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Visual Rhetoric/Rhetorical Vectors

Why, in a world where everyone is so determined to be different, do vectors offer a bridge across the active and intentional need to see objects in uniquely different ways? But most importantly: what is the bridge? Vectors are “forces generated by the shapes and configurations of visual objects. A vector is characterized by its magnitude, direction, and base of attack. Visual vectors are seen as oriented in both directions unless a special base determines the origin of the vector’s attack and thereby its direction" (Arnheim 218). Without vectors, the commonality that brings critics and casual observers, alike, together to agree on the aesthetic value of an image would not exist.

Let us first look at what it is that vectors do. Vectors are used to "visually realize different ways in which objects and their relations can be represented" (Kress and van Leeuwen 56). Vectors act as visual cues to the observer of an image that perform like road signs to connect two separate objects that give the viewer direction as to where to look and what to look at next in a temporal capacity, or artifact. The importance lays in the connection that is conveyed by the use of a vector or vectors because they not only act as visual cues in paintings, but are found in everyday images and scenes. We experience and interpret vectors in our everyday lives whether through photos, diagrams, architecture, or advertisements. Vectors tell us visually what we would normally say verbally.

Vector usage
Vectors are connectors that we use in order to tell or interpret a story. When used in a narrative or narrative process, vectors act as a set of visual symbols or characteristics brought together in order to persuade or draw attention to certain aspects of a piece. Narrative representation or process is one way to determine why it is that vectors are rhetorical. When one thinks of a painting that is highly influential, almost immediately he or she is drawn to a certain point in the image that is of interest. This main focus in direction must be present for rhetorical vectors, and essentially images, to effectively communicate with the viewer. Direction is established by a given object in the image or simply by a layout of the action. There are many different elements that go into making a vector and therefore may be “formed by bodies or limbs or tools ‘in action’, but there are many other ways to turn represented elements into diagonal lines of action. A road running diagonally across the picture space, for instance, is also a vector and the car driving on it an ‘Actor’ in the process of ‘driving’. In abstract images such as diagrams, narrative processes are realized by graphic elements…” (Kress and van Leeuwen 59) Kress and Van Leeuwen discuss the concept of ‘Actor’ and ‘Goal’ as an important aspect in the narrative interpretation process. Vectors must initiate from single or multiple sources, often this main source is the ‘Actor’ in which the direction of an image originates. The ‘Goal’ is what the vector is drawing attention to, or the intended outcome, whether it’s the viewer, another point in the image, or within upon itself.

Vector Relationships
Vectors also help us realize different types of relationships that are represented in images. These three relationships are:

 * Unidirectional transactional action
 * Bidirectional transactional action
 * Non-transactional action

In the first, Unidirectional transactional action, a vector is formed that connects an 'Actor' and a 'Goal'. This vector is normally moving from the body of the 'Actor' and is directed toward the 'Goal'. For instance, if a human being were pointing at an orange in a picture, a vector would be coming from the pointing hand a the orange, showing us that our focus should move from the hand toward the orange. In the second relationship, Bidirectional transactional action, a vector is shot between two subjects that are connected. For instance, if two humans are looking at each other, a double-headed vector would be moving between the two of them pointing at each other. A relationship is being formed between the two with the aid of the vector which is linking them. In the final relationship type, a Non-transactional action, a vector emanates from an 'Actor', but does not point at another participant. For instance, this could be a human being looking off into the distance to something outside of the image. We cannot assume the subject, or 'Actor', is looking at anything, so the vector emanating from his person is not linked to another participant, making the relationship formed by the vector non-transactional. (Kress and van Leeuwen 74)

How are vectors used?
There are two ways in which vectors can be used whether in the form of direct address or drawing attention to an "imagined act" (Kress and van Leeuwen 117). More often we interpret vectors as a form of direct address rather than constituting an imagined act because vectors in the form of a direct address draw our attention and are more apparent, oftentimes, to viewers than searching for meaning in an image by themselves. For example, older military recruitment posters feature a strong, determined, and influential-looking individual that points directly at the audience as if to give the impression that it is viewer that should become part of the values advertised in the poster. This type of direct address forces the viewer to become interactive with the image. Immediately after viewing the image, there is a certain relationship established between the 'Actor' in the image and the audience ,especially in the military advertisement, because the vector is directed at the viewer at an eye level, forcing the audience to acknowledge their relationship.

Vectors in everyday life
Vectors are not only limited to two-dimensional images; they are around us in everyday life. Buildings or sculptures may use vectors to draw one's eyes to a specific location. Many other three-dimensional objects or even humans use vectors on a daily basis as a form of non-verbal communication. For instance, try this experiment. Go stand in a busy area and just look up in a direction towards nothing particular. Passersby will look toward where your eyes are pointing. This is because your focus on nothing at all is shooting a vector from your eyes in a specific direction. Vectors will prompt others to look that way as well. Vectors help to facilitate logical progression of an image, creating a relationship between the 'Actor' and 'Goal' in order to portray messages and connections to an audience.

title: Visual Rhetoric/Rhetorical Vectors


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Visual Rhetoric/Status of Visual Rhetoric and Visual Literacy in the Academy

In recent years there has been a shift in the academic field of rhetoric to include not only studies of rhetoric as they pertain to the written and spoken word, but also as they relate to images. However, while most scholars agree on the validity of visual rhetoric and find it deserving of academic study, the attention given visuals’ rhetorical purpose is still very contested in academia; due to its novelty, it has not yet been determined how to study or explain visual rhetoric.

The problems that visual rhetoric has encountered in obtaining a place in higher education have surprisingly little to do with visual rhetoric’s validity as an academic subject. Rather, the main reason that visual rhetoric has faced some difficulty in being accepted widely as a legitimate academic discipline is a fact that not many people know what “visual rhetoric” encompasses. This is not to say that people have no idea what visual rhetoric is - in fact, the opposite is the case. Visual rhetoric lends itself to so many Definitions of Visual Rhetoric that there is quite a bit of confusion concerning where to draw the line between what should be studied as visual rhetoric and what should not be. Indeed, the very scholars who extol the legitimacy of visual rhetoric as a discipline and lobby for its rightful place in academia, often do not share a definition of “visual rhetoric.”

The meaning of both parts of the two-word term “visual rhetoric” is debatable, and this has caused a great deal of confusion as to what actually falls under the umbrella of visual rhetoric. For example, more than twenty scholarly definitions of the word “rhetoric” can be found at the American Rhetoric website. Although a common trend of “persuading/informing” seems to run through most of the definitions of rhetoric, it is easy to see that visual rhetoric is thought of very differently from one person to the next.

The same can be said of the word visual. What types of “visuals” should be studied as worthwhile examples of visual rhetoric? Popular subjects include charts and graphs, internet visuals, paintings, traditional two-dimensional images, television, etc. See Mediums and Manifestations of Visual Rhetoric. Debates over which of these outlets are the most capable of being studied in a scholarly fashion as rhetoric are disputed. From the perspective of many scholars, it seems far-reaching and a bit naive to say that all images are rhetorical and as such deserve to be studied. Yet others claim that all visuals possess rhetoric and deserve attention.

Correspondingly, there is no unanimously agreed upon method by which visual rhetoric should be incorporated into academia. Hypothetically suppose that an agreed-upon definition of visual rhetoric has been established and the problem of what should be studied no longer is an issue. There then arises a dilemma concerning how to relate visual rhetoric studies to society, and how to interpret the power visual rhetoric possesses. In other words, how should visual rhetoric be presented to students in an academic setting? Should visual rhetoric be studied as a totally new and unique form of expression, or does it go hand-in-hand with traditional perspectives about verbal and written rhetoric? There seems to be a division between those scholars who wish to study visual rhetoric through means similar to that of text-based rhetoric, and those who see the two as totally separate, believing that visual rhetoric is independent and deserves its own unique interpretation. In the scholarly debate between these two options, the former seems to have become more of the norm.

Due in part to a lack of faith in images as deserving of scholastic study, visual arguments have in many cases been taught through methods similar to those of textual arguments. Noted art historian Barbara Stafford concerning what she sees as a widespread attitude towards images: “In spite of their quantity and globalized presence, for many educated people pictures have become synonymous with ignorance, illiteracy, and deceit.” (Hill, 3). If one inserted the words "sculptures" or "monuments" (See 3D and 2D Visual Persuasion) in place of the word “pictures” in Stafford’s claim, the result would be the same; in academia, words often bare more intellectual weight than visuals. This reality, combined with the fact that many of the professors teaching visual rhetoric courses are actually trained in traditional writing and rhetoric disciplines as opposed to graphic design or art, has led many academics to align visual rhetoric with written rhetoric. Scholars in many instances have even gone so far as to explain visual rhetoric in terms of the same grammatical rules as are used in written language. This approach is in reality probably not a bad one, and most likely successfully serves the purposes of evaluating visual rhetoric. However, if visual rhetoric is to gain a substantial foothold in academia, more attention needs to be given to how visuals act independently from language.

Overall, the emergence of visual rhetoric classes in upper education is constantly improving as they become more widespread and the dialogue of visual rhetoric becomes more acceptable. At this point in the infancy of academically studied visual rhetoric, the main objective of scholars should be to engage in purposeful discussion about what visual rhetoric is and what it is not, all the while keeping in mind the goal of visual rhetoric’s emergence as a full-fledged academic discipline.

Useful online sites: Visual Metaphor, Cultural Knowledge, and the New Rhetoric by Robert N. St. Clair: http://jan.ucc.nau.edu/~jar/LIB/LIB8.html.

Visual Rhetoric: Some Sources: http://wrt-howard.syr.edu/Bibs/Visual.bib.html

American Rhetoric: http://www.americanrhetoric.com/index.htm

Useful published books and articles and reviews: Birdsell, David S. and Leo Groarke. “Toward a theory of visual argument.” 	Argumentation and Advocacy 33 (1996): 1-10.

Hill, Charles A. and Marguerite Helmers, eds. Defining Visual Rhetorics. Mahwah, NJ: Lawrence Erlbaum Associates, 2004.

Stafford, Barbara Maria. Good Looking: Essays on the Virtue of Images. Cambridge, MA: MIT Press, 1997.

Willerton, Russell. “Shaping Information: The Rhetoric of Visual Conventions.” Technical Communication 52 (Feb 2005): 92. Review of Shaping Information: The Rhetoric of Visual Conventions by Charles Kostelnick and Michael Hassett.

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


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User:Geraki

 * meta:User:Geraki
 * commons:User:Geraki
 * el.wikipedia.org:User:Geraki
 * en.wikipedia.org:User:Geraki
 * wiktionary:User:Geraki
 * wikibooks:User:Geraki

title: User:Geraki


text:
Bicycles/Maintenance and Repair/Headsets/Headset Overhaul

Overview
Like most other bicycle bearings the headset needs periodic maintenance to keep it running smoothly.

There are two basic types of headset:
 * The style more common on older bikes is the threaded system, so called because the steerer tube of the fork is threaded. The top bearing race (cone) screws onto the fork steerer tube and is held in adjustment by a lock nut. The stem has an extension that extends down into the steerer tube and is held in place by a wedge.
 * Most new bikes now use the threadless system. The fork steerer has no threads. Unlike the threaded system the steerer tube extends beyond the top of the headset. The stem clamps onto the steerer tube holding everything together. The headset bearings are tensioned (adjusted) by an allen bolt that pulls up on a star nut inserted into the steerer tube.  This applies tension to the upper bearing race. (Loosen the stem to make this adjustment.)

Headsets also use several different bearings types including loose ball bearings, roller bearings and cartridge bearings.

Disassembly

 * Remove the pre load adjustment bolt on the top of the steerer tube. Also remove the top cap and any spacers that are above the stem.

 * Making sure the fork is supported loosen the bolts clamping the stem to the steerer tube. Now the stem is loose pull it off the steerer tube. Since the stem is holding everything together the fork is free to fall out the bottom of the head tube if not restrained.

 * Occasionally the conical compression ring will have a tight grip on the steerer. A gentle tap on the steerer tube with a mallet or your palm will free it up. Some (sealed-bearing) headsets will have a rubber O-ring fitted into the compression ring (bearing cap). Have a replacement handy, or take care not to shear the O-ring.

 * Remove the fork from the frame, take care to note the location and orientation of the individual pieces.

 * Clean and inspect bearings and races.

Assembly

 * Apply grease to both cups, crown race and bearings.

 * Assemble the parts in reverse order that you removed them

 * Slide the stem and spacers onto the steerer tube (but leave loose) and refit the top cap and bolt.

 * The bearings are adjusted by tightening and loosening the top bolt. The bearings should be adjusted so there is no play. Clamp the front brake and rock the bike backwards and forwards to check.

 * Now the bearings are correctly adjusted line up the stem and tighten the bolts.

Assembly and adjustment
Adjustment of the threaded headset bearings is similar to the technique used for all cup and cone bearings. The stem is not a part of the headset and should be removed for all of this work. Don't worry about applying too much grease, excess will be squeezed out.
 * Clean all old grease and dirt off all balls, races, cones, etc.
 * Apply fresh grease to crown race and place clean (preferably new) bearing balls on the crown race, applying more grease as needed. Be careful not to drop any balls.  If the balls are in a cage, slide the cage down the steerer tube and place it on the race.
 * Slide the fork into the steerer tube of the frame, again being careful not to drop any balls.
 * Apply fresh grease to the top cup and place clean (preferably new) bearing balls on the top cup, applying more grease as needed. Be careful not to drop any balls.  If the balls are in a cage, carefully place the cage in the top cup.
 * Apply a thin layer of grease to the fork steerer tube threads (mainly to ease removal in the future).
 * Screw the threaded race down the fork until it is tight enough to prevent any balls from falling out, but still leaving some play, to be adjusted later.
 * Slide down any washers on top of the threaded race. The washers are often keyed to fit in a notch in the steerer tube of the fork.
 * Screw the headset locknut down the steerer tube and loosely against the threaded race (and washers).
 * Finger tighten the threaded race down so that the fork turns easily but has no side-to-side play. If it is too loose, it will be possible to wobble the fork side-to-side.  If the bearings are in poor condition, some compromise might be required, where the movement is slightly difficult in some positions and slightly wobbly in others.
 * Holding the threaded race with one hand, finger tighten the locknut against the threaded race.
 * Use two headset wrenches (or one headset wrench and one large adjustable wrench), tighten the locknut against the threaded race, without moving the threaded race.
 * After the locknut has been tightened, the movement of the fork should still be smooth and without wobble. Loosen the locknut and repeat the previous step until this is achieved.  If this can't be achieved, possible causes are: worn bearing balls, worn rolling surfaces, incorrect number of balls, bent fork steerer tube.
 * Wipe off excess grease and admire the results of your efforts.


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User talk:Javier Carro/Transformational Grammar

Note that the X-Bar article on Wikipedia has been updated; you might want to pull in some of the newer content. -- Beland of en.wikipedia.org


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Cookbook:Saucepan

| Pots and pans

A saucepan is a cooking vessel generally used on top of a range for heating food and/or reducing sauces.

Saucepans can be made of a variety of materials, like aluminium and stainless steel, and the cooking surface can have a non-stick coating, like Teflon. As with all pans the heavier the gauge of the metal the better (especially at the base); it enables more even heat distribution, which makes sticking and burning less likely. Some saucepans have a thick sheet of thermally conductive aluminium laminated into their base for that purpose (like the one shown). A coating of copper on the base allegedly has the same effect, but it would need to be reasonably thick to have any real benefit.

High-sided sauce pans are most useful for heating foods with high liquid content. Low-sided and flare-sided (called Windsor pans) saucepans are most effective for reducing sauces and other liquids.

title: Cookbook:Saucepan


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Cookbook:Stock Pot

| Pots and pans

A stock pot is a very large and deep cooking vessel generally used on top of a range for making stock or soup.

Stock pots can be made of a variety of materials, like aluminium and stainless steel, As with all pans the heavier the gauge of the metal the better (especially at the base); it enables more even heat distribution, which makes sticking and burning less likely. Some stock pots have a thick sheet of thermally conductive aluminium laminated into their base for that purpose (like the one shown). A coating of copper on the base allegedly has the same effect, but it would need to be reasonably thick to have any real benefit. They can also contain copper, and carbon steel. Pasta is an example of food that could be cooked in these pots.

title: Cookbook:Stock Pot


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Cookbook:Dessert Spoon

| Utensil | Units of measurement

A dessert spoon is a general purpose spoon, and a (very seldom used) unit of measure equal to 10 mL or 2 teaspoons.

title: Cookbook:Dessert Spoon


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Cookbook:Soup Spoon

| Utensil

A soup spoon has a rounded bowl, and is specifically designed for eating soup.

title: Cookbook:Soup Spoon


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Cookbook:Knife Sharpener

| Cutlery | Kitchen tools

There are various kinds of knife sharpeners available for maintaining the sharpness of knives.

A sharpening stone or oil stone is also known simply as a stone, and is a tool for maintaining the sharpness of knives. It consists of a carborundum stone, a block of ceramic, or a metal plate with embedded diamond dust. There are generally three 'grades' of stones: a coarse stone for rapid renewal of a badly damaged blade, a medium stone for general work and a fine or Arkansas stone to put the final edge to the blade. Many of these require the addition of an appropriate lubricant, such as oil or water, to carry away the "cuttings" from the edge while sharpening. The lubricant prevents the pores in the stone from becoming clogged up with the metal and grit created by the process.

For maintaining the edge on a knife, and not for intensive sharpening, the honing steel, also known simply as a steel, is the choice of professional chefs. These do not actually sharpen knives, unless they have fine diamond grains on them, but they are often mislabeled as "sharpening steels".

The steel was originally used to straighten the sharpened edge of a blade where use had pushed it to one side or another on a microscopic scale. This is preferred, as the metal is brought back to its sharper state quickly, often a matter of four or five strokes of the steel, by restoring the existing edge rather than stone-cutting a new one.

A steel usually consists of a hardened steel rod with many tiny grooves scored lengthwise. Seemingly paradoxically, they can also be made from a ceramic material specifically intended for sharpening hardened knives, as a standard steel can quickly become blunted. Another version is the diamond steel, with tiny specks of industrial diamond dust bonded to its surface. These are very effective for both sharpening and honing the edges of knives, but they tend to wear away at the knife far more quickly than do other kinds of steel.

To use a steel, the knife is drawn across roughly perpendicular to it, somewhat like a slow slashing motion, that both takes the knife across the steel while moving down the steel's length, alternating sides of the knife with each pass. Home cooking enthusiasts will find that an inexpensive (US$20) steel will bring many knives back to life in moments.

Holding the knife at the appropriate angle, about 15-25 degrees, to match the existing stone-cut angle, the first moves of the knife will feel kind of rough and resistant to the steel. The feel will diminish within five or ten strokes, even holding the same angle and pressure. That is the steel telling you the job is done. A good steel will extend the life between stone sharpening by many months in most cases.

title: Cookbook:Knife Sharpener


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Cookbook:Egg Slicer

| Kitchen tools

An egg slicer is a food preparation utensil used to slice peeled, hard-boiled eggs quickly and evenly. It consists of a slotted dish for holding the egg and a hinged plate of wires or blades that can be closed to slice.

Though primarily used for eggs, an egg slicer can also be used to uniformly slice soft fruits and vegetables like mushrooms or strawberries.

title: Cookbook:Egg Slicer


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Cookbook:Potato Masher

 * Kitchen tools

A potato masher is a food preparation utensil used to crush cooked food. Its name comes from its most common use: crushing cooked potatoes for mashed potatoes.

The potato masher consists of a handle connected to a mashing head. The handle can either be upright or sideways. There are two types of heads. The first is a large gauge wire in a rounded zig-zag shape. The second is a plate with holes or slits (as shown). The potato or other food is mashed by grabbing the handle and pushing down on the foodstuff.

title: Cookbook:Potato Masher


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Cookbook:Chopstick

| Utensil

Chopsticks are a pair of small even-length tapered sticks that are used to grasp food and convey it to the mouth. Chopsticks are commonly made of wood, bamboo, metal, bone, ivory, and in modern times, plastic as well.

title: Cookbook:Chopstick


text:
Emulation/What is Emulation?

Emulation, is quite simply the translation of software written for a different subset of hardware or for a different operating system into software which will run on the current platform. To put it quite simply it's any computer program that mimics the behavior of any other piece of computer hardware, such as an older computer or video game console. Why would one want to do this? Here are some reasons:

 * 1) Maintaining Investment in Older Software - Software isn't cheap these days, yet most of us have investments in older software that is still perfectly functional, except for incompatibilities with newer hardware and operating systems. Why throw it away?
 * 2) Experimentation - Oftentimes when writing drivers for a piece of hardware or when writing software to run on a microprocessor one often wants to make sure they have a working piece of software before writing it onto the hardware.  Sometimes the hardware you're writing the software for may not even exist yet.  In either case emulation software is invaluable as it allows you to debug errors in your program without risking the hardware device, emulators can also provide more detailed information on errors that occur, thus they are ideal for testing software without risking the hardware.
 * 3) Nostalgia - Let's face it. We all have old games or operating systems that we know and love. Perhaps it is no longer practical to use them full time, but it's always pleasant to play around with them once in a while.

title: Emulation/What is Emulation?


text:
Talk:Introduction to Paleoanthropology/Hominids Early Behavior

Corrected a typo (are tissues are therefore tissues)


text:
Cookbook:Cooling Rack

| Bakeware

A cooling rack (also known simply as a wire rack) is used to allow air to circulate freely to cool baked goods, and to prevent them getting soggy from condensation.

A tight grid is typically the best format for a cooling rack, to prevent thin baked goods from breaking or falling through.

An alternative is often to flip the baked goods upside down and leave them in the original hot pan.

title: Cookbook:Cooling Rack


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Cookbook:Mixing Bowl

| Bakeware

A mixing bowl is a deep bowl that is particularly well suited for mixing ingredients together in.

These come in many materials, such as stainless steel, ceramic, glass, and plastic. If using a handheld electric mixer rather than a standing mixer, be sure to get mixing bowls that will be usable with such a mixer, and which have high enough sides to prevent splatter from it.

Typically one should have at least three mixing bowls of different sizes, as it is often necessary when baking to keep mixtures of ingredients separate. Also, prepared dough can be stored in the refrigerator directly in the mixing bowl, so consider bowls which can handle temperature change well and/or which have lids for such storage (if your bowls do not have lids, plastic wrap or aluminum foil may be used to cover them).

title: Cookbook:Mixing Bowl


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Cookbook:Sifter

| Bakeware

A sifter is a device used to simultaneously sieve and aerate flour and other dry ingredients used in baking. It should be noted that a simple sieve can be employed for the same task, with the same result. It is sometimes refered to as a "tami" (French).

title: Cookbook:Sifter


text:
Talk:Movie Making Manual/Cinematography/Camera

Is a black and white viewfinder sharper than a colour viewfinder? I assume it must be because you can cram 3 times as many 'pixels' into a B&W display as a colour display. In a colour display, you need 3 liquid crystal display cells (RGB) for each pixel.


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Cookbook:Pizza Pan

| Bakeware

A pizza pan is used to bake pizza. It is usually an aluminum disk, about 18" (450 mm) in diameter, with lots of small holes to let moisture out for a crispy crust. Sometimes a mesh of steel wire is used.

With completely uncooked pizza dough, a cookie sheet can be substituted. (this alone will not produce a crispy crust) With a partially cooked crust, the pizza can be placed on an oven rack without any pan at all.

An aluminum pizza pan should not be cleaned with caustic oven cleaner, as the resulting chemical reaction will damage it.

title: Cookbook:Pizza Pan


text:
Cookbook:Cookie

Cookies are a class of baked good, overlapping somewhat with cakes and pastries. The term "cookie" means "little cake", and it encompasses a wide variety of baked goods, including those called biscuits in British English.

Characteristics
Cookies can have a wide variety of characteristics—the main thing all cookies have in common is their overall small size and a tendency to be eaten with the hands. Otherwise, they come in a range of sizes, textures, shapes, flavors, and more.

Spread
The spread of a cookie refers to how much the dough spreads out horizontally during baking. High air content (from leavening or long creaming), high sugar content, high moisture, low oven temperature, and greased pans all contribute to increased cookie spread. High-protein flour, high gluten development, high temperature, low moisture, and cold dough all contribute to reduced overall spread. Butter will cause more spread than shortening because of the small amount of water present in butter. Confectioner's sugar will reduce spread compared to granulated sugar due to its moisture-absorbing starch content.

Chew
A variety of factors can contribute to a cookie's chewiness, including a high sugar-and-liquid to fat ratio, a high egg content, and a high-protein flour.

Crispness
The main cause of crispness in a cookie is very low moisture. This can be achieved by simply including little moisture in the initial dough, using high sugar and fat contents, baking for long enough to evaporate the moisture, and shaping the cookies thinly in order to more quickly achieve the latter.

Moisture
Cookies with a higher sugar content are generally moister than those without, as a result of sugar's hygroscopic properties. Eggs also contribute moisture.

Browning
Increased browning can be achieved, if desired, by longer time in the oven, higher oven temperature, and a higher-protein-content flour.

Rolled
Rolled or cut-out cookies are made by rolling out the dough into a thin sheet before cutting out individual cookies using a knife or cookie cutter.

Sliced
Sliced cookies, sometimes called icebox cookies, are made by shaping the dough into a log, chilling until firm, and slicing off individual cookies.

Drop
Drop or scoop cookies are made by portioning cookies directly onto the baking sheet using spoons or a scoop.

Molded
Molded cookies are made by shaping the cookie dough with a mold, stamp, or your hands.

Bar
Bar or sheet cookies are baked in one large sheet that is cut into individual pieces after baking. This can include brownies, pecan bars, some varieties of shortbread, and British flapjacks.

Tuile
Tuiles, unlike other cookies, are made with a batter instead of a dough. The batter is spread on a silicone baking mat before baking to yield a very thin, crisp cookie

Twice-baked
These cookies are made by baking a large mass of dough, slicing it into individual cookies, and baking a second time. This produces a very dry cookie and includes biscotti and mandelbrot.

Sandwich
Sandwich cookies are, as the name implies, made by sandwiching a filling between two cookies. These include macarons, oreos, alfajores, linzer cookies, and more.

title: Cookbook:Cookie


text:
Cookbook:Cooktop

| Appliances

A cooktop, also known as a range or stovetop, is an appliance used for heating pots and pans. Most cooktops are attached to the top of an oven.

Cooktops vary in their methods of heat generation, with some models providing multiple options. The various methods include:

Gas
Gas is traditional and well-loved by many expert cooks due to its high heat output and responsiveness to changes. Gas cooktops are often very durable, though they require availability of a gas or propane supply at the home. They often come with gas ovens, which are not good for producing crunchy and crispy foods.

Electric
Electric cooktops generally come in two varieties: coil and glass-top (or "ceramic").

Electric coil stoves are an established design that has the heating element directly exposed to the pan. Glass-top designs have similar coils, but a single sheet of ceramic glass covers the entire surface. This makes for significantly easier cleanup, but the surface could be cracked if heavy cookware like cast-iron were dropped on it.

Cleaning coils and poor response have garnered a reputation of electric cooktops being somewhat outdated, but newer glass-top models aren't more than a step or two behind gas ranges in performance while offering the major benefit of easy cleanup for home cooks.

Either type of electric cooktop has the advantage of using the existing electrical connection that most homes have, although it will need a dedicated medium-voltage circuit installed by a qualified electrician. Those interested in purchasing one may want to consider that some new models have digital push-button controls rather than a knob to control the heat intensity. These may be more cumbersome to adjust while cooking.

Induction
Induction is the most energy efficient cooktop method which uses magnetic induction energy to produce heat, rather than directly applying heat energy. Induction allows instantaneous heating, which reduces cooking time and reduces room temperatures when compared to other conventional methods. Induction surfaces typically have a glass-top for easy cleaning, which cools much more rapidly when the pan is removed, unlike its electric counterpart.

Induction cooktops require flat-bottomed magnetic pots and pans. Aluminum, copper, and stainless steel will not work unless they have an iron coil embedded in their base. This coil can be determined by packaging, or by using a magnet and seeing if it sticks to the bottom. Cast iron and carbon steel work well. Features and safety mechanisms such as pan detection, spill detection, temperature sensor - 'safety cutoff' and residual heat indicators (to indicate a surface is hot) are quickly becoming standard features. Other features include; electronic touch controls, child safety lock, unsuitable pan detection, preset temperature routines and programs, and power consumption optimization.

title: Cookbook:Cooktop


text:
Cookbook:Microwave

Microwave is an ambiguous term that can mean:

 * Microwave Oven
 * Microwaving

title: Cookbook:Microwave


text:
Talk:Internet Engineering

Hi, welcome to Wikibooks! You probably know, but if you want to create a new page, just put it between double square brackets like Internet Engineering/Introduction. As you noticed, your subpages should follow some naming convention which include the book title. Using subpages that would be "Booktitle/Chapterdescription". See Naming conventions and the current discussion at Hierarchy naming scheme. For general help look into Help:Contents or ask questions at Staff lounge. --Andreas 17:55, 26 Apr 2005 (UTC)

Merge Proposal
This "book" is simply a collection of links to wikipedia articals. I suggest we merge this one into the Communication Systems book, either as a single appendix ("related wikipedia articals"), or we move the individual links into the respective chapters. This book hasn't been edited regularly in several months now, so i will probably perform the merger soon, barring any response. -- 13:37, 12 December 2005 (UTC)

 * Merged -- 00:14, 16 December 2005 (UTC)

title: Talk:Internet Engineering


text:
Seven Habits Study Guide/Private victory

The first three habits, 1. be proactive, 2. begin with and end in mind, and 3. put the first thing first, are grouped together in a category called private victory. Private victories are personal and relate to you as an individual person. In contrast, the following three habits are grouped together as habits geared towards public victory, and are related to your social success and in working effectively with others.

Habit 1: Be Proactive
"There is no real excellence in all this world which can be separated from right living" – David Starr Jordan.

Being pro-active is the opposite of being re-active. Both are active, but the first is coming from an inner impulse inside yourself, powered by own desires, while the latter is reacting to outer circumstances. The worst case of being reactive is only acting on outer stimulus without any inner reflection, drive or initiative. Cultivating this initiative is achieved by taking full responsibility for your own life, by becoming response-able – able to choose your response to the world from the inside, before the world is showing you, that you have to act. The space inside of us between stimulus and response is the space of our freedom to choose, to chose our response. It is what makes us human, and not stimulus-response animals. We are able to choose our reaction. The saying of "Act or be acted upon" illustrates this point.

The Circle of Concern and the Circle of Influence.
The Circle of Concern are all areas in life that we are concerned with, that we have "on our radar", may it be our health, our children, the national debt or global warming. The Circle of Influence are those areas inside the circle of concern, that you actually can do something about now. My favorite example is the bad news on TV. Usually you can do absolutely nothing about it and you won’t do anything except saying "Oh look how bad this is". Why should you pollute your mind with it and distract your focus to something you are helpless with? Can you see how futile and self-defeating this is? If you are proactive, you choose to focus only on matters and situations where you actually have the ability and standing to influence. When faced with a situation within your Circle of Influence, you can choose to act, be in control, and accomplish something of value. Making this choice to engage proactively also increases and strengthens your Circle of Influence, while ignoring or avoiding it can diminish it.It also means that life throws you things and what you have to do is be proactive.

Habit 2: Begin with the end in mind
"What lies behind us and what lies before us are tiny matters compared to what lies within us" – Oliver Wendell Holmes.

This habit is based on the principle of Personal Leadership, which means that you decide what you want and that you lead yourself in the direction you choose. There are always two creations of everything that we do. The first of the creations is mental, in our heads and not yet materialized. This is what the second habit is about. The second creation is in the material world. This is what the third habit is about. Beginning with the end in mind says that we need to develop a vision, a clear picture of what we choose to be and create in our lifetime. Stephen illustrates this succinctly by suggesting that you write your own funeral speech! What kind of person have you been, what did you stand for, what did you create? What were your contributions to the people you love and what difference have you made in their lives? This is a fantastic visualization exercise that connects us deeply with ourselves and it is the perfect illustration of Begin with the End in Mind. Having such a personal vision rooted in our own values acts like a guidance-system. That is what the habit does: if you think from the end, you become like Michelangelo in the great metaphor of sculpting the statue of David out of a block of stone, where he simply cut off the pieces of stones that were still in the way of his vision to materialize.

Habit 3: First things first
"First Things First

"Things which matter most must never be at the mercy of things which matter least" – Wolfgang von Goethe.

The third habit is where you make your plan happen – where you develop an action-plan and execute it in the best way possible. While the second habit is the Leadership habit, this is the Management habit. And you do this in an effective way by setting priorities for the most important things first. Then you work on these first things until they are done. You exercise your discipline powered by your vision and goals where you know what you have to do to create this vision into reality. It is to really live your decisions, to walk your talk. There are several tools here that can improve walking your talk. Setting the right priorities is one of the most important tasks. To set priorities, you first have to execute habit one and two of course, because otherwise – as Stephen also explains it – it happens to you that your ladder of success is leaning toward the wrong wall. If you have not taken full responsibility and clearly decided what you want in life, the priorities you set cannot have a deeper meaning to you. It just does not happen by accident. So choose proactively what you want first, then create an action-plan, set priorities and act on them.

Time Management
One of the most helpful things in execution is to effectively manage the time that we have available. There are four core areas where we spend our time, visualized as a quadrant, and you can categorize each task on a) Importance and b) Urgency: A task is important or not important and it is urgent or not urgent:

1.	Quadrant of DEMAND – important and urgent This is usually the core of a busy person, tasks that are important and also urgent, you just can not put them off and they have to be done now. It is important and should be well executed.

2.	Quadrant of THE ZONE – important but not urgent This is where you plan, improve, develop, build relationships and see opportunities. It is the basis for real success and the heart of leadership.

3.	Quadrant of ILLUSION – not important but urgent The quadrant of illusion is a serious problem in personal management because it deludes you into thinking that the tasks you do are important. However, they are only made urgent by demands from outside agents or by wrong judgments of yourself. In reality, they have no profound impact on your achievements at all.

4.	Quadrant of ESCAPE – not important and not urgent This is the area you need to avoid altogether if you are interested in success. It is the escape from what matters by distraction, because of fear, irresponsibility or fuzzy goals.

What you need to do is move as much time as possible into The Zone (Quadrant II) and spend the rest of time in Quadrant I, the important and urgent demands. What you can do to raise awareness of your tasks is make a list of all tasks you do over the day or week. Then put all tasks honestly to the quadrant where you really spend your time doing them. Remember that it serves no purpose at all to be nice to yourself here, total honesty to yourself is always the most empowering thing you really can do. Then get rid of tasks in quadrant III and IV (not important) as soon as possible and move into Quadrant I and II. The best managers spend at least 50% of their time in Quadrant II and those are the most effective.

If you are really overwhelmed by Quadrant I and also III tasks (urgent), here is what you can do: •	Do less: Say "No" more often, focus more on the most important tasks, your highest priorities, do less better! •	Delegate more: give tasks to people who can do it better, are more efficient, more qualified or more suitable for the task than you. •	Go into The Zone to create more resources for the urgent matters or lessen the urgency by better preparation and proactive planning.

Please also take a look at my later article: A Beginners Guide to Time Management. These were the three habits for private victory as described by Stephen Covey. I think they are principles in fact. They are like natural laws for personal development and effectiveness. I’m looking forward to hearing your views and experiences with these three habits! What kind of successes or disappointments have you dealt with? Share them in the comments, I will also join in and answer questions of course.


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Seven Habits Study Guide/Public victory

The second set of three habits, 4. think win-win, 5. seek first to understand, then be understood, and 6. synergize, are the basis for public victory.

Public victory is success with others in teams and in relationships in general. They are shared victories where you help and are helped by other people.

Public victories are built on the private victories of the first three habits. To be publicly successful in a deep or real way, you should first build the first three habits into your character. To try to do things another way is building on a false foundation and will bring about only short-term results.

Habit 4: Think win-win
Many of us grow up with a competitive mindset, "I win, you lose". Or, a beaten-down mindset, "I give up, do whatever you want to me". Or, a mix of these and other mindsets. Each of these has its place. However, for most of the most valuable interactions we have in family and business, the most mature and effective point of view is seeking situations that benefit everyone involved.

When we negotiate, we should seek to make deals that help everyone. In cases where this is not possible, it is best to have the mindset from the outset that you will walk away from the deal.

Habit 5: Seek first to understand, then be understood
To influence and help others, you must first actively listen to them and understand their situation and concerns. Think of the example of a doctor who gives a prescription over the telephone without getting all of the necessary information about the patient or his condition. This could lead to a serious or fatal error if the patient takes the wrong medicine. In the same way, you should be very careful when you start to give anyone advice that you understand the preoccupations and situation of that person. Even if your advice is very good, it will likely not apply to the situation.

Part of this is not just to listen passively but to listen actively and empathetically. Put yourself in the shoes of the other person. See the world from their perspective as best you can. Listen without judging.

Three main errors to avoid: 1. "Hearing" everything through a filter formed by your own world-view, imposing your pre-conceived ideas on everything that you hear. 2. 3.

For most of us, we have extensive experience being frustrated by someone who just doesn't or won't understand us, or worse, someone who just argues for their position. We can minimize these frustrations by seeking first to understand and honestly empathize with the person. We can listen actively and then state their case back to them so they say "yes that's exactly how I see it". When that happens, you are truly seeking to understood. The resulting exchange of ideas and feelings is bound to be synergistic, win-win. Genuine empathic understanding is the doorway to collaboration, friendship, and more.

Habit 6: Synergize
This habit deals with teamwork and opening yourself up emotionally to work with other people. It says that optimistic, emotionally-charged individuals who are living out the previous habits are able to work in amazing ways and come up with new alternatives together that no one of them would have come up with alone. The idea is that one plus one is three, or more, and the synergy happens when these "third alternatives" appear. It is a bit chaotic but fun and stimulating. Along with these there is a 3rd NOVEL.

title: Seven Habits Study Guide/Public victory


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Biblical Studies/Bible Topics/Love

In a world consumed with hatred, war, cheating, corruption, etc., one of the bible's greatest contributions to the world is the concept that God loves us. The Bible give us wisdom about the meaning of love: the love of God for us and the love that we are called to share with others in order to make the world a better place. Please consider these selections when thinking about love.

PSALM 139:7-8 offers us a glimpse of just how far God's love will go, even past the portal of death: "Where can I go from your Spirit? Where can I flee from your presence? If I go up to the heavens, you are there; if I make my bed in the depths of [sheol], you are there."

The universality of God's love, as it originates in Abraham, has its roots in GENESIS 12:3 "I will bless those who bless you, and the one who curses you I will curse; and in you all the families of the earth shall be blessed."

The reach of God's love is found in PSALM 139:7-8 "Where can I go from your spirit? Or where can I flee from your presence?  If I ascend to heaven, you are there; if I make my bed in She'ol, you are there."

God's patience, expressed in love can be found in PSALM 145:8-10 "The Lord is gracious and merciful, slow to anger and abounding in steadfast love. The Lord is good to all, and his compassion is over all that he has made.  All your works shall give thanks to you, O Lord, and all your faithful shall bless you."

God's gift of love, to all, is expressed in JOEL 2:28 "I will pour out my spirit on all flesh; your sons and your daughters shall prophesy, your old men shall dream dreams, and your young men shall see visions."

Jesus explains the love of God in a way that is a challenge to many North Americans, in MATTHEW 5:43-46, "You have heard that it was said, 'You shall love your neighbor and hate your enemy.' But I say to you, Love your enemies and pray for those who persecute you, so that you may be children of your Father in heaven; for he makes his sun rise on the evil and on the good, and sends rain on the righteous and on the unrighteous.  For if you love those who love you, what reward do you have?"

Jesus tells a short story about God's love in LUKE 15:4 "Which one of you, having a hundred sheep and losing one of them, does not leave the ninety-nine in the wilderness and go after the one that is lost until he finds it? When he has found it, he lays it on his shoulders and rejoices.  And when he comes home, he calls together his friends and neighbors, saying to them, 'Rejoice with me, for I have found my sheep that was lost.'"

Paul gives us a beautiful image of love in 1 CORINTHIANS 13:4-8 "Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth.  It bears all things, believes all things, hopes all things, endures all things.  Love never ends."

title: Biblical Studies/Bible Topics/Love


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Instructional Technology/Enhanced Mathematics/Tutor Application Software

When using tutor applications, the computer or software possesses all of the information and controls the learning environment. The computer presents the information to the students. The students respond to the information or question and the computer analyzes the response and presents new information or more practice. Tutor applications include drill and practice, tutorials and simulations.

Tutor Application Software

These types of software are designated as "courses in a box" and are found in many subject areas such as, math, music, software training, and even typing. Their application can be utilized in almost any category where learning is to be supplemented by a self study or self tutoring approach. Entering the keywords tutoring software in any web browser will produce millions of sites that offer specific tutoring application software on almost any topic. Just the effects of web-based tutoring software for mathematics can be explored further in a research project supported by the Wayang Outpost.

Return to Using Technology to Enhance Mathematics Instruction.


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Blender 3D: Noob to Pro/Mountains Out Of Molehills

Now that we've created our simple person, it's time to give him somewhere to go. In this tutorial we'll create a mountain range using a few simple, and handy tools.

Creating a simple plane
First we need a clean area to work with.
 * Start off with a new project, using File → New, or hit . If you have a default cube or plane just delete them now (select them with  and press ).

Our first step is to create a large grid plane that we'll use for the ground and grow our mountains out of.
 * Press to enter top view. This way our grid plane will be lying flat when we create it.
 * Press . This sets the 3D cursor to (0,0,0) which will be the center of the grid we will add (or use - → Cursor to Center).
 * Now add the grid with → Mesh → Grid.  This will be our canvas.
 * Now add more vertices to the grid. In the bottom of the toolbox window, change the number of X and Y subdivisions somewhere from 15 to 20.
 * Change to Edit Mode using
 * Scale the grid plane up by about 15
 * First put the mouse close to the center of the grid plane and press and drag the cursor away and watch the numbers in the bottom left of the 3D View. Hold  while dragging to increment by 0.1 for a more precise measurement. Alternatively, to enter the exact amount yourself, press, then simply type 15 and hit.

First mountain
Now that we have the ground, it's time to start growing our mountains.
 * Make sure you have nothing selected.
 * Select a random vertex with . I usually start at the one that is 4 down from the top and 4 in from the left (the 4th vertex if you count the edges).
 * Change to the side view with.
 * Press to change to proportional edit mode or use the button which shows a grey ring on the header of the 3D View. The button will change its color to blue. You can also use  → Transform→Proportional Edit (By default this button is located just below the 3D view).
 * Once you've turned proportional edit mode on, another button appears to its right, the falloff button. Select Smooth Falloff here. Alternatively you can use the menu on the header of the 3D View (Mesh → Proportional Falloff → Smooth) or, using will cycle through all of the different falloff types while using the Proportional editing tool.
 * Press to grab the vertex. We should now have a circle surrounding the vertex, this is our radius of influence. Basically any vertices inside this circle will be affected by any changes to the vertex itself.

Noob Note: If you're having trouble seeing or changing the radius of influence, try saving your scene and restarting Blender.

 * Use or  and  to adjust the radius of influence to include just over 2 vertices on each side of our selected vertex. (Depending on your version of Blender, you may need to use  to adjust the radius of the influence. On Mac, use  and ).

 * Move the vertex up about 8 units on the Z-Axis. Do this by dragging the cursor up a little, and press the ; this should restrain the movements along the Z-axis. Now use to move it precisely. Alternatively you can use  to restrain movements to the Z-Axis, type  and hit . In older versions of Blender you may need to hit  before typing.

Congratulations, we just created our first mountain. Now it's time to see what other things we can accomplish with the proportional editing tool.

Peaks vs. hills
The 2.37 and onward releases offer at least 6 types and 2 modes of proportional editing. The previous release only has 2 of these types: Smooth and Sharp Falloff. We'll take a look at the difference between these two now. Now we can see the differences between the sharp and smooth falloff. The same number of vertices are affected in both cases; only the degree to which they are affected is different.
 * Change to top view again with . You'll notice that now your "mountain" looks like a few differently shaded squares in the grid; you're looking down on shaded tiles, but in the Z axis, they're all still perfectly aligned with the original grid.
 * Select another vertex away from the first. Let's say 4 from the bottom 4 from the right (counting the vertices on the edges).
 * Change back to the side view with
 * Select Sharp Falloff from the menu on the bar of the 3D View. Alternatively, using will switch from one to the next of the 6 proportional editing modes while using the Proportional editing tool.
 * As before, move the vertex up 8 units on the Z-Axis (Note: The radius of influence will still be the same size as when we last used it).
 * Type and hit
 * Type and hit
 * Type and hit

The different proportional editing modes can be selected from the box immediately to the left of the proportional editing type box. The mode box contains four options: Disabled, Enabled, Connected, and Projected (2D). "Disabled" means that proportional editing will not be used. "Connected" means that only vertices linked to the selected vertices will be affected by the radius of influence. "Enabled" means that all vertices will be affected.

Shaping the world
Now that we've created a couple of Mountains, it's time to see how we can use proportional editing to shape them. You can see the size of the proportional editing circle, and that there is only one vertex on the mountainside selected.
 * First make sure we're in side view.
 * Then on the smooth falloff mountain, the first one we created, select the vertex that is immediately down and left from the topmost point.
 * Press to rotate, scroll the  to change effective radius so it includes other points. Your screen should look like the photo to the right.

 * Next hold and rotate everything by -90. Alternatively, use, , and type -90 and press . Your mountain should now look like this:

Noob note: be careful about the range of affected vertices. If the range is too small, then rotating will affect just the selected vertex. If the range is too large, it will rotate everything together. You can adjust the range by using.

Notice that the vertex itself did not move; since it is at the center of the circle it had no effect. The adjoining vertices within the edit circle were rotated around it in decreasing amounts the further from the center they are. Try doing it again with a larger proportional editing circle. Feel free to play around with scaling or rotating from different view points (don't forget that you can also use to move vertices vertically or horizontally).

Try viewing your world from top view while rotating with a large effective radius. You will see the nearby vertices move close to the full amount while vertices further away move less.

Smoothing things out
Now that we have a couple of budding mountains, you probably think they look kind of choppy. Sure they would be good if we were making an 8-bit console game, but we're working with 3D here, we want things to look sharper (or maybe smoother) than that. There are a couple of approaches to this. The first is to use more vertices when we create our plane. And I won't lie, it works. But it's also a HUGE resource hog. It would take your home computer hours of work just to keep things updated, let alone run it. So instead, we fake it. The easiest way to do this is to turn on SubSurfaces (we saw this in Detailing Your Simple Person 1.) For our purposes, let's set the subdivision (Levels) to 2. Also, ensure our SubSurf algorithm is set to Catmull-Clark (this is the default setting).

Now, you'll notice that with SubSurf on, we lose a lot of hard edges that we had, essentially we have no sharp corners any more. I don't know about you, but to me that doesn't make for a very interesting mountain range. So to restore our corners, we are going to use Weighted Creases for Subsurfs. As you move the cursor away from the edge you will notice two things. The first is that the edge becomes thicker as we move from it; this is showing how much of a crease we have (with Draw Creases turned on). The second is that you will notice the subsurfed mesh moving closer to the edge as the sharpness increases.
 * First turn off proportional editing with, and ensure we're in side view with
 * Next, while still in edit mode, change to Edge Select mode with and select Edges.  Alternatively press Edge Select Mode button at the bottom of the object window.
 * In the Tool Shelf at left, select the Options tab, then under Edge Select Mode, choose Tag Crease.
 * On our Sharp Falloff mountain, the second one we did, select the two edges on the right. (see image below)[[Image:Blender3DNoobtoPro-SharpMtnCreasing.PNG|right]]
 * Press or  → Edit → Edges → Crease SubSurf, then move the mouse away from the edge until the edge Crease reads 1.000 in the 3D viewport header. If moving the cursor there seems to be impossible, just hit 1 and enter.

Naturalness
Press to enter Edit Mode and select vertices. Then go into front view. Select the second vertex from the top in the centre of our Sharp Falloff mountain, then go into side view. Hold and drag the vertex inwards, not too far or your mountain will come out of itself on the other side. Just bring it in enough to make a small indent.

Then grab the top vertex and pull it down a small amount. You will notice that there is a small "crunch" in your mountain.

Don't forget to select all with, then Shade Smooth button to smooth everything out.

OK, so your mountains are starting to shape up. But they still look a bit too neat. You could spend time moving each individual vertex but the chances are your model will still lack the natural feel. What we need is some chaos. Thankfully this is quite easy to accomplish. Firstly select the vertices that make up your mountains, all of them and a few around the base (box and circle select will make this easier). Select a few vertices between the mountains too. Next we use something called fractals. Fractals are chaotically (i.e. randomly) generated variables. In short you can use these variables to give your mountains a "wobbly" look.

In the Tools tab of the Tool Shelf, press Subdivide (under Mesh Tools), then look at the Subdivide submenu below. The value in the Fractal box is the strength of the fractal. 1 is very low and will barely change your model. 10 is very high and will twist your models into very odd shapes indeed. Have a play with different values until you find one that you like. Around about 4.0 should do it. Hit OK and presto, your mountains have been transformed from clinical neatness, to lumpy chaos.

 * If you make too many fractals, your computer will slow down. However, the more you add, the more bumpy and realistic it looks!

Repeatedly using the fractal tool seems to rapidly multiply the amount of vertices on your canvas. I suggest using the tool once, and if the result isn't satisfying, undo the result and try it again with a different fractal strength. Helpfully, even after undo, your selected vertices remain selected.

Now go back into Object mode and view the result.


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Blender 3D: Noob to Pro/Mountains Out Of Molehills 2

This page is broken, minimal required information is missing.

This tutorial shows you how to use displacement mapping to make a simple environment.

 * 1) Make a grid. (Add/Mesh/Grid) 32x32 will do just fine.  Be sure to create a Grid instead of a Plane, or you'll end up with just a flat plane!  This is because a Plane only has four vertices to manipulate - one for each corner - while a Grid has many, many more.  A 32x32 Grid, for example, would have over 1000 vertices.  The more vertices there are to manipulate, the more effect displacement mapping will have on the finished product.
 * 2) Set it smooth. (Editing/Link and Materials/Set Smooth)
 * 3) Make a new material for it. (Shading/Material/Add New)
 * 4) Make a new texture for the material. (Shading/Texture/Add New)
 * 5) Go to Shading/Texture Buttons. You can see your newly created texture there now.
 * 6) Change Texture Type to Clouds.
 * 7) Change the name of the texture to be more descriptive. For example GroundDisp or something similar.
 * 8) Go back to Shading/Material buttons. You can see our cloud texture applied now, but it's not applied correctly yet.  Let's fix this next.
 * 9) Go to Shading/Map To. This defines how the selected texture is mapped on our material. Uncheck Col, check Disp on, and set the Disp slider to a value like 0.200
 * 10) Set camera and a few lights to the scene.  (This is already done as part of the default scene in recent versions of Blender, such as 2.49)
 * 11) Render.

Noob Note It looks like from version 2.70 there is no shading as a main tool but rather as a subtool for Material, so in version 2.70 to get the effect described in here you have to check third checkbox in Texture>Influence>Geometry and adjust the slider

 * Several individuals, when working through this tutorial, had trouble getting anything more than a flat plane. A few solutions were proposed (most are still visible on the Talk page), and while each worked in its own way, the vast majority of the time the problem stemmed from creating a Plane instead of a Grid.  With version 2.79, it was necessary to change Texture | Mapping | Coordinat in the Properties window to Generated, Object, or Global rather than the default "UV" to get anything but a plane.  Be sure to follow each step very carefully to ensure you don't miss anything or do a step incorrectly.

You can tweak the environment easily by changing Nor value in the Shading/Map To. This defines how strongly the displacement texture affects the material.

You could also add subsurfing to the ground area to get smoother results. Also feel free to tweak the texture and try out different alternatives.

Once your mountain looks good, try adding some Mist.

 * 1) Select the "Mist" button on the "Mist/Stars/Physics" Tab among the World buttons
 * 2) Add a Cloud Texture to the World and make it blend from white to gray

The end result is something like this:


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Seven Habits Study Guide/Paradigms and principles

Stephen Covey outlines several concepts before describing the "Seven Habits" in detail..

Character vs. personality ethic
The author describes the difference between what he describes as the personality ethic and the character ethic. The character ethic is the idea that a person advances on the basis of their character. This was culturally the main idea expressed in the US up until about WWI, when popular literature began to focus more on short-cuts and easy ways to manipulate situations or to get what you want. Character ethic depends on deep changes within each of us, while the personality ethic falls back on methods or techniques. The personality ethic does not challenge us; neither does it bring about deep changes within us. Phrases characteristic of the personality ethic are think positive and believe in yourself while Character ethics deals with integrity, patience, e.t.c. Covey gave us a good illustration: Covey uses the example of a person trying to find his way through Chicago with a map of Detroit. No matter how hard he tries, he will never be successful. In the same way, when we have erroneous ideas of what something is like, we are destined to fail in dealing with whatever it is. So we have to get the map first (character ethics) before using the techniques and skills to find the destination(personality ethics). We should work to have correct and healthy understandings of the world around us.

Paradigm and paradigm shift
Cover Paradigms are the mental maps that we use to describe the world around us. They are the lens that each of us uses to understand everyone and everything. The key of a paradigm isn't as much in the true nature of a thing as much as our perception of the thing. They also deal with our views and our mental perspective due to the actions done around us. A paradigm shift is the change in one's perspective concerning the way we perceive things. They are two different things: changing the way we see things around us and changing the things around us. Covey describes how once he was frustrated in the subway to see the very bad behavior of a man's children, but when he found out that they were coming from the hospital where the mother had just died an hour before, his perspective changed completely.

The key to maintaining a good paradigm(s) is to keep an open mind, to be optimistic and to realize that however much we see, there is always more to the picture than just the painting (depending on the audience).

Principles
Principles are time-tested values that have worked through the ages regardless of social context. Values such as "seek first to understand, then to be understood" or "the golden rule: do unto others what you would have done unto you" are the values that effective people of all ages have embraced. They are not quick fixes, not something that you learn and execute over night. They are values that you must work on and master in order to become effective.

Dependence >> Independence >> Interdependence
The habits are designed, when you put them in practice, to help you mature as a person. This process of maturing is described below:

 * Dependence >> Independence >> Interdependence

We all start out life as babies completely dependent on our parents or other person to take care of us. This is a state of weakness and powerlessness.

As we grow up we work to become independent, moving out of our parent's home, earning money for ourselves, etc. A person at this level is able to do things for himself and does not need anyone else to survive.

The greatest human achievements come from people working at the third level, interdependence. This is when people work together to achieve a common goal, and is the level of maturity of many people in a mature society or organization. This is how mankind has achieved things together that no single person could do alone. Interdependence is the state of human development of greatest maturity and power.

As we develop our character as people, we grow in each of the seven areas described by the seven habits. In this process we move up the chart from dependence to independence to interdependence.

Efficiency vs. Effectiveness
You can be efficient with things but not with people. With people you must be effective. True effectiveness is when you can attain a balance between P and PC (between Production and Production Capability).

Production vs. Production Capacity
Production is referred to as a useful product (either tangible or intangible) that is being produced. Production Capacity is the process or method in which that product is being produced. The product is usually a result that is either produced continually or on a regular basis thereby introducing the necessity of keeping P (Production) and PC (Production Capacity) in balance. True effectiveness is a function of two things: what is produced and the producing asset or capacity to produce.


text:
Visual Rhetoric/Visual Representations of Time and Space

Space and time are two elements that reflect one another. It is important to understand how the two work in terms of visual rhetoric. Space as an element in visual rhetoric is often derived from narrative framing devices. Such a narrative is one that employs the evolution of time. For example, comics are a narrative through the evolution of time, but it is also being told spatially in the positioning of linear boxes and positioning of the subjects within the boxes.

Static vs. Dynamic Visuals
In a static two-dimensional image, time exists only within the mind of the reader. In comic books, photo albums, images, and similar mediums, readers create an order within the content of the image, creating not only a coherent narrative, but also a sense of the passage of time. This task is performed with a large reliance upon shared cultural assumptions about how a page is read, be it left to right or down to up and so on. For purposes of visual rhetoric, the term time comes to mean an indefinite and continuous duration in which events succeed one another. Time can exist in all types of visual images.

Photo Albums
Compiling photo albums is an example of how visual rhetoric is a narrative through space. The layout and design of images on each page helps convey the intended feeling of how a person felt at one particular time and attributes to how the overall story is perceived. How well or how poorly completed the layout and design are can shape the impact of the message.

To further elaborate, photo albums are a preservation of an event or time in place. Memories are made in the brain of the individual being and photo albums are a way to utilize space in a capacity separate from the self. It is important to note that with this visual narrative form of communication, the interpretation of certain events in time vary from viewer to viewer. The events that occurred in the images will naturally evoke a different feeling for the subject than it will for the viewer looking in from the outside. The individual viewer’s feelings are based on his or her own experiences through the times in their lives and the places they have been. These places are spaces where events have occurred, which evidently shows that time and space do indeed reflect one another.

Film & Video
Static images are not the only forms of visual rhetoric that utilize time and space. Time within dynamic visuals like film and video in motion-based mediums, is controlled less by the viewer. Time passes before the viewer with the only thinking taking place when scenes change and they must make a connection between their times and places. The viewer doesn't assemble the narrative, but only observes it. A moment on the motion picture screen is only a moment, while a moment on a page is, to the audience viewing it, eternal. While one may read beyond one section of an image, the previous one is still there and still visible. A viewer sees what they choose to see, not only what they are meant to see. Thus, it is possible to view multiple moments at once, from multiple perspectives, and yet still assemble them into a coherent whole. This is an aspect of the viewing of images that works at a level far beyond day-to-day human perception, which is always from a single perspective.

Theatrical Productions
Like film and video, plays and other theatrical productions are narrative stories told in a space bound by a stage surface. Plays are distinguished from motion pictures through time and space. Plays are a live event happening right in front of the viewer in real-time. Motion pictures are like photo albums in that it is more two-dimensional than three-dimensional. In many cases, theatrical performances transform the audience from the present day into another era. The mentality of the audience is not only affected by the time period of the play, but also by the placement of the actors and as well as the distance between the viewer and the stage. The space between the viewer and the story being told separates reality from fiction, or in some plays, non-fiction.

Linear vs. Nonlinear Visuals
As well as seeing a single perspective, humans also usually view reality in a strictly linear fashion, moment to moment. Viewers will usually assemble an image into a linear narrative, but they can also do it non-linearly if they wish to. Some visuals lend themselves to non-linear readings, as they have no coherent order outside from the overall view they present, while others will only make sense in a straightforward order. The viewer does more work when reading non-linearly, as it is a different way of experiencing reality than we are accustomed to. Of course, the brain is thought to work in a largely non-linear manner, but our senses do not.

Comics
This idea of viewing reality in a linear fashion can be depicted in comic strips. Comics flow in a linear fashion telling a story through images and text. Many people do not realize that by reading and viewing comic strips they become a part of visual rhetoric. Each comic is compiled of individual boxes displaying images and when put together they go through time to get to an ending, or tell the story. Although they, unlike film and video, are still images, the idea of time is still depicted.

Some aspects of this reading are more intuitive, as the eye will naturally spend more time on a larger image or better focused object. If something is read first, it is read as first in the series of events assembled by the reader. Also, larger segments of the image seem to last longer as they take longer to read. Thus, when it comes to the reading of static images, space becomes equal to time.

Conclusion
We can now see how elements from a variety of mediums can alter the viewers' perceptions by utilizing time and space. Static and dynamic visuals differ in how a viewer absorbs the content. The message that comes from dynamic visuals is fed to the audience more passively than static visuals. In order to understand static visuals, individuals need to be more active in analyzing its spatial components. While humans experience time linearly, media can show subjects to us in a non-linear fashion, silently altering perceptual time and space.


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Talk:Beekeeping

Formatting
The current formatting makes the introduction 80% wide, leaving a very narrow strip for the TOC; (at the common width of 800 pixels or so) the TOC is hard to read, and the introduction is full of empty space. I'm going to narrow the introduction somewhat, but it'll look differently broken on various browsers. --132.206.150.195 20:40, 26 Apr 2005 (UTC)

 * I was hoping to add some more text and possibly relevant pictures to the introduction, I just have not gotten to it yet, nor apparently has anyone else. I do however think that the narrowing of the intro box did some good. I'm open to other options too. I like the intro (or at least the idea of an intro) on the main page, and the table of contents is long, but I think it is necessary. If there are any style/formatting experts out there your input would be greatly appreciated. Right now I seem to be the only one doing any major work on this book, which is fine by me for now, but this also means every one has to deal with my god-awful formatting and design style. --Robert Engelhardt 03:49, Apr 27, 2005 (UTC)

might be of use
US government photos are public domain.

http://weslaco.ars.usda.gov/photos/ecbeetle.html http://weslaco.ars.usda.gov/photos/eckilled.html http://weslaco.ars.usda.gov/photos/ecyork.html http://weslaco.ars.usda.gov/photos/elzenp1.html http://weslaco.ars.usda.gov/photos/elzenp2.html http://weslaco.ars.usda.gov/photos/elzenp3.html http://weslaco.ars.usda.gov/photos/collectbee.html http://weslaco.ars.usda.gov/photos/varroa.html

Mark these images with the tag if you use them.
 * Stuck a couple in WikiMedia Commons, and will add 'em to the Varroa mite module -Robert Engelhardt 02:06, May 15, 2005 (UTC)

Content from Wikipedia
Wikipedia is discussing giving Beekeeping leading practices to you, for merger here. Do you want the content? Please discuss on its talk page. Uncle G 14:25:55, 2005-09-05 (UTC)
 * You now have Transwiki:Beekeeping leading practices. Rename and merge at will. Uncle G 18:34, 14 November 2005 (UTC)

Proposed rename
I'd like to change all the subpages of this book so that they begin with "Beekeeping/" rather than "Beekeeping: " in line with the new naming convention. I trust this will be an uncontroversial change, but note it here to allow for comments before any change, Jguk 07:11, 7 April 2006 (UTC)

 * Now done, Jguk 22:05, 21 May 2006 (UTC)

...
Why is there a big blank yellow square on the main page?

Cover Image
Was this meant to be a cover image of some kind? Found it on commons. --Mbrickn (discuss • contribs) 07:18, 12 August 2021 (UTC)

title: Talk:Beekeeping


text:
Emulation/On Dreamcast/Burning MAMED on a Mac

Back to Emulation

 * 1) Start with a big stack of blank disks (you may need them)
 * 2) Get Toast (cd burning application)
 * 3) Download DC Mac Pac
 * http://www.dcemulation.com/dl/dl.php3?url=files/needed/mac/macpack4.sit
 * http://www.dchomebrew.org/mactools.shtml
 * 1) Download the MAMED Disk Juggler CD Image
 * http://digita.mame.net/download.htm—needs to be completed


text:
Cookbook:Baking Sheet

| Bakeware

A baking sheet, called an oven tray, cookie sheet, sheet pan, and more, is a type of baking pan, consisting of a rectangular metal tray used to hold food items (typically cookies or bread) while baking within an oven. If it has sides, they are very low, which differentiates the baking sheet from other types of baking pan like cake pans.

A baking sheet can be accompanied by a cooling rack of similar size which the baked goods can be quickly removed to when they are done cooking.

Cookie sheet
Cookie sheets are completely flat, rimless sheets specifically designed for baking cookies. They may have a slight lip to make holding the pan easier, but they otherwise have no sides. They are not suitable for cooking anything that may produce liquid while cooking, or that needs agitation.

Rimmed sheet
Rimmed baking sheets have a short rim, usually around 1 inch (2.5 cm) high. The rim makes the pan easier to hold, and it is useful for containing any liquids present during the cooking process. The rim does have a slight impact on airflow in the oven, which can affect the consistency and browning of baked goods like cookies.

Materials
Baking sheets are available in non-stick materials, but these tend to overbrown cookies on the bottom before thoroughly cooking them. To avoid this, professional bakers use more evenly conductive materials, such as heavy-gauge stainless steel, covered with a sheet of parchment paper or a silicone baking mat to provide a non-stick effect without altering the sheet's effectiveness. Many consumer alternatives, such as insulated aerobake sheets, are also available, which will cook more slowly but with similar effectiveness.

Standard sizing
In the United States, rimmed sheet pans can be found in the following standard sizes:

 * Whole sheet: 26 x 18 inches (66 x 46 cm)
 * Half sheet: 18 x 13 inches (46 x 33 cm)
 * Quarter sheet: 13 x 9 inches (33 x 23 cm)
 * Eighth sheet: 9 x 6.5 inches (23 x 16.5 cm)

title: Cookbook:Baking Sheet


text:
Talk:History of Elven Writing Systems/Age of Starlight

Name "Ára"
I doubt that this name is intended to be the name for the long carrier. I think it's rather the name of a specific vowel tengwa. J. 'mach' wust 22:40, 26 Apr 2005 (UTC)

 * I think it will be ok to bementioned with a question mark

Témar arrangement
I see no reason why the témar order should be changed. Is there any. Helios de Rosario Martínez hypothesis about the original Elvish témar values is very convincing and suggests that the reported order is the original one (see a translation of his hypothesis). J. 'mach' wust 22:40, 26 Apr 2005 (UTC)

 * This 'reconstructed' arrangement is also based on the word 'patakar' (p-t-k), which is not **'tapakar'.

 * We don't know whether this has anything to do with the tengwar. J. 'mach' wust 18:16, 1 May 2005 (UTC)


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Programming Ajax

Ajax or "Asynchronous JavaScript and XML" is a phrase that was coined in 2005 by Jesse James Garret of Adaptive Path in his introductory article on the subject. (For a complete definition of the item, please see the Wikipedia Ajax entry.)

The purpose of this guide is to show how to unobtrusively add Ajax into your web application in such a way that your site will continue to function even when JavaScript is not enabled. Through intelligently hooking JavaScript triggers to certain elements in your markup, you can successfully add a new layer of interactivity to your site without sacrificing backwards compatibility with browsers which do not support Ajax. In this way, you can enhance your site without cutting off users that choose to not enable JavaScript because of their security concerns (warranted or not) or due to browser quirks.

There are several web sites already dedicated to promoting (or denouncing) the use of Ajax. Therefore, wherever possible, an attempt will be made to list these resources without bias. Although I fully invite anyone to add to this document, because of intellectual property and copyright reasons, it's just impractical to get the consent of everyone to include their content. Besides, these sites often showcase the very concept that they are attempting to describe.

When a concept is relative to Ajax it should be described here, but the definitive work should be relegated to other Wikibooks or websites where that concept has already been (or should be) fleshed out.

In light of this, there are several concepts with which you should become familiar if you want to work with Ajax. Although, not all of them are expressly required to cut and paste in some sample code, for hacking out your own code, the following are recommended.

 * JavaScript
 * Wikibook:JavaScript, especially JavaScript/XMLHttpRequest
 * JavaScript
 * XHTML
 * XHTML
 * XML
 * Wikibooks:XML
 * XML
 * Document Object Model
 * Document Object Model
 * Cascading Style Sheets
 * Wikibooks:CSS Programming
 * Cascading Style Sheets
 * XSLT
 * XSLT

To make programming in Ajax easier, web developers may make use of a JavaScript library for Ajax. These JavaScript libraries allow the common problems of browser support for certain required objects to be abstracted, and mean that the developer can get on with the task of writing their application.

title: Programming Ajax


text:
Talk:Programming Ajax

I must admit that this book is for fairly selfish reasons. I've very excited about AJAX, however, roaming the Web and Googling for articles and samples is tedious. Lots of people have made lists of examples, and there are several how-to's and discussions out there, but many of those are all singular efforts and it makes sense to have someplace that a guide can be written via a colaborative effort.

Even though I've been working on Web Sites for 8 years now, there are tons and tons of things I don't know. And the nice thing about these Wiki's is that several minds can come together and make a living book explaining the concepts and fleshing out ideas that can stay fresh with the times.

Well, I would like to spend more time on this right now, but my wife is having contractions :)

AJAX or Ajax?
Would you have any major objections to moving the page to Programming:Ajax? I have a request for a page move over at Wikipedia; in both cases, the original author coined the term using the "Ajax" capitalization, not the "AJAX" one. It just seems right to respect that use, but of course, I could be wrong! Jason 16:27, 7 August 2005 (UTC)

 * Before deciding on a new name, it might be worth reading WB:NP. - Aya T C 22:33, 7 August 2005 (UTC)

 * OK, I don't understand -- the policy doesn't have anything to say about this particular page move question. The page's name (both the original and the suggested rename) respects the Wikibooks way of naming pages; I'm merely suggesting that we rename the technology-specific portion of the page title to respect the original name of the technology, and not perpetuate the all-caps mistake that's made its way here.  If I'm missing something, please let me know! Jason 23:40, 7 August 2005 (UTC)

 * Sorry. That was a bit terse. What I was implying is that this page still follows the old "bookshelf convention" where the "Programming" part implies it's on the programming bookshelf. The new convention is that a colon (or a slash) should only delimit subpages in a book, not books in a bookshelf. Just rename it to Programming Ajax or Ajax Programming instead. - Aya T C 00:53, 8 August 2005 (UTC)

 * Gotcha -- I get it now. :) Sorry for the dense moment. Jason 01:33, 9 August 2005 (UTC)

title: Talk:Programming Ajax


text:
User talk:Hyacinth

See w:User talk:Hyacinth.

Imports
Please request an import for content at Requests for import instead of copying and pasting. Thanks. -- Adrignola talk contribs 19:26, 17 May 2010 (UTC)

title: User talk:Hyacinth


text:
Talk:History of Elven Writing Systems/Second Age

major criticism
As I see it: J. 'mach' wust 23:24, 26 Apr 2005 (UTC)
 * 1) The discussion of the Quenya mode does not belong here, since we don't know anything about explicitly second age Quenya writing.
 * 2) The mode of Beleriand belongs here, since the mode of Beleriand we know dates from the Second Age only in spite of its name.
 * 3) A discussion of the Númenorean mode fragments of DTS 50 belongs here along with the question whether it may be the origin of the attested 'general use'.
 * 4) In a related issue, a discussion of Sauron's tengwar use belongs here.

 * The NCP mentions a Numenorean Quenya mode where the use of unutixi is demonstrated, when the a-tehta is not used. In order to discuss this mode here, I thought nice to present it in a theoretical table of the intermediate values. Appendix E for example says that Aze became Are and then Esse, but doesn't say about the (brief) period when the letter was Are, before becoming Esse. We also should show the period when Noldo was not ng- or n-, but ñ-. It's also a good place to show that ndy > ny and that maybe these changes were the cause that Tyelpetema began to be not useful. Do you think it should go to the First Age?
 * I disagree. Since the Mode of Beleriand originates from the First Age, I think it proper to go there, despite the fact it might wrongly describe Second Age elements. Since we don't have First Age samples, the gap must be filled with the 'Moria mode'
 * I agree. As for the Numenorean mode, I think you are more qualified, so you can proceed if it's not much trouble.

 * We can't just fill in the gap of the Second Age with all the stuff we don't know where to put. We don't know when these developments took place. And with respect to the a-tehta being left away, this was not only done by the Númenoreans.
 * We don't know anything at all about First Age mode of Beleriand. We'd lie if we'd pretend we did. J. 'mach' wust 18:27, 1 May 2005 (UTC)


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Cookbook:Baking Powder Biscuits

| Bread | Breakfast

Baking powder biscuits are a type of quick bread sometimes served with lunch or dinner, especially for an informal or casual meal. Sometimes biscuits are served with gravy. Often biscuits are served with breakfast. Eaters typically apply butter, honey, jam, or jelly to their biscuits. For breakfast, an eater might add a fried egg, fried ham, sausage or cheese.

Biscuits come in two forms, cut and dropped. Cut biscuits use a fairly normal dough that is rolled out and cut with a circular cookie cutter. Drop biscuits use a somewhat wetter dough that is dropped onto a cookie sheet with a spoon.

Procedure

 * 1) Mix the dry ingredients.
 * 2) Cut in the fat, preferably as you would for an apple crisp or traditional pie crust.
 * 3) Add the milk, mixing only as needed to wet the dough or batter.
 * 4) If doing drop biscuits, plop the batter by large spoonfuls onto a greased or parchment-lined cookie sheet. Otherwise, for cut biscuits:
 * 5) Give the dough a quick knead.
 * 6) Roll the dough out to ½ inch thick, using flour as needed to avoid sticking.
 * 7) Cut circles with a 2.5-inch cookie cutter, or carve hexagons (a honeycomb pattern) with a knife.
 * 8) Space the biscuits 1 inch apart on the cookie sheet.
 * 9) Bake 10–12 minutes in a 450°F oven, stopping when lightly browned on top.
 * 10) Serve hot.

title: Cookbook:Baking Powder Biscuits


text:
Instructional Technology/Instructional Theory

The following authors have had profound influence on the field of instructional technology.

Robert Gagne

 * Conditions of Learning
 * Mastery Learning
 * Learning Hierarchies
 * Nine Events of Instruction
 * Five Domains of Learning

M. David Merrill

 * Teaching Concepts (with Tennyson)
 * Component Display Theory
 * Elaboration Theory for Content Sequencing (with Reigeluth)
 * Instructional Transaction Theory for Instructional Strategies
 * First Principles for Instruction
 * Five Star Rating System for Instruction

Michael J. Spector

 * Automated Instructional Design

Charles Reigeluth

 * Elaboration Theory

David Jonassen

 * Constructivist Learning Environments (CLEs)

Return to Bases of the Field.


text: Beekeeping/Images and Illustrations

title: Beekeeping/Images and Illustrations


text:
Instructional Technology/Instructional Design/Dick & Carey

Dick & Carey Model
The Dick and Carey models follows the Gagneian approach (from Robert Gagne who developed the Conditions of Learning Theory, see )to instructional design, incorporating conditions of learning and stressing a hierarchical analysis and approach to designing instruction, (see the Dick & Carey Model).


text:
Russian/Geographical Names

Geographical names

 * Росси́я

 * Russian:

 * Major cities

 * Ни́жний Но́вгород
 * Челя́бинск
 * Пермь
 * Волгогра́д
 * Тверь
 * Росто́в-на-Дону́
 * Каза́нь
 * Уфа́
 * Краснода́р
 * Бе́лгород
 * Воро́неж
 * Курск
 * Му́рманск
 * Смоле́нск
 * Орёл (ё is always accented, very often written as "е", without diacritics)
 * Омск
 * Новосиби́рск
 * Ирку́тск
 * Красноя́рск
 * Комсомо́льск-на-Аму́ре
 * Владивосто́к
 * Хаба́ровск

 * Other Russian names
 * Во́лга
 * Ле́на
 * Енисе́й
 * Байка́л
 * Чё́рное мо́ре

 * World:

 * Countries:
 * Аме́рика
 * США (сэ-ше-а́)
 * Кана́да
 * Фра́нция
 * Герма́ния
 * Кита́й
 * И́ндия
 * Ита́лия
 * Ям́айка
 * Испа́ния
 * Япо́ния
 * Австра́лия
 * Но́вая Зела́ндия
 * Коре́я
 * Вьетна́м
 * Еги́пет
 * Гана
 * Филиппины

 * Cities:
 * Вашингто́н
 * Нью-Йо́рк
 * Бо́стон
 * Рим
 * Торо́нто
 * Ло́ндон
 * Берли́н
 * Варша́ва
 * Пра́га
 * Бухаре́ст
 * Лос-А́нджелес
 * Но́вый Орлеа́н
 * Пари́ж
 * Сан-Франци́ско
 * Си́дней
 * Ме́льбурн
 * Пеки́н
 * То́кио
 * Каи́р
 * Акра
 * Манила

title: Russian/Geographical Names


text:
Cookbook:Tongs

| Kitchen tools

Tongs are used to easily grasp and transfer food.

Cooking and serving tongs consist of shaped "jaws" attached to a pair of long handles equipped with a spring to open or 'release' them. The 'scissor' style with looped handles and smaller loops on the 'food' end is also popular.

The jaws or ends can have many shapes, ranging from a simple open loop on a bent-rod utensil shown here to gently scalloped and enclosed to grasp food without tearing or breaking the crust. A good pair will be easy to hold and have very little 'flex' when grasping things like chicken breasts or 6-8 ounce (170-130 g) steaks. Cheaper tongs will have very little 'hold' on anything of substance and are likely to create more problems than they solve. Avoid buying anything that cannot easily pick up and manipulate another copy of itself in the store.

They are commonly made from pressed steel sheet metal, steel rods or plastic. They offer mild protection from hot food mainly from the distance they provide from the cooking and can help a lot in preparing and serving a meal.

Tongs intended for handling food that is heavy or very hot can be made of steel rods, with a rubber-coated scissors-like handle for better control. Stronger versions of the pressed-steel tongs have proven very useful and adept in handling heavier and more cumbersome foods.

title: Cookbook:Tongs


text:
Cookbook:Sieve

| Kitchen tools

A sieve (also known as a strainer) is a kitchen utensil used to separate liquids or fine dry foods (like flour) from larger particles. It can also be used to break up lumps in dry ingredients (like cocoa powder) or to purée cooked foods by passing them through the sieve. Modern sieves are usually made from fine stainless steel mesh that has been pressed into a hemispherical shape, and then embedded in a plastic or steel carrier with a handle.

title: Cookbook:Sieve