Problem: Charleston's oldest community theater group, the Footlight Players, has provided theatrical productions since 1931. A variety of performing arts venues includes the historic Dock Street Theatre. The annual Charleston Fashion Week held each spring in Marion Square brings in designers, journalists, and clients from across the nation. Charleston is known for its local seafood, which plays a key role in the city's renowned cuisine, comprising staple dishes such as gumbo, she-crab soup, fried oysters, Lowcountry boil, deviled crab cakes, red rice, and shrimp and grits. Rice is the staple in many dishes, reflecting the rice culture of the Low Country. The cuisine in Charleston is also strongly influenced by British and French elements.
The Footlight Players stopped creating theatrical productions in what year?
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Answer: unanswerable

Problem: Immanuel Kant, in the Critique of Pure Reason, described time as an a priori intuition that allows us (together with the other a priori intuition, space) to comprehend sense experience. With Kant, neither space nor time are conceived as substances, but rather both are elements of a systematic mental framework that necessarily structures the experiences of any rational agent, or observing subject. Kant thought of time as a fundamental part of an abstract conceptual framework, together with space and number, within which we sequence events, quantify their duration, and compare the motions of objects. In this view, time does not refer to any kind of entity that "flows," that objects "move through," or that is a "container" for events. Spatial measurements are used to quantify the extent of and distances between objects, and temporal measurements are used to quantify the durations of and between events. Time was designated by Kant as the purest possible schema of a pure concept or category.
What type of measurements are used to quantify the duration of events?
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Answer: temporal measurements

Problem: Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delaya necessary operation of a true autocorrelationhas not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western musicand a pitch height, which may be ambiguous, that indicates the octave the pitch is in.
Is a temporal delay necessary to produce an autocorrelation model of pitch perception?
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Answer:
unnecessary