Input: Read this: Royal assent is the final stage in the legislative process for acts of the Scottish parliament. The process is governed by sections 28, 32, and 33 of the Scotland Act 1998. After a bill has been passed, the Presiding Officer of the Scottish Parliament submits it to the monarch for royal assent after a four-week period, during which the Advocate General for Scotland, the Lord Advocate, the Attorney General or the Secretary of State for Scotland may refer the bill to the Supreme Court of the United Kingdom (prior to 1 October 2009, the Judicial Committee of the Privy Council) for review of its legality. Royal assent is signified by letters patent under the Great Seal of Scotland in the following form which is set out in The Scottish Parliament (Letters Patent and Proclamations) Order 1999 (SI 1999/737) and of which notice is published in the London, Edinburgh, and Belfast Gazettes:
Question: Royal dissent is signified by what?

Output: unanswerable

Input: Read this: Until recently, in most critical writing the post-punk era was "often dismissed as an awkward period in which punk's gleeful ructions petered out into the vacuity of the Eighties". Contemporary scholars have argued to the contrary, asserting that the period produced significant innovations and music on its own. Simon Reynolds described the period as "a fair match for the sixties in terms of the sheer amount of great music created, the spirit of adventure and idealism that infused it, and the way that the music seemed inextricably connected to the political and social turbulence of its era". Nicholas Lezard wrote that the music of the period "was avant-garde, open to any musical possibilities that suggested themselves, united only in the sense that it was very often cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song".
Question: What era was usually dismissed as merely an awkward phase of music?

Output: post-punk

Input: Read this: In general, Hokkien dialects have 5 to 7 phonemic tones. According to the traditional Chinese system, however, there are 7 to 9 "tones",[citation needed] more correctly termed tone classes since two of them are non-phonemic "entering tones" (see the discussion on Chinese tone). Tone sandhi is extensive. There are minor variations between the Quanzhou and Zhangzhou tone systems. Taiwanese tones follow the patterns of Amoy or Quanzhou, depending on the area of Taiwan. Many dialects have an additional phonemic tone ("tone 9" according to the traditional reckoning), used only in special or foreign loan words.
Question: How many phonemic tones do Hokkien dialects have?

Output: 5 to 7

Input: Read this: In fact, process theology is difficult to define because process theologians are so diverse and transdisciplinary in their views and interests. John B. Cobb, Jr. is a process theologian who has also written books on biology and economics. Roland Faber and Catherine Keller integrate Whitehead with poststructuralist, postcolonialist, and feminist theory. Charles Birch was both a theologian and a geneticist. Franklin I. Gamwell writes on theology and political theory. In Syntheism - Creating God in The Internet Age, futurologists Alexander Bard and Jan Soderqvist repeatedly credit Whitehead for the process theology they see rising out of the participatory culture expected to dominate the digital era.
Question: Why is there no difficulty in defining process theology?

Output:
unanswerable