a distinct '80s dance-pop style with powerful synthesizer. The song features a fast beat, addictive chorus, Sunmi's "breathy" vocals and aside from demonstrating her abilities as a vocalist, the singer is also seen exercising her rap skills. It's title was taken from a line in the 2004 film Mean Girls. The track summarizes the frustration and anger one experiences when they are at a crossroads with their lover.


1/6 (EP), Composition, Songs
"Sunny" is a retro and summer-inspired pop track that contains the "witty" lyrics of "Sunmi Sunmi" and the "cheerful" melody that makes the singer "feel free and light". The song employs vivid imagery of summer love and lazy days by the beach. "1/6" is a "laid-back" bubblegum pop and city pop track with a retro sound. Combining elements of indie rock and synth-pop, the song details moments where Sunmi has difficulties with her emotions and her borderline personality disorder. In the lyrics she asks if she can feel her heart lighten if she goes to the moon, where gravity is 1/6 as strong as it is on Earth.


1/6 (EP), Composition, Songs
The dance-pop and nu-disco track "Call" describes feeling disappointed by a lover and no longer trusting them. With the sound of a call waiting tone in the track, the singer is trying to have them answer the call so she can let them know she doesn't care anymore. "Narcissism" is an EDM-inspired pop track with synths that describe losing yourself and not recognizing the reflection in the mirror. In the second verse, the singer sings with her "dreamy" voice about the similarities of her features and senses among her reflection.


1/6 (EP), Composition, Songs
The closing track, "Borderline", is an atmospheric, retro mid-tempo track, written by Sunmi about her experience with borderline personality disorder. Drawing influences from alternative rock, the song features a deep arrangement and the singer's "charming" low-pitched voice. Sunmi had previously performed the song at concerts, and also released a video for the track in 2020.


1/6 (EP), Critical reception
Angela Patricia Suacillo of NME awarded the extended play 4 out of 5 stars, lauding Sunmi's ability to take "the lively, upbeat elements of synth- and dance pop" and use them to confront her anxieties. Sofia Gomez of The Kraze classified 1/6 as a retro inspired record dealing with the emotions and hardships while opening up about the singer's personal struggles.


1/6 (EP), Commercial performance
According to Hanteo Chart, 1/6 sold 10,692 copies on August 9 alone, managing to break Sunmi’s previous first-week sales record of 2,911 (set by Warning) within just its first day of sales. The EP garnered also sales of 16,305 copies in the first week of release from August 9 to 15. In South Korea, the mini album debuted and peaked at number 5 for the week ending August 14, 2021. The set is her first top five title on her own and her second top 10.


1/N expansion
How a three gluon vertex would appear in 't Hooft's double index notation. This makes the analogy to a string theory that will appear at large N apparent.


1/N expansion
In quantum field theory and statistical mechanics, the 1/N expansion (also known as the "large N" expansion) is a particular perturbative analysis of quantum field theories with an internal symmetry group such as SO(N) or SU(N). It consists in deriving an expansion for the properties of the theory in powers of 1/N{\displaystyle 1/N}, which is treated as a small parameter.


1/N expansion
This technique is used in QCD (even though N{\displaystyle N} is only 3 there) with the gauge group SU(3). Another application in particle physics is to the study of AdS/CFT dualities.


1/N expansion
It is also extensively used in condensed matter physics where it can be used to provide a rigorous basis for mean-field theory.


1/N expansion, Example
Starting with a simple example — the O(N) φ4 — the scalar field φ takes on values in the real vector representation of O(N). Using the index notation for the N "flavors" with the Einstein summation convention and because O(N) is orthogonal, no distinction will be made between covariant and contravariant indices. The Lagrangian density is given by


1/N expansion, Example
where a{\displaystyle a} runs from 1 to N. Note that N has been absorbed into the coupling strength λ. This is crucial here.


1/N expansion, Example
In the Feynman diagrams, the graph breaks up into disjoint cycles, each made up of φ edges of the same flavor and the cycles are connected by F edges (which have no propagator line as auxiliary fields do not propagate).


1/N expansion, Example
Each 4-point vertex contributes λ/N and hence, 1/N. Each flavor cycle contributes N because there are N such flavors to sum over. Note that not all momentum flow cycles are flavor cycles.


1/N expansion, Example
At least perturbatively, the dominant contribution to the 2k-point connected correlation function is of the order (1/N)k-1 and the other terms are higher powers of 1/N. Performing a 1/N expansion gets more and more accurate in the large N limit. The vacuum energy density is proportional to N, but can be ignored due to non-compliance with general relativity assumptions.


1/N expansion, Example
Due to this structure, a different graphical notation to denote the Feynman diagrams can be used. Each flavor cycle can be represented by a vertex. The flavor paths connecting two external vertices are represented by a single vertex. The two external vertices along the same flavor path are naturally paired and can be replaced by a single vertex and an edge (not an F edge) connecting it to the flavor path. The F edges are edges connecting two flavor cycles/paths to each other (or a flavor cycle/path to itself).


1/N expansion, Example
The interactions along a flavor cycle/path have a definite cyclic order and represent a special kind of graph where the order of the edges incident to a vertex matters, but only up to a cyclic permutation, and since this is a theory of real scalars, also an order reversal (but if we have SU(N) instead of SU(2), order reversals aren't valid). Each F edge is assigned a momentum (the momentum transfer) and there is an internal momentum integral associated with each flavor cycle.


1/N expansion, QCD
QCD is an SU(3) gauge theory involving gluons and quarks. The left-handed quarks belong to a triplet representation, the right-handed to an antitriplet representation (after charge-conjugating them) and the gluons to a real adjoint representation. A quark edge is assigned a color and orientation and a gluon edge is assigned a color pair.


1/N expansion, QCD
In the large N limit, we only consider the dominant term. See AdS/CFT.


10
10 (ten) is an even natural number following 9 and preceding 11. Ten is the base of the decimal numeral system, by far the most common system of denoting numbers in both spoken and written language. It is the first double-digit number. The reason for the choice of ten is assumed to be that humans have ten fingers (digits).


10, In mathematics, In numeral systems, Decimal system
As is the case for any base in its system, ten is the first two-digit number in decimal and thus the lowest number where the position of a numeral affects its value. Any integer written in the decimal system can be multiplied by ten by adding a zero to the end (e.g. 855 × 10 = 8550).


10, In mathematics, In numeral systems, Roman numerals
The Roman numeral for ten is X (which looks like two Vs [the Roman numeral for 5] put together); it is thought that the V for five is derived from an open hand (five digits displayed), and X for ten from both hands. Incidentally, the Chinese word numeral for ten, is also a cross: 十.


10, In mathematics, In numeral systems, Positional numeral systems other than decimal
The digit '1' followed by '0' is how the value of p is written in base p. (E.g. 16 in hexadecimal is 10.)


10, In science
Also, the number 10 plays a role in the following:


10, In science
The metric system is based on the number 10, so converting units is done by adding or removing zeros (e.g. 1 centimeter = 10 millimeters, 1 decimeter = 10 centimeters, 1 meter = 100 centimeters, 1 dekameter = 10 meters, 1 kilometer = 1,000 meters).


10, In money
Most countries issue coins and bills with a denomination of 10 (See e.g. 10 dollar note). Of these, the U.S. dime, with the value of ten cents, or one tenth of a dollar, derives its name from the meaning "one-tenth" − see Dime (United States coin)#Denomination history and etymology.


10 (Asleep at the Wheel album)
10 is the ninth studio album (tenth album overall) by American western swing band Asleep at the Wheel. Recorded at Bee Creek Studios in Spicewood, Texas and the Austin Recording Studio in Austin, Texas, it was produced solely by the band's frontman Ray Benson and released in March 1987 as the group's first album back on Epic Records. 10 was the group's first album on a major label since 1980's Framed, and its first to register on the US Billboard charts since 1978's Wheelin' and Dealin'.


10 (Asleep at the Wheel album)
Following the release of Pasture Prime in 1985, Asleep at the Wheel experienced a resurgence in popularity which led to them re-signing with Epic. The group settled with a new lineup of Benson, steel guitarist John Ely, bassist David Dawson, pianist Tim Alexander, drummer David Sanger, fiddler Larry Franklin and saxophonist Michael Francis, four of whom had featured on the 1985 record. 10 was the band's first album since the departure of Chris O'Connell, although she appears as a guest.


10 (Asleep at the Wheel album)
10 was a critical and commercial success. The album was Asleep at the Wheel's second release to reach the top 20 of the US Billboard Top Country Albums chart, peaking at number 16. The collection also spawned four singles, all of which registered on the Hot Country Singles chart, with "House of Blue Lights" peaking at number 17 – the band's second to reach the top 20 of the chart. Critical reviews of the album were mainly positive, praising its return to the band's Western swing sound.


10 (Asleep at the Wheel album), Background
In 1986, Asleep at the Wheel introduced a new lineup comprising lead vocalist and guitarist Ray Benson, steel guitarist John Ely, bassist David Dawson, pianist Tim Alexander, drummer David Sanger, fiddler Larry Franklin and saxophonist Michael Francis. The band signed with Epic Records and recorded its ninth studio album that year, which was its first since Chris O'Connell's departure after becoming pregnant. In early 1987, Epic imprint CBS/Nashville Senior Vice President Rick Blackburn reported that the album was "just about done", claiming that "They're better now than they've ever been and their confidence level is soaring".


10 (Asleep at the Wheel album), Background
"Way Down Texas Way" (written by Billy Joe Shaver) was issued as the lead single from 10 in January 1987, reaching number 39 on the US Billboard Hot Country Singles chart. The album was released in March. "House of Blue Lights" (first recorded by Freddie Slack) was released as the album's second single in May and became the band's second song to reach the top 20 of the Billboard country chart, peaking at number 17. Two more tracks were issued from 10 and registered on the Hot Country Singles chart – Ray Benson's "Boogie Back to Texas" peaked at number 53, and Guy Clark's "Blowin' Like a Bandit" peaked at number 59.


10 (Asleep at the Wheel album), Reception, Commercial
10 entered the Billboard Top Country Albums chart at number 45 in April 1987, later becoming the band's third album (and their first release in eleven years) to reach the top 20 when it peaked at number 16 in July. It also reached number 12 on the Cash Box Country Albums chart.


10 (Asleep at the Wheel album), Reception, Critical
Media reviews of 10 were generally positive. Billboard magazine described the album as "a solid collection of mainly Western swing numbers", praising "House of Blue Lights", "I Want a New Drug" and "Blues Stay Away from Me" in particular. Cash Box also highlighted the Freddie Slack and Delmore Brothers tracks, as well as Fontaine Brown's "Big Foot Stomp". Canadian magazine RPM outlined that "[the band's] brand of Western swing music is almost legend", hailing the record as "a fun album" and describing it as "the real country mood music".


10 (Asleep at the Wheel album), Reception, Accolades
10 earned Asleep at the Wheel its second Grammy Award, winning Best Country Instrumental Performance for its original track "String of Pars".


10 (Enuff Z'nuff album)
'10' is the 9th studio album, and 10th overall release by the Rock band Enuff Z'Nuff. By fans, it is sometimes seen as the poppier counterpart to their harder sounding Paraphernalia record, as both albums were recorded and released during a similar time frame. The album cover art for '10' is a direct reference to the band's debut album, released a decade earlier. While the original U.S. edition of the album included a video for the single "There Goes My Heart" in QuickTime format, '10' was released first in Japan through the Pony Canyon label. The band also toured Japan in 2000 in support of the CD, which peaked at #60 on the Japanese music charts. The song "There Goes My Heart" was later featured in a trailer for the 2008 film The Promotion.


10 (Enuff Z'nuff album), Track listing
All tracks are written by Vie and Znuff, except where noted.


10 (Enuff Z'nuff album), Track listing, Japanese Track List
All tracks are written by Vie and Znuff, except where noted.


10 (Enuff Z'nuff album), Track listing, Japanese Track List
^ - Originally Released on US "Paraphernalia" (1999) but now featuring different lyrics and Chip Z'Nuff on vocals.


10 (Enuff Z'nuff album), Liner Notes
Produced By : Chip and Donnie Mixed By : Chris Shepard Additional Mixing By : Doug McBride, Johnny K, Bill DouglasRecorded At : Star Trax, Groove Master, Velvet Shirts Studios, Gravity Studios Additional Guitars : Billy Corgan, French, and Derek Frigo