In electronics, a subtractor can be designed using the same approach as that of an adder.
 The binary subtraction process is summarized below.
 As with an adder, in the general case of calculations on multi-bit numbers, three bits are involved in performing the subtraction for each bit of the difference: the minuend (formula_1), subtrahend (formula_2), and a borrow in from the previous (less significant) bit order position (formula_3).
 The outputs are the difference bit (formula_4) and borrow bit formula_5.
 The subtractor is best understood by considering that the subtrahend and both borrow bits have negative weights, whereas the X and D bits are positive.
 The operation performed by the subtractor is to rewrite formula_6 (which can take the values -2, -1, 0, or 1) as the sum formula_7.
In computer processors the carry flag (usually indicated as the C flag) is a single bit in a system status (flag) register used to indicate when an arithmetic carry or borrow has been generated out of the most significant ALU bit position.
 The carry flag enables numbers larger than a single ALU width to be added/subtracted by carrying (adding) a binary digit from a partial addition/subtraction to the least significant bit position of a more significant word.
 It is also used to extend bit shifts and rotates in a similar manner on many processors (sometimes done via a dedicated X flag).
 For subtractive operations, two (opposite) conventions are employed as most machines set the carry flag on borrow while some machines (such as the 6502 and the PIC) instead reset the carry flag on borrow (and vice versa).
Postmodernism describes a broad movement that developed in the mid- to late 20th century across philosophy, the arts, architecture and criticism which marked a departure from modernism.
 While encompassing a broad range of ideas, postmodernism is typically defined by an attitude of skepticism, irony or rejection toward grand narratives, ideologies and various tenets of universalism, including objective notions of reason, human nature, social progress, moral universalism, absolute truth, and objective reality.
 Instead, it asserts to varying degrees that claims to knowledge and truth are products of social, historical or political discourses or interpretations, and are therefore contextual or socially constructed.
 Accordingly, postmodern thought is broadly characterized by tendencies to epistemological and moral relativism, pluralism, irreverence and self-referentiality.
Hypermodernism is the cultural, artistic, literary and architectural successor to Modernism and Postmodernism in which the form (attribute) of an object has no context distinct from its function.
 Attributes can include shapes, colors, ratios, and even time.
 Unlike postmodernism and modernism, hypermodernism exists in an era of fault-tolerant technological change and treats extraneous attributes (most conspicuously physical form) as discordant with function.
 While modernism and post-modernism debate the value of the "box" or absolute reference point, hypermodernism focuses on improvising attributes of the box (reference point now an extraneous value rather than correct or incorrect value) so that all of its attributes are non-extraneous; it also excises attributes that are extraneous.
 Hypermodernism is not a debate over truth or untruth as per modernism/postmodernism; rather it is a debate over what is and is not an extraneous attribute.
 Synchrony between previously-clashing objects (now attributes) and amorphous self-identity coupled with allusions to a magical existence acknowledge the movement.
 Some theorists view hypermodernism as a form of resistance to traditional modernism; others as a supersedence of it.
Mark Naumovich Lipovetsky (Mарк Наумович Липовецкий) (born June 2, 1964) is a Russian literary, film, and cultural critic who advocates the position that postmodernism is replacing socialist realism as the dominant art movement in Russia.
 His major interests include 20th century Russian literature, Russian postmodernism, fairy-tales, Mikhail Bakhtin's carnival, totalitarian and post-communist cultures.
The Zincali - An account of the gypsies of Spain is a book written by George Borrow, the first edition was published 1841.
 Nine editions were published until 1901 at which time the last (definitive) edition was published, but the book is still in print.
 In this work George Borrow writes about the living and culture of the Romani people especially in Spain.
 At the end of the book a dictionary of the Romani language can be found.
 A lot of anecdotes of Borrow's encounter with this people are to be found in this book, which shows that he spoke the Romani language fluently and was even considered as one of them.
 In contrast to most modern works about the Romani people also the dark side of the Romani culture is discussed, like fraud and robbery, which were apparently common with the Romani people in the author's lifetime.
 Nevertheless, George Borrow respected them highly and also mentioned the long history of their persecution in Europe and elsewhere.
Children of the Sun is a "Dieselpunk" role-playing game created by the now defunct Misguided Games, Inc. in 2002.
 Set on Krace, an island of giant, supernaturally tough trees, it was part of a generation of dieselpunk settings that appeared beginning in the late 1990s.
 Most notable about the game was its original Token System, which allowed the player to use a token to determine initiative and to interrupt other character's turns.
Russian postmodernism refers to the cultural, artistic, and philosophical condition in Russia since the downfall of the Soviet Union and dialectical materialism.
 With respect to statements about post-Soviet philosophy or sociology, the term is primarily used by non-Russians to describe the state of economic and political uncertainty they observe since the fall of communism and the way this uncertainty affects Russian identity.
 'Postmodernism' is, however, a term often used by Russian critics to describe contemporary Russian art and literature.
Dieselpunk is a genre similar to that of its more well-known cousin "steampunk" that combines the aesthetics of the diesel-based technology of the interwar period through to the 1950s with retro-futuristic technology and postmodern sensibilities.
 Coined in 2001 by game designer Lewis Pollak to describe his role-playing game "Children of the Sun", the term has since been applied to a variety of visual art, music, motion pictures, fiction, and engineering.
Criticisms of postmodernism are intellectually diverse, including the belief that postmodernism can be meaningless, promotes obscurantism and uses relativism (in culture, morality, knowledge) to the extent that it cripples most judgement calls.
 Criticism of postmodernism is usually not a comprehensive attack on the various diverse movements labelled postmodern.
 Criticism often refers to specific branches of postmodernism which may vary greatly such as postmodern philosophy, postmodern architecture and postmodern literature.
 It may also be limited to certain tendencies in postmodern thought such as post-structuralism, cultural relativism and "theory".
 For example, a philosopher may criticize French postmodern thought yet still appreciate postmodern cinema.
 Conversely Ashbee criticises most creative postmodern works (works of art, books, films etc.) without broadly attacking the entire inventory of varied post-modern projects.

Question: What sensibilities from postmodernism does Dieselpunk borrow from?
Answer: an attitude of skepticism, irony or rejection