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Ancient Greek/Basic Verbs

Greek verbs are simultaneously incredibly complicated and remarkably simple, as many verbs follow common ending patterns, or inflections, but there are vast number of these endings. Verbs can be in four moods (indicative, imperative, subjunctive and optative), three voices (active, middle and passive), as well as three persons (first, second and third) and three numbers (singular, dual and plural). Unlike English verbs, which normally have at most five forms (sing, sang, sung, singing, sings), a single Greek verb can have hundreds of forms. However, by breaking Greek verbs down into their respective components, each verb can quickly and easily be identified. This means every verb can give out a lot of useful information about the rest of the sentence. For instance, the English verb form are singing could take a variety of subjects (you are singing, you all are singing, we are singing, they are singing), but a Greek verb includes the subject within its ending.

Principal Parts
A verb in Greek has any of 6 principal parts. A principal part is a form of a verb that cannot be derived from another form—that is to say, they are principal, fundamental to the verb. Tenses are formed by adding inflectional affixes to an appropriate stem, given by a principal part. The 6 principal parts are:

 * Present and imperfect, active and middle
 * Future, active and middle
 * Aorist, active and middle
 * Perfect and pluperfect, active
 * Perfect and pluperfect, middle
 * Future and aorist, passive

It is important to stress that not all verbs have all 6 principal parts. For example, ἥκειν, meaning "to have arrived", has only one principal part—the first, ἥκω; while grammatically present (that is to say, it has a present stem and uses present and imperfect endings), it has a perfect sense. The Greek copula has two principal parts, the first and second, being εἰμί and ἔσομαι. In view of these limitations, it is not possible to form a pluperfect tense for either of these two verbs. On the other hand, οἶδα, has a sole fourth principal part. It has a perfect stem and uses perfect and pluperfect endings. Its grammatical meaning is "to have seen", but the implication is therefore "to know", and it is used in the latter sense.

Personal Endings
The most important marker on a verb (and usually the easiest to spot) is its personal ending. A finite verb will alter its ending depending upon its subject's person (first, second, or third person) and number (singular or plural). This is similar to the way verbs are formed in English: for example, if you take almost any verb in the present tense in the third person singular (the he/she/it form) will add an -s to the end: I work, but she works. Here is how the present of a simple verb conjugates, or changes its personal ending:

Present Tense
A simple mnemonic (with a twist) for the plural is "Men eat sushi".

Notice that the stem, λυ-, does not change. Additionally, the ν at the end of the third person plural form is usually inserted at the end of a sentence and also before another word that begins with a vowel. This ν makes the ending of a Greek form easier to distinguish, so that words do not elide (this added ν is known as the ν-movable, paragogic ν or ephelcystic ν in some grammars). If the verb is not at end of a sentence or before a word that begins with a vowel, the ending is just -ουσι.

Tenses
Verbs also change according to their time frame. Since most narrative occurs in the past, these verb forms are critical to know. There is a slightly different set of endings used by verbs in the past, and, in Classical Greek, the past time frame is denoted by adding a past temporal augment, commonly as an ἐ-, to the beginning of the verb. Depending on the mood, there may be less tenses available (the following are the 7 tenses of the indicative mood.)

Imperfect Tense
This is known as the imperfect form. Again, notice how it is composed of the same stem as in the present (λυ-), but includes a past temporal augment. Note also that the accent moves back one syllable.

Future Tense
The future tense takes the same endings as the present tense. However, it is different from a present verb by the addition a sigma to the present stem, then adding the present endings as normal:

Aorist Tense
The aorist tense expresses an action in a non-continuous aspect and generally in the past. The aorist tenses are formed from the third principal part. Morphographically, there are three types of aorist stems that are regular: first (or sigmatic) aorist, second aorist, and root aorist. First aorist stems are quite common, second aorists less so, and root aorists limited to a few verbs. A verb usually has only one of the three types of aorists. These are the first aorist forms of λύω:

Here are the second aorist forms of λείπω (to leave):

Here are the root aorist forms of δύω:

Perfect Tense
The perfect tense is different to the aorist in that the aorist describes a complete action that occurred in the past (e.g. ἔλυσα, I untied), and the perfect describes an action that began in the past and is implied to still be occurring (e.g. λέλῠκᾰ, I have untied). Conjugating the perfect is quite complex. First, add the first consonant of the present stem and an ε preceding it to the front of the present stem. Then add a consonant (most often κ, but can be ψ, φ etc. to aid pronunciation, as in the future) and the corresponding ending (these are the same as the first aorist) to the end on the stem. (present stem λύ-)

or (present stem κλέπτ-)

Pluperfect Tense
The pluperfect tense refers to a situation that existed due to events that had taken place in the past. The pluperfect is rather uncommon, as often just the aorist with conjunctions such as ἐπεί (when) are used to indicate the pluperfect. To conjugate the pluperfect, simply take the completed perfect equivalent and add the ε augment to the beginning.

Future Perfect Tense
The future perfect tense used to express an action that will be completed in the future. It is rather rare but is formed by combining the perfect active participle of the verb with the future form of to be.

Irregular verbs
Like most languages, Ancient Greek has irregular verbs, which cannot be conjugated on the basis of principal parts alone. There are a number of irregular verbs that appear often in Ancient Greek texts, and they must be known along with the regular verbs. Here follows the present tense of the verb to be: and the imperfect: and the future: As you can see, like Ancient Greek, even the English forms of to be are far from predictable!

Deponent verbs
Some verbs have middle or passive endings but are active in meaning. Consider βούλομαι (to want):

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Ancient Greek/Basic Verbs


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Mathematica

Mathematica is a powerful technical programming language developed by Wolfram Research. It encompases computer algebra, numerical computation, visualization and statistics capabilities.

It can be used on all kinds of mathematical analysis, from simple plotting to signal processing. The aim of this wikibook is to introduce the Mathematica language and how to use this software. It will describe the functions available and give examples of them.

Language Overview

 * Getting Started
 * Basics of the Mathematica Language
 * Simple Calculations
 * Common structures and manipulations

Application Overview

 * Notebook
 * Palettes
 * Styles
 * Output
 * Presentations
 * Publishing
 * Computable Document Format

Operators

 * List of functions

2D Graphics

 * Basic plotting
 * Uniform Surface Distribution
 * Uniform Spherical Distribution
 * Tips and Tricks

3D Graphics

 * Basic 3D plotting
 * Generating Contours on a 3D Surface
 * Polar Surface Plots

Programming

 * Multiple programming paradigms
 * Flow Control
 * Functional
 * Procedural
 * Batch or Line oriented

Mathematica

title: Mathematica


text: Template:User pagan

title: Template:User pagan


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HyperText Markup Language/Head and Body

An HTML file is divided into two basic sections: the head and the body, each demarcated by their respective tags. Thus, the essential structure of an HTML document looks like this :

The HEAD element
All data in the head section of an HTML document is considered "meta-data", meaning "data about data". The information in this section is not normally displayed directly. Instead elements such as  affect the appearance of other elements in the document. Some items in the head section may be used by programs such as search engines to learn more about the page for reference purposes.

The  element should always contain a   element which sets the title commonly displayed by the web browser in the title bar of the window. Here is an example of the use of the  element: There can only be one  in the header section.

There may be any number of the following elements inside the  element:

 * style : Used to embed style rules in a document. In most cases, a consistent look across multiple web pages is desired, so style is specified in a separate stylesheet file, linked using the  element. Thus, style is used in the head when the style applies to this page only.

 * link : Used to link the page to various external files, such as a style sheet or the location of the RSS feed for the page. The type of link is set using the  attribute. The   attribute specifies the MIME type of the document found at the location given by the   attribute. This allows the browser to ignore links to MIME types it does not support. Examples:

 * script : Used to link to an external Javascript file or to embed Javascript in the page. Linking to an external file is the preferred technique in real web pages though many examples embed the script for simplicity.

 * meta : Used to set additional meta-data properties for the HTML document, such as related keywords, etc. Examples:

 * object : Embeds a generic object. This element is not commonly used in the head, but rather in the body section.

There may also be a single  element. This element sets the base URI for resolving relative URIs. It is rarely necessary to use this element.

The TITLE element
The title element contains your document title and identifies its contents in a global context. The title is typically displayed in the title bar at the top of the browser's window. It is also displayed on the bookmark list of the browser. Title is also used to identify your page for search engines. Example: Some Amazing Web Page

The BODY element
Unlike the  element, any plain text placed between the   tags will be displayed on the web page by the browser.

What to avoid. The following example is bad practice: The current standard is HTML5, and,  ,  ,  ,   and   attributes have all been long deprecated. You may find them in older files, but they should not be used now. They have been superseded by the CSS rules given below (using these rules is discussed in a later section HyperText Markup Language/CSS). The values from the previous example have been used as examples in these rules.
 * text :
 * bgcolor :
 * background :
 * link :
 * alink :  (an active link is a link that is being clicked or has the keyboard focus)
 * vlink :
 * hover (not an html attribute) :  ('hover' is the style of a link when the mouse pointer is over it)

HTML/Fondamenti

title: HyperText Markup Language/Head and Body


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Complex Analysis/Complex Numbers/Topology

As we have already seen the complex numbers are identified with the Euclidean Plane. So it is not surprising that much of what we know about the plane carries over to the complex numbers. In this section we will be specifically interested in topological properties of the complex plane. What are "topological properties"? In mathematics the term topology is used to describe certain geometric properties of spaces. Here we will mostly be concerned with ideas of open, closed, and connected. The notion of limits also falls under this section, because it is really a statement about the geometry of the complex plane to say two quantities are "close" or that one quantity "approaches" another.

We begin with the notion of a limit of a sequence of complex numbers.

One difficulty with this notion of limit is that it requires us to know the limit ahead of time before we can decide if a sequence is convergent. To handle cases when we do not know the limit, an equivalent reformulation called the Cauchy criteria for convergence is stated below.

One direction of this equivalence is easy, but the other direction relies on the completeness of the Complex numbers. A topic we will defer until later.

Of course this is precisely the same as the definition for a limit of a sequence of points in $$\R^2$$. Of course, a first important application of the limit of a sequence is defining convergence for a series of numbers.

Notice that when the Cauchy criteria is applied to infinite sums it takes the form: given $$\epsilon>0$$ there is an $$N$$ so that, if $$n,m>N$$ then $$\bigg|\sum_{m+1}^n z_n\bigg|<\epsilon$$.

To give a concrete example consider the series $$\sum_{n=1}^\infty \frac{z^n}{n!}$$. For a fixed $$z$$ it can easily be seen that this series converges, and we shall denote the value it converges to by $$e^z$$.

To show this we simply we "bootstrap" from what we know about the real numbers. Recall that, for the real number $$|z|$$ we know that the sum for $$e^{|z|}$$ converges. Applying the Cauchy criteria to $$e^{|z|}$$ we know there is an $$N$$ so that, if $$n,m>N$$ then $$\sum_{m+1}^n \frac{|z|^n}{n!}<\epsilon$$. Now consider the series $$\textstyle \sum_{n=0}^\infty z^n/n!$$. For the $$N$$ determined above, lets examine $$\big|S_n-S_m\big|$$ for $$n\geq m >N$$.

 * $$\big|S_n-S_m\big|=\bigg|\sum_{m+1}^n \frac{z^n}{n!}\bigg|\leq \sum_{m+1}^n \frac{|z|^n}{n!}<\epsilon $$.

And hence by the Cauchy criteria the sum $$\sum_{n=0}^\infty z^n/n!$$ converges.

Even more, we showed the series converges absolutely. Recall that for a series of real numbers, any possible reordering of the series converged to the same value. This theorem remains true for complex numbers. For us it will be very useful to examine the series $$e^{i\theta}$$ for theta a real number.

In this case we have

 * $$e^{i\theta}=1+(i\theta)+\frac{(i\theta)^2}{2}+\frac{(i\theta)^3}{6}+\frac{(i\theta)^4}{4!}+\frac{(i\theta)^5}{5!}+\frac{(i\theta)^6}{6!}+\frac{(i\theta)^7}{7!}+\cdots$$

Now using that $$i^{2n}=(-1)^n$$ and $$i^{2n+1}=(-1)^n i$$ we can rewrite the series above as

 * $$e^{i\theta}=1+i\theta-\frac{\theta^2}{2}-i\frac{\theta^3}{6}+\frac{\theta^4}{4!}+i\frac{\theta^5}{5!}-\frac{\theta^6}{6!}-i\frac{\theta^7}{7!}+\cdots$$

Finally if we rearrange the series to determine the real and imaginary parts we have that:

 * $$e^{i\theta}=\bigg(1-\frac{\theta^2}{2}+\frac{\theta^4}{4!}-\frac{\theta^6}{6!}+\cdots\bigg)+i\bigg(\theta-\frac{\theta^3}{6}+\frac{\theta^5}{5!}-\frac{\theta^7}{7!}+\cdots\bigg)$$

But now we notice by inspection that the series in the first set of parenthesis is exactly the Taylor series for $$\cos\theta$$ and the series in the second parenthesis is exactly the Taylor series for $$\sin\theta$$. And so we we conclude:

Thus we no longer need the name cis θ, we will instead simply use $$e^{i\theta}$$.

Advanced Topics
This section contains some more advanced topics that should perhaps be skipped on a first reading of this text.

Metric property
Define the metric $$d:\mathbb{C}^2\to\mathbb{R}$$ as

$$d(z_1,z_2)=|z_1-z_2|$$

It can easily be seen that $$d$$ satisfies positive definiteness, symmetry and the triangle inequality, implying that $$\mathbb{C}$$ is a metric space.

Completeness
Recall that a metric space is said to be complete if every Cauchy sequence converges to a limit.

For any point $$z_0\in \mathbb{C}$$, we call the open ball $$B_\delta(z_0)$$, consisting of all the points $$z$$ such that $$|z-z_0|<\delta$$, a neighborhood of $$z_0$$. Similarly, a set consisting of points z such that $$|z|>\delta$$ for a positive δ will be called a neighborhood of infinity. Given a set $$\mathfrak{G}\subset\mathbb{C}$$, we call the set open if every point in $$\mathfrak{G}$$ has a neighborhood completely contained in $$\mathfrak{G}$$. Similarly, we call a set closed if its complement is open. A point $$z$$ is called an accumulation point of $$\mathfrak{G}$$ if every neighborhood of z contains a point in $$\mathfrak{G}$$ other than z itself. It can be shown that a set is closed if and only if it contains all of its accumulation points: see proof.

The Riemann Sphere

An interesting idea related to the extension of the complex numbers is the construction of the Riemann Sphere. The Riemann Sphere, essentially a stereographic projection, is constructed by projecting the Complex plane onto the unit sphere about the point $$(0,0,1)$$.

Formally, the rectangular coordinates of the projection $$(\xi,\eta,\zeta )$$ can be given by the transformations

 * $$\xi=\frac{z+\bar z}{1 + z \bar z},\eta=\frac{1}{i} \frac{z-\bar z}{1 + z \bar z},\zeta=-\frac{1 - z \bar z}{1 + z \bar z}$$

Or equivalently, the reverse transformation,

 * $$z = \frac {\xi + \eta i} {1 - \zeta}$$

The Riemann sphere is this transformation, together with the point $$(0,0,1)$$ labeled as $$\infty$$

It can also be shown that the stereographic projection preserves angles, and that circles and lines in the plane correspond to circles on the sphere: see proof.

In the metric |a-b| used earlier, the point z=∞ causes problems. However, using the stereographic projection, we can define another metric where the distance between two points a and b is the chordal distance
 * $$\chi(a,b)=\frac{2|a-b|}{\sqrt{1+a\bar a} \sqrt{1+b\bar b}}$$,

which has a well-defined meaning even when one of the points is ∞. We will only employ this metric when dealing with infinite values. For example, using this metric, neighborhoods of infinity do not require special treatment; we say that a neighborhood of a point $$z_0$$ is the set of all points z satisfying
 * $$\chi(z,z_0)<\delta$$,

where $$z_0$$ is allowed to be infinity.

Next


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Complex Analysis/Complex Functions

In this chapter we introduce the notion of a complex function and its derivatives.

Chapter 2: Complex Functions

 * 1) /Complex Functions/
 * 2) Limits and Continuous Functions
 * 3) /Complex Derivatives/
 * 4) Holomorphic and Harmonic Functions
 * 5) Analytic Functions

title: Complex Analysis/Complex Functions


text:
HyperText Markup Language/Comments

HTML offers the possibility to insert comments into the page. To place a comment in your HTML code, start it with <!-- and close it with -->. An example:

Unlike notes in office suites, comments are completely ignored by browsers, so the readers of the page have no idea of their presence. They can be viewed in the source of the web page though.

You should avoid nested comments, as these can cause troubles to many browsers. An example:

title: HyperText Markup Language/Comments


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HyperText Markup Language/Hyperlinks

Hyperlinks are the basis of navigation of the internet. They are used for moving around among sections of the same page, for downloading files, and for jumping to pages on other web servers. Hyperlinks are created with the anchor tag. Let us start with a quick example:

 * Will be displayed as: To learn more, see Wikipedia.

Absolute vs. Relative
Before we get into creating a hyperlink (or "link" for short), we need to discuss the difference between an absolute URL and a relative URL. First, the absolute URL can be used to direct the browser to any location. For example, an absolute URL might be:

https://en.wikibooks.org/

However, when there is a need to create links to multiple objects in the same directory tree as the web page, it is a tiring procedure to repeatedly type out the entire URL of each object being linked to. It also requires substantial work should the webpage move to a new location. This is where Relative URLs come in. They point to a path relative to the current directory of the web page. For example:

home.html ./home.html ../home.html

This is a relative URL pointing to a HTML file called home.html which resides in the same directory (folder) as the current web page containing the link. Likewise:

images/top_banner.jpg

This is another relative URL pointing to a subdirectory called images which contains an image file called "top_banner.jpg".

Linking to a Location within a Page
Sometimes specifying a link to a page isn't enough. You might want to link to a specific place within a document. The book analogue of references of this type would be saying "Third paragraph on page 32" as opposed to just saying "page 32". Let's say that you want a link from document a.html to a specific location in a document b.html. Then you start by giving an id to the a particular paragraph in b.html. This is done by adding  (where some_name is a string of your choice) as the paragraph tag in b.html. Now that location can be referenced to with  from document a.html.

Target Links
Now we are ready to create a hyperlink. Here is the basic syntax : In the above syntax, "URL location" is either the absolute or relative path of the object being linked to. "target" is an optional attribute which specifies where the object being linked to is to be opened / displayed. For example : The above example uses an absolute URL of https://en.wikibooks.org/, and specifies a target of "_blank" (which would cause the URL to be opened in a new browser window).

Special Targets

 * _blank: A new blank window is opened to load the linked document into. The location in the address bar (if shown in the new window) gives the hyperlink location of the new resource requested by the user's clicking on the hyperlink.
 * _self: The current frame that contains the document and the link to be clicked on is used to load the linked document; if the link is part of a document that occupies a whole window then the new document is loaded into the whole window, but in the case of a frame, the linked document is loaded into the current frame. The location won't be shown in the address bar unless the linked document was loaded into the main window as opposed to a child frame of a frameset.
 * _parent: The linked document is loaded into the parent frame of the one containing the link to be clicked on; this is only important in nested framesets. If window W contains frameset F consisting of a child frame A and also a child frame B that is itself a frameset FF with "grandchildren" frames C and D (giving us Window W with three visible panes A, C and D), then clicking a hyperlink in the page in frame D with a target=_parent will load the linked document into D's parent frame, that is, into frame B, so replacing frameset FF that was previously defined as the content of frame B. Documents C and D that were the frames of this frameset FF in B will be entirely replaced and this will leave only frame A and the new document from the hyperlink left in frame B, all inside the main frameset F in window W. The location is only shown in the address bar of the window if the parent frame happened to be the window itself.
 * _top: The linked document is loaded into the window, replacing all files currently displayed in the window in whatever frames they may be found in. The location at the top of the window, in the address/location bar is seen to point to the linked document once the hyperlink is clicked.

Hyperlinks on Images
An example:

Example rendering:

As you can see, placing hyperlinks on images is in complete analogy to placing them on text. Instead of putting text inside the  element, you place an image there.

Email Links
To create an email link, use: . HTML/Links HTML/Basiscursus/Links

title: HyperText Markup Language/Hyperlinks


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Cookbook talk:Special Diets

Special Diets naming conventions
Naming conventions for recipes which adhere to special diets are listed on at Cookbook:Policy. Kellen T 20:06, 12 February 2006 (UTC)

Please please please include fructose free diet. For people with hereditary fructose intolerance or frutose sensitivity.

title: Cookbook talk:Special Diets


text:
Modern Greek/Reading Exercises/Reading 02

= Reading 02: The battle of Thermopylae/Η μάχη των Θερμοπυλών =

Reading
Much of the following reading was adapted from the Wikipedia article Μάχη των Θερμοπυλών (Battle of Thermopylae).


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Georgia Water/Best Practices/Management

Management Programs

 * Environmental Management Systems (newsletter - USEPA sponsored - note: info here needs to be unbundled)

Ground Water Management
"Groundwater management must take into consideration:
 * protecting the quality of the resource from degradation by human activities;
 * regulating land use to protect recharge areas;
 * exploring options for artificial recharge and conjunctive use; and
 * establishing sustainable depletion rates for aquifers." (Viessman, 1997, p.3)

title: Georgia Water/Best Practices/Management


text:
Template:Style

Use empty lines to separate paragraphs.
When writing multiple paragraphs, separate them by using a blank line between each paragraph. Otherwise, the paragraphs might not appear separate when you preview or save the page.

Avoid accidental links.
You can link arbitrary links to Wikipedia, Wiktionary, or some other wiki, by using the wiki:name of page syntax. Look at our interwiki map, or use the shortcuts "w:" and "wikt:" for Wikipedia or Wiktionary.

There is advanced wiki markup for lists and indentations.
If you start a line with an asterisk *, it makes a bulleted list. The pound sign # makes a numbered list, while the colon : simply indents.

HTML and CSS are available.
You do not need HTML or CSS skills to edit this wiki, but if you have such skills, you can use them if you want.

title: Template:Style


text:
Guide to Social Activity/Authors

Authors

 * 1) Kernigh
 * 2) Other and anonymous contributors

TODO: check edit histories for users that edited this book, and add them to the list.

title: Guide to Social Activity/Authors


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User:Omegatron/Sandbox

test

title: User:Omegatron/Sandbox


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User:Gandalf1491~enwikibooks

History of Elven writing systems

Latin

title: User:Gandalf1491~enwikibooks


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Computer Go/How Do I Find Other Programs To Play Against?

How Do I Find Other Programs To Play Against?
One of the best ways to test the strength of your Go engine is to pit it against other Go-playing programs. The most common way to do this is via the GTP protocol.

Once your program implements the GTP protocol, you can download another program that implements the GTP protocol and play them against each other using an Engine vs. Engine application.

Engine vs. Engine Applications

 * gogui-twogtp Is an add-on included with GoGUI to watch and configure arbitrary GTP engine vs. GTP engine games and save them. Example usage can be found here: WatchingNumbersGoUp
 * CGOS has an application that allows you to connect a GTP engine to an on-line 9x9 Computer Go Server to easily test your program against dozens of other programs of all levels.
 * kgsGtp is a bridge application, connecting a GTP engine to an on-line server called KGS, enabling your Go program to play against humans and other programs over the Internet.
 * twogtp is a perl script for playing two engines against each other. This is distributed with GNU Go. Licensed under the GNU GPL. Written by Teun Burgers and Daniel Bump.
 * 2ptkgo.pl is another perl script similar to twogtp, but additionally providing a graphical display. This is also distributed with GNU Go. Running it requires perltk and ttgo.pm. Licensed under the GNU GPL. Written by Don Dailey.
 * twogtp.py is a python script for playing two engines against each other. More feature rich than twogtp. Licensed under the GNU GPL. Written by Inge Wallin and other GNU Go developers.
 * twogtp.pike is a pike script for playing two engines against each other. This is also distributed with GNU Go and is even more feature rich than twogtp.py. Licensed under the GNU GPL. Written by Paul Pogonyshev and Gunnar Farnebäck.

Programs That Implement GTP
SmartGo cannot be used with an Engine vs. Engine Application, but it does have a "Tourney" mode which uses GTP without requiring a separate Engine vs. Engine Application.
 * GNU Go
 * SmartGo

Computer Go Tournaments

 * KGS Computer Go Tournaments are held monthly on the Kiseido Go Server.
 * 50th European Go Congress in Frascati, near Rome, Italy.
 * US Go Congress in North Carolina.


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User:Richard x

Richard is a Canadian, born March 25, 1990, in Thunder Bay, Ontario. He plays RuneScape on the account RichardX. He prefers F2P over P2P.

title: User:Richard x


text:
Adventist Youth Honors Answer Book/Household Arts/Basic Sewing

a. Thimble
A thimble is a protective shield worn on the finger or thumb. It is used for pushing a needle through a piece of fabric in situations where the pressure applied to the needle would otherwise cause the needle to pierce the skin. A thimble is most usually made from metal, but can also be found made from leather, rubber, wood, glass or china. It is occasionally made from common household materials such as cans and old wooden dolls

b. Tape measure
A cloth tape measure is used for measuring a person for the purpose of sizing a garment. It is also used to measure cloth.

c. Scissors and shear
Scissors are used for cutting cloth.

d. Pinking shears
Pinking shears are scissors whose blades are sawtooth instead of straight. Pinking shears will leave a zigzag pattern instead of a straight edge.

Pinking shears are useful for cutting woven cloth. Cloth edges that are unfinished will easily fray, the weave becoming undone and threads pull out easily. The sawtooth pattern does not prevent the fraying but limits the length of the frayed thread and thus limits damage.

e. Needles of various sizes and types
Needles are used for piercing a fabric and passing a thread through it for the purpose of making a stitch. This can be done by hand or by machine. A hand needle has a hole in it (called the eye) near its back. A machine needle has its eye near the point.

a. Balance wheel
The balance wheel provides a method of manually moving the needle up or down. It is used to raise the needle out of the cloth when the stitch is finished, or to raise the thread take-up to make it accessible when threading the machine.

b. Thread take-up
The thread take-up moves up and down with the needle, keeping the thread tight and drawing it from the spool as needed.

c. Presser foot
The presser foot holds the cloth in place while the needle runs thread through it. See the photo below for its location.

d. Presser foot lifter
The presser foot lifter raises and lowers the presser foot. Raise it when you need to place a piece of cloth under the needle (and under the presser foot).

e. Needle
The needle stitches the thread (green in the photo) through the cloth.

f. Feed dogs
The feed dogs are little tread-like pieces beneath the presser foot. As the sewing machine is operated, the feed dogs advance the cloth forward (or backwards if the backspace lever is activated). The presser foot holds the cloth against the feed dogs so that they can move the cloth along.

g. Bobbin
The bobbin supplies a second spool of thread. Between the bobbin and the needle, two pieces of thread are tied into a knot forming the stitch. The bobbin can be filled with thread by removing it from the position shown and placing it in a mechanism on the top of the sewing machine. It is usually filled with the same color thread as is thread through the needle. The bobbin's thread comes up from the bottom of the machine through a plate between the feed dogs.

h. Control
The control is a foot pedal that is similar to the gas pedal in a car. When it is fully depressed, the sewing machine operates at its maximum speed. When lightly depressed, the machine operates more slowly. When released, the sewing machine stops. Having a foot-operated control frees both hands for guiding the cloth through the machine.

i. Backspace lever
The backspace lever (shown in the photo with the balance wheel) reverses the direction that the feed dogs move the cloth. A stitch is often started an inch or so away from the back edge of the cloth with the backspace lever activated. When the stitch gets close to the back edge of the cloth, the lever is released and the cloth moves forward through the machine. Stitches are also ended this way. Doing this provides a stronger seam and locks the stitch in place.

Winding the Bobbin
First, check that the bobbin has enough thread of the right color for the work you wish to do. If it does not, you will need to wind a bobbin. First, pass a few inches of thread through a hole in the bobbin. Then place the bobbin on a spindle located on the top right of the sewing machine. You may need to move a lever into position. Loop the thread from the spool going to the left around a hook on the left of the machine, and then to the bobbin. Wind the thread back onto the spool until it is tight, but be careful not to pull it out of the hole in the bobbin! Then gently press the foot lever. The machine should wind thread onto the bobbin. When the bobbin is full (or when it has as much thread on it as you think you'll need), release the foot pedal, cut the thread, and place the bobbin back into its compartment.

The spool mounts to a large spindle at the top center-right of the sewing machine. From there, the thread travels to the left to a button-like pulley and turns towards the operator. It travels across the top of the machine into a slot, and then turns downwards. Near the front, it should wrap around another "hitch" and go back up to the top of the machine, where it loops into a slot on the thread take-up. Again, the thread turns down until it gets to the needle, passing through the eye. (It helps if you trim the thread with sharp scissors before trying to thread a needle).

Run the machine
To run the machine, lift the presser foot and slide a piece of practice cloth beneath it. Then lower the presser foot. Gently press down on the foot pedal as you guide the cloth into the machine. Practice using the backspace lever and the foot pedal as you try to make a straight stitch. Once you get the hang of it, you'll find it's a lot of fun!

4. Put a hem in one of the following items showing neat and even stitches. a. Towel, b. Apron, c. Flannel baby blanket, d. Flannel lap blanket
To make a hem, it is best to visit the ironing board before doing any stitching. Fold the cloth over and press a crease where the seam will be. Then fold it over again and press another crease. This will tuck the loose edge of the fabric into the seam so that it will not be exposed, and that will prevent it from unraveling.

Pressing the seam first helps tremendously when stitching the hem, because it prevents the hem from creeping. Once the hem is creased, place the item on the sewing machine with the crease to the right. Lift the presser foot and slip the item beneath it. Line up the needle left-to-right so that it will place the stitch the desired distance from the edge of the hem. Line it up front-to-back so that the needle will pierce the cloth a half inch or so from the back edge of the hem. Then lower the presser foot. Hold down the backspace lever and gently press the foot pedal. As soon as the stitch reaches the back edge of the cloth, release the backspace lever, and the sewing machine will begin stitching in the forward direction. Going backwards first locks the stitch in place.

Gently guide the fabric into the sewing machine, paying careful attention to the edge. Sewing machines have lines etched into the surface beneath the needle for use as a guide. Try to guide the cloth using one of these guide lines to keep the stitch a constant distance from the edge of the hem. Don't try to go too fast. If you make a mistake, stop - you may need to remove the stitches and start over. It is far better to start over than to just keep sewing!

As the stitch nears the other end of the hem, slow down. Stitch all the way to the edge of the hem, and press the backspace lever just as you reach it. Stitch backwards for about a half inch, again to lock down the stitch. Then stop. Use the balance wheel to raise the needle out of the cloth. You may need to raise the needle to its highest point so that the thread on the underside is released. After the needle has been raised, lift the presser foot and slide the fabric out from under the needle. Cut the thread (there will be two - a top thread and a bottom thread), but leave at least three inches of thread coming out of the eye of the needle. Otherwise, the next attempt at making a stitch could easily unthread the needle.

Remove the cloth from the machine and cut the loose threads from the hem. Ta da! You should now have a nice hem, and the machine should be ready to stitch another!

5. Demonstrate your ability to properly sew on buttons and snaps.
The first step in sewing on a button or a snap is to properly locate it. If you are replacing a button, fasten the remaining buttons first - then see where the buttonhole for the missing button lines up. Thread a needle and tie it off, then mark the location of the button by passing the needle through the cloth from the underside. If desired, you can then unbutton the other buttons.

Pass the needle through one of the holes in the button from the back. Then pass it through an adjacent hold from the front. Then insert the needle into the cloth near the point where the stitch was begun. Pull the thread tight, but not too tight. A little slack is desirable so that the button is not held too tightly to the cloth (that makes it hard to use the button). Ideally, the button should be able to pull away from the cloth by about an eighth of an inch. Loop through the cloth and the same two holes in the button half a dozen times or more. Then cross over and stitch through the other two holes (assuming a four-hole button), again making half a dozen or more loops. Finally, pass the needle through the cloth near the button, but do not go through the buttonhole. Snake the thread out from under the button, and wrap it around the thread several times. Then pass the needle back through the cloth, beneath the button, and tie it off.

Be sure to use sturdy thread when attaching a button. They take a lot of abuse. If attached well with strong thread though, the button should remain fastened for a long time of heavy use.

6. Tell what is meant by selvage, bias, and grain of fabric.

 * Selvage: the edge of a piece of fabric, specially woven to resist unraveling.
 * Bias: is a line that would go from corner to corner on a square piece of fabric. The bias of a fabric is very stretchy, crossing the fabric's threads at a 45° angle.
 * Grain of Fabric: is the internal lay of the fabric - that is how the threads from which the fabric is woven are arranged. The lengthwise grain is parallel to the selvage, and the crosswise grain is perpendicular to the selvage.

7. Make a laundry bag for camping, or a similar simple item.
A laundry bag is not difficult to make. It is usually made from two pieces of cloth: a circle and a rectangle. The circle should be about 1.25 inches larger in diameter than the desired laundry bag. The width of the rectangle should be the same as the circumference of the circle (diameter times 3.14). The length of the rectangle should be the desired length of the laundry bag plus two inches.

Once the circle and rectangle have been cut out, sew a wide hem along the width of the rectangle. Then thread a length of rope through the hem, leaving about six inches of rope coming out from both ends.

The next stitch will form a tube from the rectangle. This stitch should be made while the tube is inside out, so make sure the roped hem is positioned as you want it before starting. Pin the two edges of the rectangle together and make a stitch along the entire length of the edges about 5/8" from the edge. This should complete the tube.  Once the tube has been stitched, tie the two ends of the rope together (use a fisherman's knot as illustrated in the Knot Tying honor).  You should be able to cinch up the rope and cloth the opening of the laundry bag.  This bag will also be carried by the rope.

Next, with the tube still inside-out, pin the circle to the end of the tube opposite the roped hem. Once the circle is pinned into place, carefully sew it to the tube. When this stitch is complete, turn the bag inside out and admire your work.


text:
Computer Go/Processing a Move

Processing a Move
Now that we have the ability to detect legal moves, the next step is to actually process legal moves by adding the new piece to the board, removing any captured pieces, and updating the ko point. We are already able to detect when captures take place:

} else if (getColor(neighbor) == c.opposite) { // if any neighbor is an enemy // and that enemy is in atari if (inAtari(neighbor)) { suicide = false; } }

All we need to do now is update this code to remove the captured stones. By now it should be obvious that a way of representing chains would be considerably useful. Let's modify our previous getLiberties code to return a chain rather than a set of liberties.

private Set getChainPoints(Board b, Point p) { Set stones = new HashSet; stones.add(p); Color myColor = b.getColor(p); Color floodfillColor = myColor.opposite; b.setColor(p, floodfillColor); List neighbors = b.getNeighbors(p); for (Point neighbor : neighbors) { if (b.getColor(neighbor) == myColor) { if (!stones.contains(neighbor)) { stones.addAll(getChainPoints(b, neighbor)); }		}	}	return stones; }

Given the set of stones that make up a particular chain, we can also easily obtain the set of empty points adjacent to the chain, and construct an object that contains both sets.

private Chain getChain(Point p) { Set stones = getChainPoints(clone, p);

Set liberties = new HashSet; for (Point stone : stones) { for (Point point : getNeighbors(stone)) { if (getColor(point) == EMPTY) { liberties.add(point); }		}	}	return new Chain(stones, liberties); }

The modified code to remove captured stones from the board now becomes quite straightforward:

} else if (getColor(neighbor) == c.opposite) { // if any neighbor is an enemy // and that enemy is in atari Chain enemy = getChain(neighbor); if (enemy.inAtari) { suicide = false;

// remove the enemy stones from the board for (Point point : enemy) { setColor(point, EMPTY); capturedStones.add(point); }	} }

By saving the captured stones in a set, we can now easily update the ko point.

// If this move captured exactly one stone, that stone is the new ko point if (capturedStones.size == 1) { koPoint = capturedStones.iterator.next; } else { koPoint = null; }

If you would like a copy of all the source code used in this chapter in a format ready to compile and run, you can download a copy of the sample code here.

title: Computer Go/Processing a Move


text:
User talk:Sciyoshi

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * Check out our help page if you need additional help.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Take a look at Naming policy
 * See list of templates which can save your time
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! Gerard Foley 00:52, 13 February 2006 (UTC)

= Problems =

1. Let $$A \subset \mathbb{R}$$, and suppose that $$\forall {x \in A}, \forall {n \in \mathbb{N}}, | f_n(x) | \leq M_n$$. If the sequence $$(f_n)$$ converges uniformly to $$f$$ on $$A$$, show that:

a) $$f$$ is bounded on $$A$$

= Solutions =

1.

a) Suppose not, that is

$$\forall {M \in \mathbb{R}}, \exists {x \in A} \mbox{ s.t. } |f(x)| > M$$.

Fix $$\epsilon_0 > 0$$ sufficiently small. Since the convergence is uniform,

$$\exists {K_{\epsilon_0} \in \mathbb{N}} \mbox{ s.t. } \forall {n \in \mathbb{N}, n \geq K_{\epsilon_0}}, \forall {x \in A}, | f_n(x) - f(x) | < \epsilon_0$$.

In particular,

$$\forall {x \in A}, | f_{K_{\epsilon_0}}(x) - f(x) | < \epsilon_0$$.

Now, by contradiction,

$$\exists {x_0 \in A} \mbox{ s.t.} |f(x_0)| > M_{K_{\epsilon_0}} + \epsilon_0$$.

But then, since by assumption

$$|f_{K_{\epsilon_0}}| < M_{K_{\epsilon_0}}$$,

$$|f_{K_{\epsilon_0}}(x_0) - f(x_0)| \geq | f(x) | - | f_{K_{\epsilon_0}}(x_0) | > M_{K_{\epsilon_0}} + \epsilon_0 - M_{K_{\epsilon_0}} = \epsilon_0$$,

contradiction.

title: User talk:Sciyoshi


text:
Talk:Italian/Lessons/Lesson1

Untitled
This was removed from the module page: ''I add some comments as a native italian. A real coversation would start in this way:''

MR Salve, mi chiamo Mario Rossi (It's polite to make a self presentation at start)

MB Piacere di conoscerla, Mario Bianchi (il "mi chiamo" is self understood)

MR Piacere mio.

Let's image that MB forgets to introduce himself. After a minute or so of conversation MR would probably say:

"Scusi, come ha detto che si chiama?"

that is "Excuse me, what did you say is your name?"

Actually is not very polite to ask directly someone's name. Don't ask me why.

Gerard Foley 00:59, 13 February 2006 (UTC)

Vocabulary?
What is listed here as "Vocabulary" are actually whole phrases, not single words as would be expected. These could be offered as translation of the dialogue, but they won't help people to learn Italian because they won't be able to see how a sentence works. E. g. that "e" means "and" and "tu" means "you" and that in "Come ti chiami?" there isn't actually a word for "name" (as the translation "What is your name?" suggests). These things need to be explained if you ever want learners to be able to form their own sentences rather than parroting a phrasebook. Even if something is a set phrase, an explanation of its parts will help people to memorise it more easily - and understand any plays on words with it at a later stage of learning. On a different note, I'm presently preparing a new type of language lessons (for German first, but the approach would work very well with Italian too). See Bite-sized language lessons for information. Junesun 13:53, 10 May 2006 (UTC)

Shouldn't it be "piacere di conoscerlo", in the masculine form, since a man is asking this?
 * I don't think so. "La" is a form of "Lei" here, which is the formal, polite address, no matter whether you're talking to a man or woman. Junesun 13:26, 8 June 2006 (UTC)

=Some advice= I add some precise information about a couple of matters. (I am native italian).

Absence of unnecessary pronouns
While questions of the form Come stai tu? are not syntactically wrong they are very unlikely to be heard in a conversation like the one presented here. Like most of the time pronouns are omitted when unnecessary, and this is the case. A better sentence is Come stai?, likewise the formal version Come sta?. Subtly speaking, the presence of the pronoun in Come stai tu? gives more emphasis on "you", e.g. in replying to an analogous question if you want to mean some sort of "and now, let's talk about you". Obviously I think this difference need not be teached at this early stage, reporting only the "normal" (i.e. without pronoun) form.

Formal/informal distinction
In the vocabulary "arrivederci, ci vediamo- goodbye, see you later" is reported without specifying the formal/informal distinction between the two forms, which seems to be a central point of this lesson. Maybe it's better to point out the difference to avoid confusion.

Correct pronouns
While lui/lei/loro are widely adopted and accepted, especially in spoken language, they are not, strictly speaking, correct, in that they are complement pronouns. Subject pronouns are egli (male singular), ella (female singular), essi (plural). Lei is instead the correct formal version. I want to say anyway that this is intended to be merely a curiosity, lui/lei/loro as subjects are perfectly part of today language.

Adarkar (talk) 00:27, 15 February 2008 (UTC)

Learning "to be"??
Why is the grammar section about the verb "to be"?? This verb has not appeared in the dialog at all. You could make this lesson all about the personal pronouns and tu/Lei distinction. If you absolutely want to teach more grammar, teach the regular -are conjugation with the example of "stare" (as used in "sto bene", "come stai" etc.)

title: Talk:Italian/Lessons/Lesson1


text:
Talk:Applications of ICT in Libraries/Safe and Legal Use of ICT

no one said what ICT was?

It´s a standard abbreviation for Information and Communications Technology. thastings


text:
HyperText Markup Language/Lists

In HTML, there are three kinds of lists, each appropriate for a different kind of information. An unordered list made with  and  tags is meant for elements that have no order or the order is unimportant (typically shown with bullets). An ordered list created using the  and  tags is typically shown with numbers and is used for elements whose order matters such as a sequence of steps to perform. Finally, there are definitions lists, created with  and  tags.

Ordered Lists
Ordered lists provide a list of items, each of which are preceded by an incremental number starting from 1.

Sample HTML:

Example rendering:

Unordered Lists
Unordered lists display a list of items, each of which is prefixed by a bullet.

Sample HTML:

Example rendering:

Definition Lists
Definition lists display a list of bolded terms, followed by the definition on a new line and prefixed by a tab (by default).

Sample HTML:

Example rendering:

If two terms share the same definition they can be grouped together like so:

Example rendering:

If a term has two alternative definitions use a separate  element for each definition, e.g.

Example rendering:

Longer definitions can be broken up into paragraphs by nesting  elements within the   element.

Example rendering:

Nested Lists
Lists can be nested. An example:

Example rendering:

When nesting, nested list elements should be within a parent list item element.

An example of incorrect nesting:

A further example of incorrect nesting, with two consecutive UL elements:

Note on format
The above descriptions of each of the three list types refer to the default rendering of the corresponding HTML code by the web browser. However, by using CSS, you are able to change the formatting of the lists. For example, with CSS you are able to make the lists horizontal as opposed to the vertical.

Example
An example of using lists to mark up a recipe for pancakes.

title: HyperText Markup Language/Lists


text:
Talk:Modern Greek/Reading Exercises/Reading 02

=reading=

Untitled
I've tried to adapt an article from the Greek Wikipedia, Μάχη των Θερμοπυλών, simplifying the vocabulary and structure. I've probably mangled it pretty badly. Could anyone take a look and try to correct my mistakes? Thanks! --Bcrowell 06:21, 13 February 2006 (UTC)

Ah! Thanks for cleaning up my horrible composition! I've added a final paragraph explaining the outcome of the battle, and it would be great if you could do what's necessary to that as well.--Bcrowell 01:41, 14 February 2006 (UTC)
 * Ok done. Is this from the English wikipedia? --83.146.62.97 03:19, 14 February 2006 (UTC)
 * Some of the facts are from the English wikipedia, but none of the Greek is a paraphrase of the words in the English article, so I don't think it's necessary to credit that article the way we did with the Greek one.--Bcrowell 20:04, 15 February 2006 (UTC)

Bcrowell you're doing a fantastic job with the formatting! Thank you!--83.146.62.97 03:30, 14 February 2006 (UTC)
 * I think it's really working out well to have both of us working on this in parallel. I hope you're having as much fun as I am!--Bcrowell 20:04, 15 February 2006 (UTC)

βάλλω
Bcrowell: Unfortunately the word βάλλω is not used anymore in Greek, except at the military, where it means "shoot" and not "throw" (e.g. βάλλουν από απόσταση, they shoot from a distance. We use ρίχνω in order to say throw (e.g. ρίχνω ακόντιο, throw a javelin - see note) and also πετάω (normally to fly) to mean "throw away" (e.g. πετάω τα παλιά μου πράγματα, I throw away my old stuff). I did not edit it though because I liked the etymology bit you used at εισ+βάλλω. Either we keep them both or we have to remove the etymology.

Actually when someone throws "ρίχνει" a javelin very far, we use "πέταξε" instead, e.g."πέταξε το ακόντιο στα 90 μέτρα". --83.146.62.97 03:27, 14 February 2006 (UTC)
 * Ah, thanks! OK, I'll try to fix all that. I've been trying to introduce vocabulary as early on as possible, so I think I'll put all those verbs in an earlier section.--Bcrowell 20:04, 15 February 2006 (UTC)
 * The modern form is βάζω, να βάλω is the aorist form. Βάζω τα λουλούδια στο βάζο - I put the flowers into the vase. Θα βάλω το καπέλο μου - I will put on my hat. Andreas 23:13, 15 February 2006 (UTC)
 * Andreas no this is not correct. The future of βάζω is θα βάλω (one lambda) and the subjunctive να βάλω. Βάζω and βάλλω are not related at all, even if βάλω and βάλλω have a similar orthography (I guess this is why you thought they are related). --83.146.62.97 23:19, 15 February 2006 (UTC)
 * You are right, the etymology is < βιβάζω, source Source: Ν. Π. Ανδριώτη, Ετυμολογικό λεξικό της κοινής νεοελληνικής, Θεσσαλονίκη 1967. I still think that βάλω < βάλλω, although Andriotis does not have aorist stems.  Andreas 23:29, 15 February 2006 (UTC)

discussion on book's main page
Hi Andreas and 83.146.62.97 -- Do you have the book's main discussion page on your watchlists? I've posted something there. --Bcrowell 23:36, 15 February 2006 (UTC)

Deponent?
The article says "Some verbs only exist in the passive voice," are these like deponent verbs in Latin? i.e. passive in form but active in meaning? Thankyou! Storeye (talk) 05:17, 25 February 2008 (UTC)

Sleep
Me again. the verb αποκοιμαμαι is listed as only ever being passive but one of the examples is Η μητέρα αποκοιμίζει το μωρό. Could someone please explain this to me? Storeye (talk) 06:05, 25 February 2008 (UTC)


text: User:Tev~enwikibooks

title: User:Tev~enwikibooks


text:
User talk:Cacumer~enwikibooks/Hud and Hel

Request for Review
In the Portuguese version of the talk, a Wikipedian helped me realize that this book is not good, in its current state, to be in Wikibooks. I'm really sorry that that's the reality, as I was expecting more from Wikimedia.

I understand Wikimedia is not commercial and exists on donations and that's no easy job. I don't understand, however, why it cannot group with Google, although I think it's most likely due to small different internal ideas between the parts.

I am not asking for an exception here. The request is to either review and see if the book could be classified in some way into any of the Wikimedia projects (such as Wikisource) or if Wikibook rules could be reviewed since novela.wikicities has only less than 20 projects in English, which would be of no great impact in Wikibooks.

If I have to remove my material from Wikimedia, it will be to a new place that I have yet to discover or to a private hosting. For example, it will not go to Wikicities, because it doesn't seem to be an organization that is as serious as Wikimedia, and it won't go to Google, because there is no place.

I don't believe I am the only user / author who is frustrated at not being allowed to publish a "simple" GNU FDL book onto a good trustworthy webpost, and I hope I can move forward to a new opening on Wikimedia.

While I am not new to the whole wiki thing, I am still inexperienced with all facets of Wikimedia and am not sure where I would post this request, so I'm posting it in here and will later try to find a better place to link on to here.

Probably nobody will read it until I do so, but I can only try.

Thanks for your time.

--Cacumer 06:38, 13 February 2006 (UTC)

It was suggested that I could ask for removal of the article myself in order to make the process go faster than the usual 7 days that would take an administrator to ask for an article removal.

I won't do that. I understand it wouldn't be fair for others to make an exception for me, and that's exactly why I'm not asking for one. I'm asking for a review on the rules, and I can help in doing that. I don't know how to help, what's the best way, and who I should speak to. I just hope it won't be as slow as it is within the Law because, even while wiki has rules, it should be a land with no Laws.

I think Wikibooks can and should reconsider in accepting all content in novelas.wikicities.com because it contains just a few articles, no more than 30, and it wouldn't disturb Wikibooks, while being that big. Maybe it will grow, and if so, what's the problem? The novela and fiction market is something that will pay off if it hits big. In addition, fiction can be a good learning tool and provide interesting information in a fun way. That's exactly because if it's well done, it's just a better way to teach. Almost like a children's book, a fairy tale. In reality, although it starts off as fiction, I want to do a fairy tale. And I am starting where I feel is best.

I will fight until the end to make this stay in Wikimedia, it doesn't need to be Wikibooks, but anywhere inside here, because I love this community and I want to improve it with this. If I cannot win this fight, what can I do? I'll just move away. I'll accept defeat and go look at some other host who will be able to do this for me. But I will not ask for a removal because I still have hope on this.

So if anyone who is reading this request can provide any information to help me on this fight, please do so. It will be more than welcome. I know that the rules against novela and fiction were basically made due to lack of funds. I know it is hard for Wikimedia to support so many collaborators and to filter and select certain kinds of content to be able to do anything at all. What I don't know is why Wikimedia chooses to be 100% free and live only from donations while it could be so much better doing something entirely different. It is certainly admirable, but why use a knife in a warfield if you can at least protect yourself inside a bunker while using the same knife to cut bread and have some butter? Take a look in www.opensource.org. They have a really good idea on how to apply opensource into our capitalist world, without losing the whole noble concept. Although I think those 10 rules could significantly increase, they do give us a whole new perspective on how opensource should be in today's world.

With that said, I also hope that one day soon, Wikipedia will be able to walk under its own steam, instead of having to appeal to donators in every page as such happened in December, and restricting content due to lack of resources. How is that any better than using ads? It was even more aggravating than any Google ad. But it was a "donation request" for this "noble cause." "Please help".

C'mon, Wikipedia can be a lot better than that! :)

--Cacumer 04:04, 14 February 2006 (UTC)

No fiction and no essays
Not only does Wikibooks not allow fiction, but it does not allow essays.

The intention is that each Wikibook is an instructional material. It serves as a reference to teach, not to promote some opinion. So for example, we can have a book about US History, but not a book explaining why US history is better than Canadian History, nor a fictional story where the characters like the United States more than Canada. --Kernigh 03:49, 25 February 2006 (UTC)


text:
Lingua Franca Nova

 * Introdui
 * Spele e pronunsia
 * 1. Capitol un – La familia
 * 2. Capitol du – Alo!
 * 3. Capitol tre – Atas
 * 4. Capitol cuatro – La pasada e la futur
 * 5. Capitol sinco – Demandas
 * 6. Capitol ses – Cualias
 * 7. Capitol sete – E e o
 * 8. Capitol oto – Vole, pote, e debe
 * 9. Capitol nove – La casa
 * 10. Capitol des – La corpo
 * 11. Capitol des-un – La gardaroba
 * 12. Capitol des-du – La restorante
 * 13. Capitol des-tre – Coce e come
 * 14. Capitol des-cuatro – La mercato
 * 15. Capitol des-sinco – Mesuras
 * 16. Capitol des-ses – Cual es la ora?
 * 17. Capitol des-sete – Leje e scrive
 * 18. Capitol des-oto – La Tera
 * 19. Capitol des-nove – Sirca la vila
 * 20. Capitol dudes – La viajor
 * 21. Capitol dudes-un – Animales
 * 22. Capitol dudes-du – Fortuna e nonfortuna
 * 23. Capitol dudes-tre – A fini

Vide ance

 * Elefen Homepage
 * Disionario elefen
 * Vicipedia
 * Elefen Facebook Page

title: Lingua Franca Nova


text:
Lingua Franca Nova/Introdui

Disionario (LFN-Engles)

Introdui

Lingua Franca Nova
Lingua Franca Nova es creada per es un lingua vera simple, coerente, e fasil aprendeda, per comunicas internasional. Lo ave bon cualias variosa:

 * 1) Lo ave un numero limitada de fonemes. Lo sona simila a italian o espaniol.
 * 2) Lo es scriveda como lo sona. No enfante ta debe pasa multe anios per studia noncoerentes!
 * 3) Lo ave un gramatica simple e coerente. Lo es min complicada en esta caso como engles o indonesian.
 * 4) Lo ave un grupo limitada e tota coerente de afisas produosa per crea parolas nova.
 * 5) Lo ave regulas de la ordina de parolas bon definada, como multe linguas major.
 * 6) Lo ave un lista de parolas fundada en la linguas romanica moderne. Esta linguas es comun e influente, e ia contribui la parte major de parolas engles.
 * 7) Lo es construida per aseta natural parolas tecnical de latina e elenica, la "norma de mundo" par fato.
 * 8) Lo es construida per aperi plu parte "natural" per los ci comprende la linguas roman, ma no min fasil per otras.

Engles
Lingua Franca Nova was designed to be a particularly simple, consistent, and easy to learn language for international communications. It has a number of positive qualities:

 * 1) It has a limited number of phonemes. It sounds similar to Italian or Spanish.
 * 2) It is phonetically spelled. No child should have to spend years learning irregularities.
 * 3) It has a completely regular grammar. It is approximately as restrained in this regard as English or Indonesian.
 * 4) It has a limited and completely regular set of productive affixes for routine word derivation.
 * 5) It has well-defined rules for word order, in keeping with many major languages.
 * 6) It has a word base strongly rooted in modern Romance languages. These languages are themselves wide-spread and influential, plus have contributed the major part of English vocabulary.
 * 7) It is designed to be naturally accepting of Latin and Greek technical neologisms, the de facto "world standard."
 * 8) It is designed to seem relatively "natural" to those who are familiar with Romance languages, without being any more difficult for others to learn.

Espaniol
La Lingua Franca Nova es un idioma que ha sido diseñado para ser verdaderamente simple, coherente, y fácil de aprender, para la comunicación internacional. Tiene varias cualidades:
 * 1) Tiene un número limitado de fonemas. Suena similar al italiano o al español.
 * 2) Se escribe como se pronuncia. Ningún niño tiene que pasar años aprendiendo irregularidades.
 * 3) Tiene una gramática totalmente regular. En esto es tan complicada, aproximadamente, como el inglés o el indonesio.
 * 4) Tiene un sistema limitado y totalmente regular de afijos productivos para crear nuevas palabras.
 * 5) Tiene reglas bien definidas para el orden de las palabras, en armonía con muchos idiomas importantes.
 * 6) Tiene a una lista de palabras totalmente basadas en lenguas románicas modernas. Estos idiomas están muy extendidos y son muy influyentes, y han contribuido a la mayor parte del vocabulario del inglés.
 * 7) Está diseñado para aceptar con naturalidad los neologismos técnicos latinos y griegos, el "estándar mundial" de facto.
 * 8) Está diseñado para parecer relativamente "natural" para los que estén familiarizados con las lenguas románicas, sin ser mucho más difícil para los demás.

Franses
Lingua Franca Nova a été conçue pour être une langue de communication internationale, particulièrement simple, cohérente, et facile à apprendre. Elle a des qualités extrêmement positives:

 * 1) Elle a un nombre limité de phonèmes. A cet égard, elle ressemble à l’italien ou à l’espagnol.
 * 2) Elle a une orthographe phonétique univoque. Aucun enfant ne doit passer des années à étudier des irrégularités inexistantes ici.
 * 3) Elle a une grammaire parfaitement régulière. Elle est simple à cet égard comme l’anglais ou l’indonésien.
 * 4) Elle a un ensemble limité et complètement régulier d'affixes produisant des mots par dérivation courante.
 * 5) Elle a des règles bien définies donnant l'ordre des mots conformément à de nombreuses langues très usitées.
 * 6) Elle a une liste de mots fortement enracinés dans les langues romanes modernes influentes qui contribuent fortement au vocabulaire anglais.
 * 7) Elle est conçue pour accepter naturellement les mots techniques provenant du latin et du grec, ce qui est d’ailleurs une pratique mondiale.
 * 8) Elle est conçue pour paraître naturelle à ceux qui parlent des langues romanes, sans être difficile aux autres.

Rusce
Лингуа Франка Нова был задуман чтобы быть, прежде всего, простым, последовательным, и лёгким для изучения языком международного общения. Он имеет следующие преимущества:

 * 1) Ограниченное число фонем.  По звучанию он напоминает итальянский или испанский языки.
 * 2) Фонетическое правописание. Ни один ребёнок не должен тратить годы на изучение исключений.
 * 3) Грамматические правила без исключений. В этом отношении он также нормализован, как и английский с индонезийским языками.
 * 4) Ограниченный и правильный набор продуктивных аффиксов для постоянного словопроизводства.
 * 5) Хорошо определенный порядок слов в предложении, так же как и в ряде других языков.
 * 6) Словарную базу, основанную на современных Романских языках. Эти языки сами по себе широко распространены и влиятельны, а кроме того, послужили основой для большой части английского словарного состава.
 * 7) Он задуман так, чтобы естественно принимать греко-латинские неологизмы, фактически "мировой стандарт".
 * 8) Он задуман так, чтобы выглядеть достаточно естественным для тех, кто знаком с Романскими языками, и без дополнительных трудностей при изучении.

Portuges
A Língua Franca Nova foi desenvolvida de modo a ser uma língua particularmente simples, coerente e fácil de aprender, ideal para comunicações internacionais. Possui várias qualidades positivas

 * 1) Número limitado de fonemas. Pronúncia similar ao italiano, espanhol ou português do Brasil.
 * 2) É uma língua fonética. Nenhuma criança tem de passar muitos anos aprendendo exceções.
 * 3) Possui gramática simples e regular. É menos complicada do que o inglês ou indonésio.
 * 4) Possui um grupo limitado e regular de afixos geradores usados para a criação de novas palavras.
 * 5) Possui regras bem definidas para a ordem das palavras, como muitas das línguas principais.
 * 6) Seu léxico é fortemente baseado em palavras originadas das línguas romances modernas. Estas línguas são comuns, influenciaram outras línguas e contribuíram com a  maior parte do vocabulário inglês.
 * 7) Aceita naturalmente neologismos técnicos derivados do latim e do grego, de fato "o padrão mundial".
 * 8) Foi construída de modo que pareça relativamente "natural" para aqueles que estão familirizados com linguas romances, sem ser mais difícil para outros aprenderem.

Japanes
リンガ・フランカ・ノバは国際的なコミュニケーションに向け、特別シンプルで、一貫性があり、学びやすいように設計された言語で、いくつも好意的な性格があります.
 * 1) 利用される音素は限られており、イタリア語やスペイン語に似た聴こえ方をします.
 * 2) 発音通りに綴られます.
 * 3) 言語の非規則性のために子供たちが何年も費やす必要はありません
 * 4) 本当にシンプルで完全に規則的な文法であり、英語やインドネシア語に見られるような非煩雑性があります
 * 5) 日常における語の派生を満たす、定められたかつ完全な生産的接頭接尾辞群を有しています
 * 6) 多くの主要言語のようによく洗練された語順規則を有しています
 * 7) 現在世界的にデファクト・スタンダードとなっているラテン語やギリシャ語における新言語生成理論を技術的に取入れています
 * 8) ロマンス諸語と関わりのある人々には比較的”ごく自然に”感じられるようデザインされており、つまり他ロマンス諸語をより容易く学べるようになるでしょう. みなさんが言語の面白さを感じて頂ければと思っています

Italian
La Lingua Franca Nova è stata costruita per essere una lingua particolarmente semplice, costante e facile da imparare per le comunicazioni internazionali. Ha un certo numero di qualità positive:

 * 1) Ha un numero limitato di fonemi. Suona simile ad italiano o spagnolo.
 * 2) È foneticamente semplice. Nessun bambino deve passare gli anni ad imparare le irregolarità.
 * 3) Ha una grammatica completamente regolare. È approssimativamente simile a questo proposito ad inglese od indonesiano.
 * 4) Ha un insieme limitato e completamente regolare degli affissi produttivi per la derivazione sistematica di parole.
 * 5) Ha regole ben definite per l'ordine delle parole, in armonia con molte lingue importanti.
 * 6) Ha una base di parole radicate fortemente nelle lingue romanze moderne. Queste lingue sono diffuse ed influenti, ed in aggiunta hanno contribuito ad una buona parte del vocabolario inglese.
 * 7) È disegnata per accettare naturalmente i neologismi tecnici latini e greci, "il campione de facto del mondo."
 * 8) È disegnata per sembrare relativamente "naturale" a quelli che hanno una conoscenza delle lingue romanze, mantenendo una facilità utile ad essere imparata anche da altri.

Polsce
Lingua Franca Nova jest językiem, który został zaprojektowany, aby być prostym, spójnym i łatwym do nauczenia się w komunikacji międzynarodowej. Ma kilka cech:

 * 1) Ma ograniczoną liczbę fonemów. Brzmi podobnie do włoskiego lub hiszpańskiego.
 * 2) Jest pisany zgodnie z wymową, tak, jak się wymawia. Żadne dziecko nie musi spędzać lat na uczeniu się nieregularności.
 * 3) Ma całkowicie regularną gramatykę. W tym przypadku jest to tak proste jak angielski czy indonezyjski.
 * 4) Ma ograniczony i całkowicie regularny system produktywnych afiksów do tworzenia nowych słów.
 * 5) Ma dobrze zdefiniowane reguły kolejności słów, w harmonii z wieloma ważnymi językami.
 * 6) Zawiera listę słów w całości opartą na współczesnych językach romańskich. Te języki są szeroko rozpowszechnione i wpływowe, i przyczyniły się do powstania większości słownictwa angielskiego.
 * 7) Został zaprojektowany tak, aby naturalnie akceptować łacińskie i greckie neologizmy techniczne, de facto „światowe standardy”.
 * 8) Został zaprojektowany tak, aby wydawać się względnie „naturalnym” osobom znającym języki romańskie, a innym nie utrudniać jego nauki.

Nepali
लिङ्ग्वा फ्राङ्का नोभा विशेषतः सरल, सुसङ्गत र अन्तर्राष्ट्रिय सम्पर्कका निम्ति सहज हुने गरी निर्माण गरिएको भाषा हो । यसका धेरै सकारात्मक गुणहरू छन् :

 * 1) यसमा सीमित स्वनिमहरू छन् । सुन्नमा यो स्पेनिया वा इटालेलीसँग मिल्छ ।
 * 2) यसको वर्णविन्यास ध्यान्यत्मक छ । कुनै पनि बालकले अनियमितताको अध्ययनमा समय बिताउनुपर्दैन ।
 * 3) यसको व्याकरण विश्वका क्रियोल भाषाहरूमा जस्तै पूर्णतः नियमित छ ।
 * 4) यसमा शब्दनिर्माणका लागि नियमित वर्णसमूह छन् ।
 * 5) यसमा विश्वका अधिकतम प्रमुख भाषाहरूमा जस्तै शब्दयोजनाका लागि स्पष्ट रूपमा परिभाषित नियमहरूको प्रयोग गरिन्छ ।
 * 6) यसको शब्दावली आधुनिक रोमान्स भाषासमूहमा आधारित छ । यो भाषासमूह आफैँमा पनि आकीर्ण र प्रभावकारी छ र यसले अङ्ग्रेजी शब्दावलीको विकासमा पनि निकै प्रभाव परेको छ ।
 * 7) यसका प्राविधिक शब्दहरू मूलतः रोमन र युनानी जस्ता विश्वप्रसिद्ध भाषाहरूमा आधारित छन् ।
 * 8) यो रोमान्स भाषासमूहसँग परिचित व्यक्तिहरूका लागि “स्वभाविक” र अन्य भाषासमूह बोल्ने व्यक्तिहरूका लागि सिक्न सजिलो हुने गरी रचना गरिएको छ ।

Deutx
Lingua Franca Nova wurde als konsistente und einfache Sprache zur internationalen Verständigung konzipiert. Sie ist einfach zu erlernen und bietet einige Vorzüge:

 * 1) Sie hat eine begrenzte Anzahl von Lauten (Phonemen). Sie klingt ähnlich wie Italienisch oder Spanisch.
 * 2) Sie wird phonetisch geschrieben. Kein Kind muss mehr Jahre damit verbringen Unregelmäßigkeiten zu lernen.
 * 3) Sie hat eine komplett regelmäßige Grammatik. Sie ist in dieser Hinsicht ebenso zurückhaltend wie Englisch oder Indonesisch.
 * 4) Sie hat einen begrenzten und komplett regelmäßgen Satz von produktiven Ableitungssilben (Affixen) für die Wortbildung.
 * 5) Sie hat gut definierte Regeln für die Wortstellung, wie sie auch bei vielen größeren Sprachen zu finden sind.
 * 6) Sie hat einen Grundwortschatz, der in den modernen romanischen Sprachen gründet. Diese Sprachen sind selbst weit verbreitet, haben Einfluss (auf andere Sprachen) und trugen zusätzlich zum größeren Teil des englischen Wortschatzes bei.
 * 7) Sie ist dazu entworfen worden, auf natürliche Weise lateinische und griechische Neuschöpfungen (Neologismen) aufzunehmen, dem de facto "Weltstandard".
 * 8) Sie ist dazu entworfen, relativ "natürlich" für diejenigen zu erscheinen, die mit romanischen Sprachen vertraut sind, ohne irgendwie schwerer erlernbar für andere zu sein.

Catalan
La Lingua Franca Nova està dissenyada per ser una llengua realment simple, coherent, i fàcil d'aprendre, per comunicacions internacionals. Té diverses qualitats:

 * 1) Té un nombre limitat de fonemes. Sona semblant a l'italià o l'espanyol.
 * 2) S'escriu tal com sona. Cap nen ha de passar molts anys estudiant excepcions!
 * 3) Té una gramàtica realment simple i regular. En aquest aspecte, aproximadament com l'anglès o l'indonesi.
 * 4) Té un grup limitat i totalment regular d'afixes productius per crear paraules noves.
 * 5) Té regles ben definides sobre l'ordre de paraules, com moltes llengües majors.
 * 6) Té una llista de paraules realment basades en les llengües romàniques modernes. Aquestes llengües són ben comunes i influents, i han contribuït en la major part del vocabulari anglès.
 * 7) Està dissenyada per assimilar les paraules tècniques del llatí i el grec, la "norma mundial" de facto.
 * 8) Està dissenyada per semblar "natural" als qui comprenen les llengües romàniques, però sense semblar menys fàcil a l'altra gent. Esperem que trobeu interessant aquesta llengua.

> Spele e Pronunsia

Content for this Wikibooks is taken from the LFN Wiki at http://lfn.esef.net/ and is used under the GNU Free Documentation License.

title: Lingua Franca Nova/Introdui


text:
User:Sciyoshi

Check out the books I'm working on:

Complex Analysis

title: User:Sciyoshi


text:
Lingua Franca Nova/1

Disionario (LFN-Engles)

La familia

Estas es sinco persones. On ave tre enfantes. Esta (a) es un bebe. Esta (b) es un xica. Esta (c) es un xico. On ave du adultes. Esta (d) es un om. Esta (e) es un fem. La fem es la sposa de la om. El es sua sposa. La om es la sposo de la fem. El es sua sposo. Los es sposida. La om es la padre de la enfantes. El es sua padre. La fem es la madre de la enfantes. El es sua madre. Los es jenitores. La xica es la sore de la xico e la bebe. La xica es la fia de la madre e la padre. La xico es la frate de la xica e la bebe. La xico es la fio de la madre e la padre. La persones es un familia.

Plural
-s, si la nom fini en un vocal (-a, -e, -i, -o, -u)
 * un xico, du xicos, tre xicos... 157 xicos.
 * un sposa, du sposas, tre sposas... 792 sposas.

-es, si la nom fini en un consonante (-b, -c, -d, -f, -g, -j, -l, -m, -n, -p, -r, -s, -t, -v, -x, -z)
 * un om, du omes, tre omes... 450 omes.
 * un fem, du femes, tre femes... 386 femes.

Esemplos:

 * La bebe es un enfante peti.
 * La padre ave tre enfantes.
 * La padre es un jenitor.
 * La padre e la madre es jenitores.

Problemes
La padre es la _____ de la madre.

La fia es la sore de la ___.

La madre e la padre e la enfantes es un _______.

On ave ___ enfantes.

La padre es un __.

La madre es un ___.

La solves

< Spele e Pronunsia

> Lingua_Franca_Nova/2

title: Lingua Franca Nova/1


text:
Lingua Franca Nova/2

Disionario (LFN-Engles)

Alo!

Maria: "Alo Peter!"

Peter: "Alo, Maria! Como lo vade?"

Maria: "Bon. E tu, como lo vade?"

Peter: "No mal, grasias. Permete ce me presenta mea frate a tu."

Maria: "Alo! Tua nom es Meafrate?"

Paco: "No. Mea nom no es Meafrate. Mea nom es Paco!"

Maria: "Paco! Pardona me!"

Paco: "Per no cosa."

Peter: "Maria, me vole invita tu a nosa casa a esta sera."

Maria: "Bon! Asta esta sera!"

Peter: "Asta esta sera!"

Paco: "Asta la ora, Maria!"

Parolas
como lo vade?

no mal, no bon

cual es tu nom?

multe grasias!

per no cosa!

< Lingua_Franca_Nova/1

> Lingua_Franca_Nova/3

title: Lingua Franca Nova/2


text:
Visual Rhetoric/Examples And Analysis Of Visual Literature

When thinking about literacy, images and graphics are not usually the first things that come to a person's mind—usually, the word is used to describe written literacy, or the ability to read and write. However, literacy is a person's ability to understand and synthesize information that may come in many forms, including that from images, or the language of design. With the increase of visually-based literacy technologies such as television, videos, and the Internet, visual literacy is becoming even more of an important aspect in our every day lives.

Our group has selected five examples of visual “texts” and analyzed their use of the Aristotelian rhetorical strategies of Logos (the use of logic to support an argument), Pathos (the use of emotion to appeal to an audience), and Ethos (the use of the author's reputation or credibility to support an argument) as well as how those strategies operate in our readings of these visual texts. Each of these texts was chosen by the group based on our own interest in analyzing them.

Brinks Home Security: A Web Site
Argument

This web site is intended to convince potential customers to purchase a home security system from Brinks. It also guides subscribers to information about their current service.

Format

The company’s logo is at the top of the page. This familiar symbol serves to authenticate the site. The blue and white color scheme of the logo is carried throughout the rest of the page providing visual continuity. Four main picture areas are prominently displayed, each with their own description and color to clearly differentiate between the main topics. The reader is drawn to these tabs. There is other information below the main tabs, including links and a brief statement. This information does not take up as much room on the screen and is nearer the bottom; both of these style elements indicate that this content is of less importance and thus give the visitor a clearer indication to focus on the four main images above.

Aristotelian Appeal: Pathos

The image in the first tab shows a man with a headset on, apparently speaking to a client. This is an example of pathos, producing in the viewer a sense of personal responsibility and reliability on the part of Brinks. In the second tab is a photograph of an inviting home with warm light streaming out of the windows. This is another emotional appeal, this time to a sense of security, the essence of the company’s message. In the last tab we see what appears to be a satisfied customer sitting down to manage her account on-line. Here is yet another example of pathos, where the visitor to the site is assured of a carefree experience when making changes to their service or paying their monthly dues.

Aristotelian Appeal: Ethos

The photograph of the Brinks lawn sign in the second main tab is very familiar, even those people who do not recognize the name. Most viewers have on more than one occasion seen a home or business that they trust display this sign. This will certainly help establish the credibility of Brinks with most people. In tab three there is conveyed a sense of history and dependability through the use of an old black and white photograph of the company. A reminder of their longevity, it suggests that for the company to be around this long it must be serving its customers well.

Critique

Below the trademark is a series of three short phrases. These can roughly be seen to correspond with the first three pictures present in the main tabs. The image of the man on the headset invokes a feeling of “Rapid Response.”. “Peace of Mind.” can be found in the Brinks lawn sign and the well lit home in the second tab. The last phrase asking you to “Trust Brinks.” is supported by the image of the old brinks building and armored car.

In the final estimation we take this site to be an effective example of using ethos and pathos, primarily through images, to provide the mind of the typical visitor with the incentive to accept the premise of the site and the services it tries to sell.

Unix History: A Graph

Before we analyze this tree, some vocabulary needs to be developed:
 * Nodes are in blue and represent a specific version of Unix
 * Unix PDP-7 from the graph is an example of a root node
 * Edges are the black lines that connect two or more nodes
 * Trees are a collection of nodes and edges

This graph organizes the relationships between Unix-like operating systems into a tree. Microsoft Windows is an example of an operating system; however, Unix-like operating systems have been around since 1969 when Unix PDP-7, the root node, was developed. Since then there have been several variations which are related in subtle ways and the edges of the graph connecting the nodes represent these relationships.

Argument

The graph depicts the logical relationships and heirarchy of Unix-like operating systems.

Aristotelian Appeal: Logos

Tree graphs are a very logical way to organize this information because it is able to depict both the passage of time and the relationships between the operating systems. Many of the operating systems on the graph share source code, the recipe of software, so the relationships are fact.

Critique

One of the first thing that I noticed about the tree graph are the dates on the left. This is a very helpful layout giving the reader information on how the Unix-like operating systems are related in time. However the distance between the nodes is variable which makes it difficult to scan the graph. For that reason uniform spacing of nodes would have been more effective.

Another point of difficulty is that some of the relationships between the projects are more complicated then the graph would reveal. For example, GNU, a node on the right side of the graph, runs on top of Linux and makes up only part of a full operating system. In other words, the GNU and Linux nodes share a much different relationship then the other nodes on the graph. If the graph were a family tree graph it would be like adding a pet as a node. Perhaps having a variety of arrow/node styles with a key would have helped to explain the situation.

The history of WANG is defined in terms of licenses or the rules that mandate how the code and software can be used. Adding color to the nodes to explain the licenses would have added additional valuable information. For example, it would help to explain why Linux and Minix are in trees of their own.

These small improvements would offer to increase the readability of the graph and increase the amount of information it portrays without substantially increasing the size or complexity.

Forest Safety: A Promo

Argument

This advertisement promotes preservation of the environment and protection of wild animals. Moreover, with the accompanying words, the ad emphasizes that protecting the environment is a human responsibility, particularly for American citizens.

Aristotelian Appeal: Pathos

The author uses pathos to generate emotions in audiences in order to persuade them, particularly, emotions such as pity for the wild animals and anger for what humans have done to the environment. Both the accompanying words and the image itself generate these emotions in viewers through the facial expression of the animals. The bottom text of the image “Only you can prevent the Madness” implies that the animals do not have control over their habitats which emphasizes irresponsible actions of humans.Moreover,showing the animals being victimized emphasizes that humans are responsible for this environmental hazard. The fire in the background succeeds in emphasizing the text “Madness”. The word “Madness” is powerful and implies that this environmental hazard needs immediate attention.

Critique

The image succeeds in generating human emotions in viewers using images of animals. However, since the image is not photograph of the environmental hazards, the credibility is weak. If there was an actual photograph that showed how destroyed the current environment is, the ad could have shown more credibility. Moreover, the image is not very specific about what kinds of environmental hazards it tries to prevent. Even though there is the image of the fire which implies forest fire, it would be still difficult for the audiences to know what is exactly happening to the environment, such as consequences of the forest fire. Audiences might guess that this ad tries to prevent the destruction of the environment, but because there are only techniques that try to generate emotions, audiences can not get enough information to determine what this ad really tries to promote. Showing the animals being victimized emphasizes that humans are responsible for this environmental hazard. The fire in the background succeeds in emphasizing the text “Madness”.

Urban Music Styles: A Chart

Argument

This chart is designed as a breakdown of modern music. According to its author, all music can be traced back to 1970's roots. Using a unique color scheme and funky font, the author attempts to grab your attention as a way of getting your approval. The colors are in very uncommon shades switching back and forth between dull greens to bright blues. The font is not only larger than most, but the letters are in all capitals, giving the impression that each step of the chart is just as important as every other.

Aristotelian Appeal: Ethos

Using a form of the ethos persuasive strategy, the author draws us in. He presents his information by telling us that this is his opinion, but he thinks he is right because how could he be wrong with all of these facts? We also know that the author is a very popular DJ, which gives him a lot of credibility. After all, it is his job to know music. However,this knowledge had to come from some where and he does not provide his viewers with any form of bibliography so that his viewers can double check this information or develop opinions of their own.

Aristotelian Appeal: Logos

The chart starts with the most popular genre of music and spreads to more uncommon elements. The author first uses terms that many of his readers would know without having to do more research. Then as he moves through the different decades, he moves away from commonly-known music categories. By the end of this chart, odds are that you aren't going to have any idea what form of music he is talking about.

Aristotelian Appeal: Pathos

The author wants your attention and he wants it in very specific places. He gets it there by using a very specific set of colors. These colors are the ones that grab the reader's attention and hold it there. In other less important areas, the author uses dull, even unattractive colors.

Critique

As a website, the chart is fairly navigable, but in any other form the busy page might become somewhat distracting. The author chose a layout that called for musical terms that may not be common to the average viewer. Music descriptions such as Nu Skool, Booty Bass, or Acid might take away from the authors credibility or the opportunity to use a chart such as this in a formal presentation.

A viewer could also get lost trying to follow the chart from decade to decade. It is hard to tell whether the color scheme is what separates each of the genres of music or if it may be the lines that appear sporadically. Another problem the author creates for himself, is that his chart does not appear to follow any type of system. As you get further away from the original starting point, it becomes harder and harder to tell which group of music goes with another. There are several different types of lines that appear on the chart without any explanation of where they came from or what purpose they serve. The author also does not provide a key for any of his symbols forcing the reader to guess what he means by all of his lines, circles and colors.

Overall, the chart is presented in a very eye catching format. The boldness and choice of words might make a viewer want to take a closer look at how the world of music is all interconnected. However, this is where the curiosity ends and confusion begins. How do you know what each musical term means or whether Tribal and Gangsta are part of the same beat or generation? And if so, what exactly do those terms mean? The author makes an admirable attempt at providing good information, but unfortunately gets lost in his own work.

The Disturbed Tree: Art

“The Disturbed Tree” by Leo de Wijs on Deviantart.com, is a digital image of a tree breaking through a concrete surface. De Wijs, whose username is bakenus on the website, created the image using Adobe Photoshop and Corel Painter.

Argument

By depicting a scene of a tree breaking through an artificial surface with a background of greenery and light, the image appears to be saying that the natural world will overcome the artificial constructions that human beings build.

Aristotelian Appeal: Pathos

De Wijs employs pathos through the composition of the piece itself; the unsaturated colors and the use of softly blended line-work create a misty effect that contributes to a calm emotional quality. If de Wijs had employed a different compositional technique, such as sharper lines or a higher-contrasting color pallet, the piece might have appeared violent or expressed anger. Instead, the emotional quality of the piece is calming and soothing, suggesting that the portrayed scene of nature overcoming human creations is nothing to be feared.

Aristotelian Appeal: Logos

De Wijs employs logos in two different ways. First, the image itself is relatively realistic. He makes no special effort to exaggerate or over-saturate the colors to an extent that might make the piece explicitly farcical or "cartoon" style image.

Additionally, de Wijs creates a sort of logical paradox through his decision to use an entirely "artificial" medium to make a comment about the strength and resilience of nature over artificial constructions. The image appears to have been created with more conventional or traditional medium such as oil pastels or paints, but is in reality a completely digital image. This paradox, while it doesn't necessarily logically support the argument, adds significance to the work as a whole by forcing the viewer to think about what this stylistic choice might mean. Its unclear if it is meant to undermine and weaken the argument, or strengthen it by illustrating how a natural-looking scene can "come through" a digital or artificial medium—much like how the tree is seen coming through the artificial concrete. The paradox has the effect of forcing the audience to think more deeply about the relationship between the natural and artificial both as depicted in the picture and as aspects of the composition itself.

Aristotelian Appeal: Ethos

After looking at De Wijs' posted gallery, it appears that "The Disturbed Tree" is unique in style compared to his other work, but that he has dealt with a similar type of topic before. Another animation with a similar conflict between the natural world and the artificial world is an animation he calls "Growing Pains,"6 which depicts a tree struggling to grow while an advanced civilization grows up around it. De Wijs appears to have a significant reputation for working with ideas of this nature.

Summary

While De Wijs's use of pathos through his soft line-work and muted colors is by far the most clearly identifiable Aristotelian appeal, his use of logos through creating a relatively realistic image as well as the logical paradox involving his use of digital medium to comment on the strength of nature are also important aspects of the piece.

Conclusion
Each of the pieces we have analyzed appears to contain an argument or claim about the product or idea that it is depicting. This supports the notion that every piece of visual literature has an argument. We have found that well-formed arguments in visual form effectively use at least one Aristotelian argumentative technique. By analyzing the strengths and weaknesses of a piece's Aristotelian appeals one may determine the effectiveness of that image’s arguments.


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User talk:Philips~enwikibooks

Homepage: http://brandonphilips.com

Currently working on Visual Rhetoric/Examples And Analysis Of Visual Literature for a technical writing class at Oregon State University

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title: User talk:Philips~enwikibooks


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User:Ejsp~enwikibooks/Good Books

http://en.wikibooks.org/wiki/Japanese http://en.wikibooks.org/wiki/Welsh http://en.wikibooks.org/wiki/German http://en.wikibooks.org/wiki/Cookbook http://en.wikibooks.org/wiki/Medicine http://en.wikibooks.org/wiki/Latin http://en.wikisource.org/wiki/Perfect_Sight_Without_Glasses

title: User:Ejsp~enwikibooks/Good Books


text:
User talk:Mailtopugal

HTML Browser support
First, hello and welcome to Wikibooks. I'm not sure how can I help you, can you provide more details? Generally, Internet Explorer has tragic support of CSS, so it's not easy to make page look the same in all browsers. --Derbeth talk 09:15, 13 February 2006 (UTC)

title: User talk:Mailtopugal


text:
Lingua Franca Nova/3

Disionario (LFN-Engles)

Atas
La fio core.

El core a la gato.

La fia salta.

El salta supra la can.

La om senta.

La fem sta.

La om vea pasea.

El pasea a sua seja.

La fem vea dormi.

El dormi en sua leto.

Core
En elefen, la verbo no cambia:

Plu frases
La om ariva a la casa.

La can entra la casa

La fia core sirca la leto

La gato sorti la casa

La fem rola tra sua leto

La fio para contra la fia

La fio dona la gato a la fia.

El prende esta de el.

El lasa la gato cade.

La gato cade.

El recolie la gato.

< Lingua_Franca_Nova/2

> Lingua_Franca_Nova/4

title: Lingua Franca Nova/3