input: Richardson also applied his mathematical skills in the service of his pacifist principles, in particular in understanding the basis of international conflict. For this reason, he is now considered the initiator, or co-initiator (with Quincy Wright and Pitirim Sorokin as well as others such as Kenneth Boulding, Anatol Rapaport and Adam Curle), of the scientific analysis of conflict--an interdisciplinary topic of quantitative and mathematical social science dedicated to systematic investigation of the causes of war and conditions of peace. As he had done with weather, he analysed war using mainly differential equations and probability theory. Considering the armament of two nations, Richardson posited an idealised system of equations whereby the rate of a nation's armament build-up is directly proportional to the amount of arms its rival has and also to the grievances felt toward the rival, and negatively proportional to the amount of arms it already has itself. Solution of this system of equations allows insightful conclusions to be made regarding the nature, and the stability or instability, of various hypothetical conditions which might obtain between nations.  He also originated the theory that the propensity for war between two nations was a function of the length of their common border. And in Arms and Insecurity (1949), and Statistics of Deadly Quarrels (1960), he sought to analyse the causes of war statistically. Factors he assessed included economics, language, and religion. In the preface of the latter, he wrote: "There is in the world a great deal of brilliant, witty political discussion which leads to no settled convictions. My aim has been different: namely to examine a few notions by quantitative techniques in the hope of reaching a reliable answer."  In Statistics of Deadly Quarrels Richardson presented data on virtually every war from 1815 to 1945. As a result, he hypothesized a base 10 logarithmic scale for conflicts. In other words, there are many more small fights, in which only a few people die, than large ones that kill many. While no conflict's size can be predicted beforehand--indeed, it is impossible to give an upper limit to the series--overall they do form a Poisson distribution. On a smaller scale he showed the same pattern for gang murders in Chicago and Shanghai. Others have noted that similar statistical patterns occur frequently, whether planned (lotteries, with many more small payoffs than large wins), or by natural organisation (there are more small towns with grocery stores than big cities with superstores).

Answer this question "Are there any other interesting aspects of this article?"
output: In other words, there are many more small fights, in which only a few people die, than large ones that kill many.

input: After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.  In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda.  In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").

Answer this question "What did Jara's artistic work consist of?"
output: 

input: The phrase "girl power" put a name to a social phenomenon, but the slogan was met with mixed reactions. The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band: that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. This concept was by no means original in the pop world: both Madonna and Bananarama had employed similar outlooks. The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987; most notably, it was the name of British pop duo Shampoo's 1996 single and album, later credited by Halliwell as the inspiration for the Spice Girls' mantra.  However, it was not until the emergence of the Spice Girls in 1996 with "Wannabe", that the concept of "girl power" exploded onto the common consciousness. The phrase was regularly uttered by all five members--although most closely associated with Halliwell--and was often delivered with a peace sign. The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore. The Spice Girls' version was distinctive. Its message of empowerment appealed to young girls, adolescents and adult women, and it emphasised the importance of strong and loyal friendship among females.  In all, the focused, consistent presentation of "girl power" formed the centrepiece of their appeal as a band. Some commentators credit the Spice Girls with reinvigorating mainstream feminism--popularized as "girl power"--in the 1990s, with their mantra serving as a gateway to feminism for their young fans. On the other hand, some critics dismissed it as no more than a shallow marketing tactic, while others took issue with the emphasis on physical appearance, concerned about the potential impact on self-conscious and/or impressionable youngsters. Regardless, the phrase became a cultural phenomenon, adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, "The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable."  The Spice Girls' debut single "Wannabe" has been hailed as an "iconic girl power anthem". In 2016, the United Nations' Global Goals "#WhatIReallyReallyWant" campaign filmed a global remake of the original music video for "Wannabe" to highlight gender inequality issues faced by women across the world. The video, which was launched on YouTube and ran in movie theatres internationally, featured British girl group M.O, Canadian "viral sensation" Taylor Hatala, Nigerian-British singer Seyi Shay and Bollywood actress Jacqueline Fernandez lip-syncing to the song in various locations around the world. In response to the remake, Beckham said, "How fabulous is it that after 20 years the legacy of the Spice Girls' girl power is being used to encourage and empower a whole new generation?"  At the 43rd People's Choice Awards in January 2017, American actress Blake Lively dedicated her "Favorite Dramatic Movie Actress" award to "girl power" in her acceptance speech, and credited the Spice Girls, saying: "What was so neat about them was that they're all so distinctly different, and they were women, and they owned who they were, and that was my first introduction into girl power."

Answer this question "Did Spice Girls come up with Girl Power?"
output:
The phrase itself had also appeared in a few songs by British girl groups and bands since at least 1987;