text:
Online OsiriX Documentation/Multi-planar reconstruction (MPR)

< ^ >

OsiriX supports fours different MPR modes: 2D MPR, 2D Curved-MPR, 2D Orthogonal MPR, and 3D Orthogonal MPR. Curved MPR is discussed elsewhere in this manual.

a) 2D MPR

The 2D MPR window

This 2D MPR Viewer allows generating a MPR slice in any position and orientation through the 3D volume. This mode shows three viewing ports. In the picture above, the two on the left are labeled A and B. The third, on the right, is labeled C.

The primary purpose of the A and B view ports is to specify the plane that will be shown in the C view port. The A and B view ports are partially obscured by lines used specify the plane to be seen in C. These lines cannot be hidden. In this sense, the C view port is designed for diagnostic viewing and the other two view ports are primarily to specify what is to be shown in C. The view ports are not all equal, which may be different from what users of other MPR interfaces are expecting. View port A shows a blue line which corresponds to the orientation of what is being seen in C and also contains a red line that corresponds to what is seen in B. View port B shows only a blue line that also corresponds to what is seen in C. View port C has no lines.

The specifying view port A will show the original images in the plane that they were originally acquired, most commonly the axial plane. You can scroll through these images to choose the one that you want to work off. The specifying view port B shows planes that are orthogonal to view port A. If A is showing an axial image then on initially opening the 2D MPR Viewer, B will show a sagittal image. The specific orthogonal plane that is being created in B is indicated in the A view port as a red line. Under these initial circumstances, C will be showing a coronal reconstruction that corresponds to the blue line.

If you are interested in seeing a sagittal image, one can simply look at the B view port but this is not really what a specifying view port is for. The specifying view ports are smaller and obscured by lines. To see a clean sagittal image, you want to grab the blue line in view port A and swing it 90 degrees. At this point, the C view port will show a sagittal image. The red line, indicating the plane of view port B, will maintain itself perpendicular to the blue line. This line, indicating the orientation of view port B, will now be documenting the coronal plane that is visible in B. You cannot grab the red line to do this rotation. Only the blue line can be grabbed. You can move the intersection of the two lines by grabbing within the red circle. This will center the point of rotation

Simply by using the A specifying view port, you can show any orthogonal plane between sagittal and coronal in the C diagnostic view port. However, to specify oblique planes requires the simultaneous use of view port B. When you specify an oblique plane, it requires that you look primarily at the blue line in B to understand what plane is being shown in C. It is possible, for example, to have the blue line in A completely outside the body part being shown in A and yet something is still being shown in C. Once you are looking at oblique planes, the blue line in A is of limited value in terms of understanding what you are looking at in C.

A common clinical scenario is to create an image that is at and parallel to a lumbar endplate in a lordotic spine. By grabbing the intersection point in A to place it over the spine and grabbing the blue line to rotate the red line into the desired sagittal plane, you can specify the sagittal view of the spine in view port B. In B, you can move the blue line so that it is oriented parallel to the endplate of interest. The desired image is now displayed in C.

A limitation of this interface is that you cannot specify a plane off of an oblique image. The specifying view ports, A and B, will not show an oblique image. So to deal with a more complicated scenario, such as creating a plane parallel to an endplate in a lordotic and scoliotic spine, requires a certain agility of mind in 3D visualization. For this case, you could rotate the blue line in A such that the red line goes through the highest and lowest points of that interspace. Then the B port will show you some sort of half sagittal half coronal image that you can use to orient B’s blue line to show the desired plane in C. One way or another, you can specify any plane in C.

Another limitation of the interface is that once you have established a plane for C, you cannot simply scroll (i.e. move back and forth through the volume showing planes parallel to the established plane). You can grab the red circle in B and move it to establish roughly the same functionality.

The zoom tool is useful to optimize the use of the space of the view ports. Moving the metallic bars that separate them can redistribute the area of the view ports. Finally, the rotation tool can be useful when the image in C is peculiarly oriented.

(This MPR mode is quite computationally intensive. It cannot pre-process images and all images are displayed with cubic interpolation.)

b) 2D Orthogonal MPR

This mode shows three orthogonal planes, the original data set the and the major two perpendiculars to it. Unlike the 2D MPR mode, all the view ports are equal and behave similarly. Green lines on each window show the location of the other two orthogonal planes. You can move the green indicator lines freely in any of the view ports. Zooming and windowing will affect all the ports simultaneously. A scroll wheel will work in any of the windows to move back and forth through the stack. If you are content to be viewing only the orthogonal planes, this mode is easier and more informative than the 2D MPR.

It is important to realize that hitting the space bar allows toggling through three states. The first state shows only the green lines, the second state adds intersecting hairlines to show the common point of the three view ports and the third state hides all the lines.

c) 3D Orthogonal MPR

3D orthogonal MPR mode

This mode allows you to display a 3D representation of the volume with 3D orthogonal MPR slices. You can change the position of the orthogonal slices by using the 3 sliders located in the toolbar:

Positions of orthogonal slices

Hide or show slices by clicking in the check boxes.

OsiriX < ^ >

Documentación en línea de OsiriX/Reconstrucción multi-planar (MPR) OsiriX オンライン解説文書/OsiriX入門 多断面再構成像を作成する


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Online OsiriX Documentation/Using OsiriX as a PACS workstation

< ^ >

Yes, you can use OsiriX as a PACS workstation! You don’t have to to buy multi-thousand $$ PACS workstation licenses! Save your bucks and buy Macintosh computers instead!

You only have to configure your modalities to automatically send exams to your OsiriX computer: configure the AETitle and Port number in OsiriX (see Importing DICOM images into OsiriX and Viewing DICOM headers).

Note: OsiriX website defines it self as a DICOM Client and explains how to get a free PACS system. It does not make it clear, however, what limitations OsiriX has over a PACS system.

OsiriX < ^ > Documentación en línea de OsiriX/Utilizar OsiriX como una estación PACS Documentation en ligne de OsiriX/Utiliser OsiriX comme station PACS OsiriX オンライン解説文書/OsiriX入門 PACSワークステーションとして使用する

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


text:
Online OsiriX Documentation/Using 2-D thick slabs

< ^ >

OsiriX supports a 2D thick slab mode in the 2D viewer. This mode is particularly interesting if you are working with multi-slice CT. It will allow you to navigate more efficiently through a huge series.

Thick slab mode is controlled in the tool bar:

Thick Slab controller

There are actually 3 modes:
 * Mean: all slices are added and the mean is computed.
 * Maximum Intensity: maximum intensities of all pixels are extracted and displayed.
 * Minimum Intensity: minimum intensities of all pixels are extracted and displayed.

You control the number of slices with the slider. You can view the thick slab information in the lower left hand corner of the window:

Images 1 to 9 are displayed, and the total thickness is 27 mm.

For more information about thick slab, read the following articles:

 * 1) Gruden JF, Ouanounou S, Tigges S, Norris SD, Klausner TS. Incremental benefit of maximum-intensity-projection images on observer detection of small pulmonary nodules revealed by multidetector CT. AJR Am J Roentgenol 2002 Jul;179(1):149-57.
 * 2) Coakley FV, Cohen MD, Johnson MS, Gonin R, Hanna MP. Maximum intensity projection images in the detection of simulated pulmonary nodules by spiral CT. Br J Radiol. 1998 Feb;71(842):135-40.
 * 3) Remy-Jardin M, Remy J, Giraud F, Marquette C-H. Pulmonary nodules: detection with thick-section spiral CT versus conventional CT. Radiology 1993;187:513–520.

OsiriX < ^ >

Documentación en línea de OsiriX/Utilizar 2-D thick slabs OsiriX オンライン解説文書/OsiriX入門 2Dシック・スラブを使用する


text:
Online OsiriX Documentation/Navigational shortcuts

< ^ >

The following functions are helpful in the rapid and efficient interpretation of images:
 * window level adjustment
 * translation
 * zoom
 * rotation
 * series browsing
 * measurements
 * regions of interest

The following small icons in the toolbar represent these basic functions:

Basic functions

To use these functions, simply click on them.

To save time, you can also use one of the following keyboard and/or mouse combinations:

 * a) Mouse + keys
 * You can change your current mouse functions by using following combinations:
 * Option + Click = Window level adjustment
 * Apple + Click = Translation
 * Shift + Click = Zoom
 * Cntl + Click = Rotation

 * b) 3 button mouse + wheel
 * We highly recommend that you use OsiriX with a multi-buttons and wheel mouse. You will be able to navigate more efficiently than by using a simple unique button mouse.
 * Left button = currently selected function
 * Right button = zoom (The toolbar will allow you to choose a different function to be assigned to this right button)
 * Wheel = navigate in the series

 * c) Jog-wheel
 * OsiriX is compatible with these new jog-wheel devices from Contour Design (http://www.contourdesign.com/ ). OsiriX is able to fully exploit these devices to quickly navigate in 5 dimensions.

A jogwheel programmed to access common OsiriX tools

OsiriX < ^ >

Documentación en línea de OsiriX/Combinaciones de teclas OsiriX オンライン解説文書/OsiriX入門 ショートカットを使用する


text:
Online OsiriX Documentation/Making OsiriX run faster

< ^ >

There are two limitations to OsiriX: memory and processor power.

 * 1) Memory:

 * OsiriX requires a lot of memory if you try to open a large series of images! If OsiriX does not have enough memory, MacOS X will try to free memory by using the “Virtual Memory” (VM) mode: it will use your hard drive as RAM... But VM is about 1000 times slower than RAM!! You see the problem... Here is how to compute memory the amount you need: do the following simple calculation for the number of images you want to view and handle at the same time:

 * Memory required = Height X Width X Number of images x 4 / 1048576

 * For example: 512 x 512 x 100 x 4 / 1048576 = 100 MB of RAM for 100 CT images

 * This means that you need at least 100 MB of RAM ONLY for your 100 CT images. MacOS X requires a minimum of 256 MB to work “normally”. You will need at least 256 + 100 MB = 356 MB to avoid Virtual Memory mode.

 * 2) Processor power:

 * OsiriX needs high processing power for 3D reconstruction: MIP and Volume Rendering. OsiriX is a multithreaded application that can use all of the processors available in your computer. If you want the best performance you should buy a quad G5 or a MacPro intel quad!

 * Another solution is to use a computer cluster with the Apple X-Grid /MPI technology. Run and install the package. You then need to install the “OsiriX plugin”: copy it in the “Plug-ins” folder of “Xgrid” folder located in your “Library” folder. More information about this technology in future releases.

 * Another solution would be to use a VolumePRO PCI graphic board from TeraRecon. This solution is currently under investigation to make OsiriX run faster than a Vitrea3D workstation! All 3D reconstructions in OsiriX are based on VTK and VTK fully supports the VolumePRO graphic board...

OsiriX < ^ >

Documentación en línea de OsiriX/Acelerar OsiriX OsiriX オンライン解説文書/OsiriX入門 もっと早く動作させる


text:
Online OsiriX Documentation/Downloading and Installing OsiriX

< ^ |

You can download the following from the OsiriX Download Page:

 * OsiriX installation package + Quick Manual (OsiriX.pkg.sit)

 * Various optional OsiriX Plug-ins

 * OsiriXBroadcasting.sit

 * The entire OsiriX source code

 * Reprint of the article on OsiriX from the September 2004 issue of the Journal of Digital Imaging

Other DICOM Test Images

 * Additional DICOM sample image sets (28 - 932 MB)

Installation
Double-click on OsiriX.pkg and follow the on-screen instructions.

OsiriX < ^ | Documentación en línea de OsiriX/Bajar_e_instalar_OsiriX Documentation en ligne de OsiriX/Télécharger et installer OsiriX OsiriX オンライン解説文書/OsiriX_のダウンロードとインストール


text:
Online OsiriX Documentation/3-D reconstructions

< ^ >

OsiriX supports three 3D reconstruction modules:

1) Maximum Intensity Projection (MIP)

3D MIP Reconstruction

This reconstruction uses a ‘ray-tracing’ technique to identify which pixel has the maximum intensity on each ray. This technique is useful for contrast MRIs or CTs, and bone CTs.

2) Volume Rendering

3D Volume Rendering

This reconstruction uses a ‘ray-tracing’ technique to apply a transparency/opacity to each pixel depending on their position and their intensity. This technique produces nice images of soft tissues for MRI and CT. It is actually the most used 3D technique and will produce the nicest images in many situations.

3) Surface Rendering

3D Surface Rendering

This reconstruction produces surfaces that are based on an “iso-contour” defined by the user. This technique is useful for virtual endoscopy and bone CTs. The user can define two different surfaces to render.

OsiriX < ^ >

Documentación en línea de OsiriX/Reconstrucción 3-D OsiriX オンライン解説文書/OsiriX入門 3D再構成像を作成する


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Saxophone/Getting Started

IMPORTANT!
Though this is an online guide to Saxophone, we recommend that you first seek a qualified and reputable saxophone teacher in order to monitor your progress. It is possible to self-study an instrument, however it is extremely difficult for an instrument such as the saxophone, where there are various aspects such as intonation and embouchure which are very difficult to self-monitor. That said, we hope you enjoy the tips from this book!

Getting Started
You may or may not currently own or have access to a saxophone. Whether or not you have one, and whatever type of saxophone it is (alto, tenor, soprano, baritone), there are some basic technical aspects you need to understand about the saxophone.

Family
Many people wrongly consider the saxophone to be a brass instrument. Strictly speaking, the saxophone is a member of the woodwind family as a result of the method of sound production. Under the woodwind family, the saxophone is a member of the single-reed instruments, which include the clarinet and saxophone.

Reeds

The fundamental sound-producing mechanism of your saxophone is the reed and mouthpiece. As you blow through the mouthpiece, the reed vibrates, which produces the sound. This sound resonates throughout the rest of the instrument and by changing the length of this resonating tube of brass (by pressing different keys), we achieve a wide range of pitches. When you first open your instrument, You should try to locate the mouthpiece, which should look like this. If it doesn't have one, you can try buying one from the music store; for starters you can just buy a cheap student mouthpiece which shouldn't cost more than about $20. Make sure the size of the mouthpiece fits the size of your instrument!!! For example, if you have an alto saxophone, make sure you buy an alto-saxophone mouthpiece. If in doubt, take the whole lot to the music shop and they should be able to help you. Next, if there is a reed attached to the mouthpiece, loosen the metal clamp (this is called the ligature) and remove the reed. This is very important for hygiene reasons, as we will soon discover! Avoid using a second hand reed at all costs. Again, reeds can be purchased at the music shop for about $2 each, or they also come in boxes of 5, 10, 20. When starting, we recommend using soft reed because these are the easiest to make a sound on. They will also prevent your cheeks from getting sore, which can occur for the beginner. Again, make sure when purchasing these that they are the right size for your mouthpiece and instrument! Reeds are highly fragile and special care should be taken when handling them.

Preparing the reed
The reed will only work properly when it is wet. To do this, soak the reed in a glass of water for about 1-2 minutes. This should get the reed soaked enough to vibrate freely. Alternatively, you can moisten the reed in your mouth by sticking it in your mouth while you assemble your saxophone.

Reeds come in sizes ranging from 1-5 and usually also come in half sizes. Some companies gauge the reed's strength with soft, medium, or hard. Be aware that these strengths are somewhat subjective and there is no definitive scale, so one vendor's 3 may be 'harder' than another vendor's 2.5 size. Beginners usually play with a size 2 or 2.5 reed, and as they progress and develop as a player may choose to use harder reeds. The higher the number, the harder the reed.

Harder reeds provide more air resistance at the mouthpiece, and therefore allow the player to play louder but require more control and diaphragm support. In general, it is easier to play low notes on a softer reed and easier to play high notes (especially altissimo tones) on a harder reed. It is common practice for a saxophone player to keep between 4 and 10 good reeds on hand and rotate their use so that their performance stays consistent and so that there is always an available reed in case of breakage.

A common practice by some saxophone players (particularly in pop and jazz music) is to keep their reeds soaked constantly in a water/alcohol solution (diluted mouthwash or vodka). This method requires harder reeds and more embouchure control, but the reeds' quality remains consistent and they are immediately ready to use. As with all aspects of playing music, every player has differing opinions and tastes as to what works for them, and the only way to find out what works best for oneself is to try it.

Positioning the reed on the mouthpiece
The reed should have a thick end and a thin end. The thin end should have a rounded edge which corresponds to the rounded edge of the mouthpiece. Place the reed on the flat part of the mouthpiece so it covers the rectangular hole and the top, rounded edge of the reed matches the rounded edge of the mouthpiece. Move the reed down slightly just so that there is 1-2mm gap between the top of the reed and the top of the mouthpiece. If the reed is too high up, it will block the air and you won't be able to make a sound. If it is too low, the air will flow too quickly and the reed won't be able to vibrate. Once this is done, pop the ligature over the ensemble, and tighten it, making sure the ligature has been put through the right way (wide end down), and the screws sit above the reed. Make sure while you tighten it that the reed doesn't move out of position. Tighten the screws just enough so they are finger-tight. Try blowing through this mouthpiece ensemble. It should make a terrible yelp. Congratulations, you have blown your first note on the saxophone (mouthpiece)!

Advanced tip: Positioning the reed slightly higher or lower on the mouthpiece will make the reed harder or softer respectfully.

title: Saxophone/Getting Started


text:
French/Grammar

Contents
Francés/Gramática フランス語/文法

title: French/Grammar


text:
Online OsiriX Documentation/OsiriX System Requirements

< ^ >

 * MacOS X 10.4 or higher.

 * A Macintosh G3, G4, G5 or Intel computer (G5 or Intel highly recommended for 3D-4D!)

For best performance:

 * 512Mb of RAM if you plan to open more than 300 images (classic CT & MRI).

 * 1GB of RAM if you plan to open more than 800 images (multi-slice CT, PET-CT).

 * 2GB of RAM if you plan to open more than 1500 images (multi-slice PET-CT).

 * 4GB of RAM if you plan to open more than 3000 images (cardiac CT with 4D Viewer).

OsiriX < ^ > Documentación en línea de OsiriX/Requerimientos_de_sistema_para_correr_OsiriX Documentation en ligne de OsiriX/Système minimum nécessaire pour OsiriX


text:
User:Paulcharles

Paul Charles is a British author, screenwriter and journalist. He is the author of From Beyond Belief, Kicking Tin and I Killed Kirsty, and the principal screenwriter on Whitby NY. He has written for the Financial Times and appeared on BBC Radio as a business journalist. He now earns his living from his writing, and fully supports Wiki and the work of GNU / Free Software Foundation. You can read his blog here

title: User:Paulcharles


text:
Introduction to Moral Reasoning/The dissertation

The following has been translated from the french philosophy wikibook:

The dissertation is the philosophical exercise par excellence. It permits the evaluation of the assimilation of knowledge by the student, and has the capacity to serve as a personal yet rigourous reflection. These two aspects mean that the dissertation does not reduce to a simple scholastic exercise. Great philosophers have written dissertations, which are also great works. But one cannot expect a student to produce such a work: it is therefore necessary to start by learning to write the dissertation purely as a school exercise, and to this end it is good to formulate some rules which sure enough are a formal, but which guide the reflection and give it the maximum rigour possible.

To succeed in a philosophy dissertation, it is necessary first of all to know that there exist many possibilities of good argument. Thus there is no single method which drives infallibly to success, but many good methods from which the author can choose. The choice of a plan thus indicates the understanding, good or bad, of the subject. However it remains possible to formulate some general rules:

 * a philosophy dissertation divides into three parts (introduction, development, conclusion);

 * there are rules to follow for each of these parts.

types of subject

 * question
 * idea or group of ideas

introduction

 * introduce the subject
 * say what the problems are
 * announce the plan
 * follow the plan

development

 * several types of plan

conclusion

 * recapitulate
 * conclude by answering the question

how to organize oneself

 * read the subject
 * work on the draft
 * write a proper introduction
 * write the development


text:
International Relations

The study of International Relations in political science gained strength during the Cold War. Many political scientists feared that the Soviet Union and the United States would launch themselves into a global nuclear war. It was hoped that by studying how countries interact with each other, it would be easier to predict what the reactions of the United States or Soviet Union would be in any given situation, making it easier to avert war.

The study of International Relations has been, until very recently, the study of how states interact with other states. However, the New World Order of the post-Cold War state system has required a redefinition of actors.

Main Themes

 * 1) /Liberal International Theory vs. International Realism Theory/
 * 2) /Prologue/- An Introduction to International Relations & Strategic Studies.
 * 3) /Evolution of the Modern State System/- Evolution of the Modern State System
 * 4) /World Politics in the Twentieth Century/- World Politics in the Twentieth Century
 * 5) /Core Concepts of International Relations/- Core Concepts of International Relations
 * 6) Theories of I.R.- Approaches to International Relations: Theories of I.R.
 * 7) /Core Concepts of Strategic Studies/- Core Concepts of Strategic Studies
 * 8) /The Use of Force/- The Use of Force
 * 9) /The Causes of War/- The Causes of War
 * 10) /The Making of Foreign Policy/- The Making of Foreign Policy
 * 11) /International Organisations/- International Organisations
 * 12) /Regionalisation/- Regionalisation
 * 13) /World Government Theories/- World Governance Theories
 * 14) /The United Nations/- An International Peace-Keeping Organisation?
 * 15) /The European Union/- An "Area of Peace, Security, and Justice".
 * 16) /Environment and World Politics/- Global Warming & Other Natural Threats.
 * 17) /War and Peace in a Globalised World/- Globalisation & its Consequences on World Conflicts.
 * 18) /International Political Economy/- International Political Economy

Articles

 * 1) Japan's Foreign Policy Toward Vietnam 1978-1992

title: International Relations


text:
Introduction to Philosophy/Logic/Some Properties of the Logical Connectives

Introduction to Philosophy > Logic > Some Properties of the Logical Connectives

∧ and ∨ are commutative:

 * p ∧ q gives the same result as q ∧ p;
 * p ∨ q gives the same result as q ∨ p.

∧ and ∨ are associative:

 * (p ∧ q) ∧ r gives the same result as p ∧ (q ∧ r);
 * (p ∨ q) ∨ r gives the same result as p ∨ (q ∨ r).

∧ is distributive over ∨:

 * p ∧ (q ∨ r) gives the same result as (p ∧ q) ∨ (p ∧ r);
 * (p ∨ q) ∧ r gives the same result as (p ∧ r) ∨ (q ∧ r).

∨ is distributive over ∧:

 * p ∨ (q ∧ r) gives the same result as (p ∨ q) ∧ (p ∨ r);
 * (p ∧ q) ∨ r gives the same result as (p ∨ r) ∧ (q ∨ r).

I say 'gives the same result as' since we have yet to talk about equality.

Those of you who know a little bit about abstract algebra will recognise that ({T, F}, ∨, ∧) is a ring - indeed it is a commutative ring with identity, and with only two elements, it is as simple a ring as you can get without being totally trivial or degenerate. To prove this, we need to observe, in addition to the commutative, associative and distributive properties above, that:

 * F acts as a zero: F ∨ p is the same as p for any p ∈ {T, F};
 * T acts as a one: T ∧ p is the same as p;
 * F is the ∨-inverse of all the elements of our ring: p ∨ F is the same as p.

If you are not familiar with abstract algebra, just observe that ∨ and ∧ with T and F behave a bit like addition and multiplication with numbers. Note that ∨ ('or') is the connective that corresponds to addition in this analogy, even though we often say 'and' when we mean 'plus' as in '3 and 4 equals 7'.

That our connectives ∧ and ∨ behave as a ring could be considered be an interesting result about the nature of reason - it shows that our propositional calculus has a structure similar to structures to be found elsewhere in mathematics.


text:
PHP Programming/Configuration: Register Globals

What is Register Globals?
A common security problem with PHP is the  setting in PHP's configuration file. This setting (that can be either On or Off) tells whether or not to register the contents of the EGPCS (Environment, GET, POST, Cookie, Server) variables as global variables. For example, if  is On, the url   will declare   as a  with no code required. Similarly,  would also be defined, since it is part of the   'superglobal' array. These two examples are the equivalent of placing the following code at the beginning of a script:

This feature is a great security risk, and you should ensure that  is Off for all scripts (as of PHP 4.2.0 this is the default, and as of 5.4.0 the setting has been removed completely). It's preferred to go through PHP Predefined Variables instead, such as the superglobal $_REQUEST. Even more secure is to further specify by using: $_ENV, $_GET, $_POST, $_COOKIE, or $_SERVER instead of using the more general superglobal $_REQUEST.

Example
Let's say that this PHP code is on the receiving end of a form. The user has just entered an incorrect password. The $_POST array variable handles it. The code will describe that if the password is correct ("correct password" being, let's say, "12345"), the variable $admin will be set to TRUE. The site's configuration says that if $admin is set to TRUE, that user will have administrative privileges. This code is PHP5 compatible.

register_globals does not discriminate between $_POST variables and $_GET variables. So, suppose the user input the form and it took him or her to that above page. The user could decide that he or she deserves admin privileges even though they do not know the password. So, that user could append ?admin=1 to the URL of that page. What that would do, with register_globals On, would be to force the creation the variable $admin and automatically set the value to 1, making it equivalent to TRUE. So register_globals On allows the user to inject variables and values into the program! Here, whether or not they input the correct password, the user would now have administrative privileges just by doing something with the URL.

As you can see, this sort of situation can happen at anytime by someone who does enough thinking to figure out how the page was coded. It could happen in many other situations.

Another example is that of sessions. When register_globals = on, we could also use $username in our example below but again you must realize that $username could also come from other means, such as GET (through the URL).

Best Practices
The best way to avoid it is to make sure that register_globals is set to Off in your php.ini. But as a general coding recommendation, always initialize your variables. The following code makes a small addition to the previous code example, but first sets $admin to FALSE so that the user cannot get administrative privileges except via the conditional statement:

filter_input
As the superglobal array access is vulnerable to the , for security reasons, it's better to use the syntax with  :

More Information

 * PHP Manual: Register Globals Security
 * PHP Predefined Variable Manual


text:
User talk:166.121.36.7

Your test worked; I'm taaking it off now. Try the Sandbox. r3m0t (cont) (talk) 07:22, 3 Nov 2004 (UTC)

Regarding Wikibooks test
(note: I'm not the one who deleted your test) When an edit is made to a page, even an entire content deletion, the version of the page before that is saved so someone can revert (i.e. reverse) it. By clicking on the "history" tab at the top of the page you can view all the edits that have been made to it, latest edit first. To send a message to a user you go to the page "User talk:[username]" (no quotes, replace [username] with the username of the person you want to talk to) and edit that page. For more information see Help:Wikibooks. Exabyte (talk) 01:49, 10 Nov 2004 (UTC)

 * One other thing: For comments about a page (reading or writing, of course) you can click the "discussion" tab at the top. Discussion pages begin with "Talk:" or "User talk:". I'm curious: how did you get here? r3m0t (cont) (talk) 12:19, 10 Nov 2004 (UTC)

title: User talk:166.121.36.7


text:
User talk:Apkawel~enwikibooks

Prácticas de traducción
Hola. Me acabo de apuntar como profesor-científico al curso de traducción]. Si tienes interés en traducir artículos científicos, puedo supervisarlo. Y, si no sabes por dónde empezar, puedo hacerte algunas sugerencias :)

Hi, I just joined the translation course as scientific supervisor. If you have interest in practicing some spanish by translating scientific articles, just make me know. If you don't have any ideas, I am ready to make suggestions :)

4lex 17:08, 3 Nov 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Apkawel. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Apkawel~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 22:56, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 04:33, 19 April 2015 (UTC)

title: User talk:Apkawel~enwikibooks


text:
User talk:Kitsune Sniper

Prácticas de traducción
Hola. Me acabo de apuntar como profesor-científico al curso de traducción. Si tienes interés en traducir artículos científicos, puedo supervisarlo. Y, si no sabes por dónde empezar, puedo hacerte algunas sugerencias :)

Hi, I just joined the translation course as scientific supervisor. If you have interest in practicing some spanish by translating scientific articles, just make me know. If you don't have any ideas, I am ready to make suggestions :)

4lex 17:12, 3 Nov 2004 (UTC)

title: User talk:Kitsune Sniper


text:
Kannada

Table of Contents

 * 1) Introduction
 * 2) Alphabet

Chapters

 * 1) Greetings
 * 2) Talking about oneself
 * 3) Asking questions
 * 4) Liking and disliking
 * 5) Food and Drink
 * 6) Numbers
 * 7) Shopping
 * 8) Staying at hotels
 * 9) Housing
 * 10) Letters
 * 11) Traveling
 * 12) Staying well
 * 13) Emergencies
 * 14) Zodiac Signs

Grammar

 * 1) Sentence Formation
 * 2) Noun
 * 3) Pronoun
 * 4) Verb
 * 5) Adjective
 * 6) Adverb
 * 7) Postpositions
 * 8) Auxiliaries

Vocabulary

 * 1) Animals
 * 2) Birds
 * 3) Body parts
 * 4) Colors
 * 5) Days and Months
 * 6) Directions
 * 7) Dressing
 * 8) Flowers
 * 9) Foods
 * 10) Food Grains
 * 11) Fruits
 * 12) Household objects
 * 13) Music and dance
 * 14) Plants and trees
 * 15) Family relations
 * 16) Stationary
 * 17) Tools
 * 18) Vegetables

Appendix

 * 1) Appendix A: Common phrases
 * 2) External references
 * 3) Learn spoken kannada online

title: Kannada


text:
User talk:4lex

hi 4lex,

Yes, I am interested in practicing Spanish, but I think the problem is, that I dont know a lot of Spanish, I just had one year in school, so it might be difficult to translate some texts. But I think the best is if I pick some 'simple' texts and try to translate them the best I can. But I am not sure if it will be scientific stuff because this is abit to high in language level I think. What do you think? Please make your suggestions too :) Sma 21:08, 3 Nov 2004 (UTC)

Hi,

I did my first steps today :-).

Visit and correct it please my Translations

Thanks :)

Sma 19:08, 4 Nov 2004 (UTC)

hola
Estoy deacuerdo con tus planteamientos, todos los libros en wikibooks, las definiciones y conceptos en Wikcionary, los articulos en Wikipedia. Necesitamos más gente que sepa química que este interesada en ayudarnos, pues una Universidad no se crea por tres personas. User:Gmagno

Stop adding junk please
Hi,

Please stop adding junk. Yann 09:18, 13 Nov 2004 (UTC)

Spanish pages
Hi,

I noticed that there are still a lot of Spanish pages here, although there is a Spanish Wikibooks. Aren't Spanish articles not moved there ? Thanks for your help. Yann 09:32, 13 Nov 2004 (UTC)

Hola.
Hola.

Comentarte acerca de los nombres de los departamentos, bueno use directamente el nombre del departameto al que estoy adjunto en la universidad. Veo que no ha gustado por que directamente lo han reeditado :(. De todas formas como alguien ha creado otra Bueno voy incluime en la nueva facultad :)

Departamento de filosofía
Saludos, recibí tu mensaje. Estaría encantado de echar una mano con el departamento de filosofía en Español. De momento, estaba pensando en aportar a la facultad de filosofía en Inglés, y traducir lo que fuera apareciendo al castellano, si tenía tiempo y energías. Tengo poca experiencia con wikipedia y la wikiversidad, así que acepto todo tipo de sugerencias sobre la organización de los materiales y la gestión de la facultad. En cuanto al contenido... sigo trabajando en ello. Muchas gracias por escribir. (Alex beta 20:27, 24 Nov 2004 (UTC))

Saludos de nuevo, Gracias por contestar tan pronto. Me encantaría contribuir a nivel organizativo en el departamento de filosofía, pero no sé por dónde empezar. Originalmente, tenía intención de contribuir más bien con contenido, así que fundé la facultad para poder ir añadiendo contenido. Tenía la esperanza de que otros se encargarían de la gestión de los contenidos. Pero si no hay nadie más... alguien tiene que hacerlo. Hasta pronto. (Alex beta 16:55, 27 Nov 2004 (UTC))

title: User talk:4lex


text:
Puzzles/Easy Sequence 3/Solution

a). The ascending powers of 2 are added to the previous number.

We start with 1 and add 2^0 to get 2, then add 2^2 (4) to get 6, plus 2^3 (8) equals 14, + 2^4=30, + 2^5=62

1, 2, 4, 6, 14, 30, . ..

b). The sequence in question is 1, 2, 6, 14, ... (without the 4). We can describe this sequence as follows:         X(1):= 1           X(2):= 2           X(n)= 2*[X(n-2) + X(n-1)] - 2*(n-3)  (for n > 2)

We obtain: 1, 2, 6, 14, 36, 94, ...

title: Puzzles/Easy Sequence 3/Solution


text:
Ada Programming/Keywords

Language summary keywords
Most Ada “keywords” have different functions depending on where they are used. A good example is for which controls the representation clause when used within a declaration part and controls a loop when used within an implementation.

In Ada, a keyword is a reserved word, so it cannot be used as an identifier. Some of them are used as attribute names.

Wikibook

 * Ada Programming
 * Ada Programming/Aspects
 * Ada Programming/Attributes
 * Ada Programming/Pragmas

Ada Quality and Style Guide

|Keywords Keywords

Programación en Ada/Palabras reservadas

title: Ada Programming/Keywords


text:
Introduction to Art/What is Art?

There are many definitions of art, rising and falling in popularity at different points in human history. The loosest definition of fine art today is artifice: the creation of a thing, not by nature itself, but by the will of a person or group. It can be visual, meant to be seen; it can be music or poetry, meant to be heard; it can be a novel to read, a play to watch or a dance to take part in; it can be buildings or clothing; digital or virtual; it can be the disciplined training of plants or animals. So broad is the possible definition of "art" that some say one can make an art out of living life itself. This definition, however, is not complete, because it includes many things people do and objects created that we do not consider art. So, what separates painting from a carburettor? Here again, people try to make a distinction through over-simplification: art is anything made, lacking useful purpose. This is also a fallacy, as fine art also serves many purposes, crucial to society. In more familiar terms, art is usually defined as that which was made in order to express feelings, communicate information, make a philosophical point, entertain someone, or beautify one's surroundings.

Art is differentiated from science in two ways. First, the definition of science and its branches are not widely debated, whereas art is. Second, scientific study relies on observation, experimentation, and peer revue, with one overarching goal - to increase human understanding of the universe. It's assumed that this will lead to a better way of life through better health, increased life span, more leisure time, etc. The effects of the scientific method are directly cumulative, with advances in different branches often coming together to form new insights and technology. While art also incorporates many of these same tenets and principles, it's much more chaotic, taking as many steps back as it does forward. While scientists look for puzzles to solve concretely, artists search for a way to leave a mark on the world, to comment on it, basing their work as much on intuition (or more so) as on fact. Artists often look to solve puzzles that can't be answered with science. Often times, the purpose of art-making is less akin to problem-solving than to a gut reaction of the artist to his/her environment, compelling one to create. In addition, while scientists share their findings in a wider community, working together to build consensus, artists often find themselves alone, ignoring vast amounts of art history and theory they find objectionable. Even so, the two may overlap: scientists sometimes feel that their work approaches the aesthetic dimension of art; artists sometimes feel that they have explored their subject matter with scientific precision.

Throughout time, art has not always been made by individual artists, or even by people who would dare to identify themselves as artists. Some of the most ancient and profound art is "folk art," created by anonymous people under unknown circumstances. Folk art may be religious in nature - perhaps even an attempt to create a magical object. It may have been made by itinerant or untrained artists. It may not have been considered art at all at the time of its creation. Art, as we know it today, is a fairly modern concept.

In the twenty-first century, the question "what is art?" has been debated for so long that, in terms of creating an art survey text, we now tend to accept Marcel Duchamp's inclusive definition, "Art is whatever an artist says it is."

Today, we also accept that industrial and graphic design are forms of art. These forms, like the old folk art mentioned above, were once not considered art at all. But now they have taken their place alongside painting and poetry; the artisan, or skilled worker practising a trade or handicraft, is an artist if he calls himself one. And that means art can be everywhere--from the shoes on your feet to the car you drive to the teacup you sip from. We have functional art (objects you use) and art pour l'art (art for its own sake). We have "high" art and "low" art (whatever you wish those divisions to signify), high street fashion and Haute Couture, "real" art and "kitsch".

Today's world is a world of possibility and freedom. Although it is (and perhaps has always been) fashionable to groan that "true art is dying out", such a thing can never happen. As long as there are people who want to create, there will be artists. If you look carefully around you, you will see that almost every tradition and genre of art-making, ever begun, is still going strong today.

title: Introduction to Art/What is Art?


text:
PHProjekt

Introduction
PHProjekt is a web-based groupware and project management suite available at no charge under the GNU General Public License at www.phprojekt.com.

Keeping up with development
At present, PHProjekt has reached version 4.2.3, while the manual is at version 4.1. PHProjekt is distributed with a number of help files, but these are also out of date. You can file bug reports/wishes to the Bugtracker on the home page, or try your luck in the Forum. This WikiBook is a user manual for PHProjekt, written by the end-users themselves. It is our hope to keep up with development by using this wiki.

Feel free to contribute
You can contribute too, by hitting "edit this page" at the top of this page. Free (as in freedom) software needs free (as in freedom) manuals. Please read the GNU Free Documentation License for details.

Login
Enter the address of your PHProjekt web server into your browser. This may be something like yourprojectserver.com/index.php or your domain.com/phprojekt/index.php. If you do not know the address, you need to contact the administrator who setup PHProjekt on your system.

If the web server requires you to accept a security certificate - do that.

You should see
 * a logo
 * a login field: Enter the user name given to you by your PHProjekt administrator.
 * a password field: Enter the password you have been provided with.

Summary
The summary table has the following rows and columns:
 * The text "Summary", followed by a red button for signing in on the timecard, followed by a search field.
 * Today's Events, followed by New Notes
 * Current projects, followed by Current todos
 * New forum postings, followed by Help Desk Requests
 * New polls
 * New files

Calendar
Extended view - One of the more interesting features of PHProjekt is that it lets you input an all-day event which can be one-time or perpetual. Such an event doesn't block the time blocks of the daily schedule, but shows up as a textline above the daily schedule table. It's useful for things like holidays.
 * "Calendar Views" - a link to a help file explaining how to use the calendar.
 * The week day, date, your full name and the full name of the active group you are in is displayed.
 * Self - show your calendar
 * Group - show the calendars of group members
 * ...write - don't know what this does yet
 * Resource list
 * Events list
 * < - show the month before
 * Select month
 * Select year
 * Enter button
 * > - show the month after
 * Label names for calendar columns: We - Week, Mo - Monday, Tu - Tuesday, We - Wednesday, Th - Thursday, Fr - Friday, Sa - Saturday, Su - Sunday
 * Week number column - click on week to show entire week.
 * Day columns - click on a day to display
 * Create event - select start and end time by clicking in the day view, add some text, hit Create.

Projects
php projects are widely developed in modern era .php has a large scope for development .In php ,using it various types of projects can be created easily as well as it can be mdifies as we can .so changes in php can be done very easily

Timecard
1. Sign in by hitting the button on the summary page or on the time card page. You will be taken to the time card page automatically from the summary page. Hit the graphical OK-button below the text "Start".

2. You will see your sign in time to the right, for example 1000. Enter an end time, for example 1010. Click the enter button on screen. If your browser supports it, just hit the enter key on your keyboard.

3. To the left on you should see projects with status "in progress", but only if you are a participant. If you don't see any projects, fix the status or get yourself added as a participant - or both.

4. Below the projects you will see a sum of all available time. If you follow this example, you should see 0 hours and 10 minutes.

5. Enter the available hours and minutes in the fields for the correct project, add a comment if you want, then hit the white enter button on screen.

IMPORTANT NOTE - A BUG: at present (4.2) the button next to the comment field does not work.

SECONDARY NOTE: On the project page, you can get statistics about yourself and others in relation to time spent on one or more projects.

Helpdesk
The Helpdesk module, formerly called RTS, is a means to submit trouble tickets from outside clients. It's somewhat unique in that in can allow remote access without going through a formal login process.

!
The exclamation point is an icon to take each user to a setup screen for their personal preferences.

?
This is the link to the help files for PHProjekt.

©
This is a link to copyright information.

>>
The double greater-than sign is a means to logout of PHProjekt and the underlying database such as MySQL. In general, the logout mechanism is put in place to cut a "persistent" connection to the database before it bounces a user for inactivity.

When you log-out, it takes you back to the login interface.

Administration
- Managing users v.1 by alexem

 * 1. Getting started:
 * From the 'Choose Group' drop-down list choose a group to enable 'User Management'.
 * From the 'User Management' section push the 'Create' button to create a new user.
 * From the 'User Management' section push the 'Modify' button to modify the preferences of a created user.
 * 2. User Preferences (used when creating or modifying a user)
 * Title :
 * First Name :
 * Family Name :
 * Short Form :
 * Login name :
 * Password :
 * Default Group :
 * Member of following groups :
 * Company :
 * Email :
 * Access rights : Normal User/User with Chief rights/Administrator
 * The administrator can create or manage groups, users, rights, role ect...
 * The user with "Chief rights" can create or manage projects...
 * Phone 1 :
 * Phone 2 :
 * Phone mobile :

...

Tips&Tricks
Giving credit where credit is due is a good thing. However, I've long ago figured out how to disable this to pick up more screen real estate on the menu. Here's the trick:

Open /layout/o.php

remark out the lines for copyright thus:

// ... and the copyright messages ... //if (ereg($langua,"cz|de|es|fi|fr|nl|ro|si|tr|zh")) { $mod_arr[] = array("copyright","href='$doc/copy.html' target='_blank'>","©"); } //else { $mod_arr[] = array("copyright","href='../help/en/copy.html' target='_blank'>","©"); }

title: PHProjekt


text:
History of Serial Communications

= Early serial communications methods =

Smoke signals
A smoke signal is a form of visual communication used over a long distance, developed both in the Americas and in China. By covering a fire with a blanket and quickly removing it, a puff of smoke can be generated. With some training, the sizes, shapes, and timing of these puffs can be controlled. Puffs may be observed from long distance, apparent to anyone within its visual range. With this in mind, signaling stations were often created to maximise the viewable distance. Stone bowls used by Native Americans and the towers of the Great Wall of China are examples of signaling stations.

As the signals were visible to all, unless they had a secretly understood significance they would be conveying the information alike to friend and enemy. There were, however, certain more or less recognized abstract smoke signals, of which the following are a few. One puff meant attention. Two puffs meant all's well. Three puffs of smoke, or three fires in a row, signifies danger, trouble, or a call for help.

Current loop
There are two types of current loops, analog and digital. An example of analog current loop is 4-20 mA ("four to twenty milliamp current loop") where 4 mA represents 0% and 20 mA represents 100%. In a digital current loop, an absence of current represents high, and the presence of current represents low.

A communications current loop, as used in teletype/Baudot codes was 0-20mA/0-50mA on/off. Cryptographic teletype current loop ( the red side ) was/is 0-80uA due to electromagnetic snooping capabilities circa 1966 timeframe( TEMPEST program ).

The 4-20mA current loop is not a communications current loop but a process control standard for chemical/industrial sensors and actuators. The 4-20mA is analog and linear or square-root(rate of flow). The minimum 4mA is to get the low end above the noise level possible in an industrial enviroment. 4-20mA standard was developed so that the sourcing current had enough power to drive electromechanical devices at the receiving end of the current loop.

The first digital communications serial links required the sending unit to provide all the (current)loop power. The receiving devices were all electro-mechanical with the output a mechanical motion.

Morse code

On the sea voyage home in 1832, Samuel F.B. Morse encountered Charles Thomas Jackson of Boston who was well schooled in electromagnetism. Witnessing various experiments with Jackson's electromagnet, Morse developed the concept of a single wire telegraph. He was devising his telegraph code even before the ship docked. In time the Morse code would become the primary language of telegraphy in the world.

William Cooke and Professor Charles Wheatstone reached the stage of launching a commercial telegraph prior to Morse, despite starting later. In England, Cooke became fascinated by electrical telegraph in 1836, four years after Morse, but with greater financial resources. Cooke built a small electrical telegraph within three weeks. Wheatstone also was experimenting with telegraphy and (most importantly) understood that a single large battery would not carry a telegraphic signal over long distances, and that numerous small batteries were far more successful and efficient in this task (Wheatstone was building on the primary research of Joseph Henry, an American physicist). Cooke and Wheatstone formed a partnership and patented the electrical telegraph in May 1837, and within a short time had provided the Great Western Railway with a 13 km stretch of telegraph. However, Cooke and Wheatstone's multiple wire signaling method would be overtaken by Morse's superior code within a few years.

Morse encountered the problem of getting a telegraphic signal to carry over more than a few hundred yards of wire. His breakthrough came from the insights of Professor Leonard Gale, who taught chemistry at New York University (a personal friend of Joseph Henry). With Gale's help, Morse soon was able to send a message through ten miles (16 km) of wire. This was the great breakthrough Morse had been seeking.

Morse and Gale were soon joined by a young enthusiastic man, Alfred Vail, who had excellent skills, insights and money. Morse's telegraph now began to be developed very rapidly.

In 1838 a trip to Washington, D.C. failed to attract federal sponsorship for a telegraph line. Morse then traveled to Europe seeking both sponsorship and patents, but in London discovered Cooke and Wheatstone had already established priority. Morse would need the financial backing of Maine congressman Francis Ornand Jonathan Smith.

In 1839, from Paris, Morse published the first American description of daguerreotype photography by Louis Daguerre.

Morse made one last trip to Washington, D.C., in December 1842, stringing "wires between two committee rooms in the Capitol, and sent messages back and forth -- and, for some reason, this time some people believed him, and a bill was finally proposed allocating $30,000 towards building an experimental line".³

The general public was highly skeptical, and there were also a great many skeptics in Congress. A thirty eight-mile (61km) line was constructed between Washington, D.C., and Baltimore. The most convincing demonstration was when the results of the Whig National Convention at Baltimore in the spring of 1844 reached Washington via telegraph prior to the arrival of the first train. On 24 May, 1844 the line (which ran along the Baltimore and Ohio Railroad between the Capitol and Baltimore) was officially opened as Morse sent his famous words "What hath God wrought" along the wire.

In May 1845 the Magnetic Telegraph Company was formed in order to radiate telegraph lines from New York City towards Philadelphia, Boston, Buffalo, New York and the Mississippi.4

Morse also at one time adopted Wheatstone and Carl August von Steinheil's idea of broadcasting an electrical telegraph signal through a body of water or down steel railroad tracks or anything conductive. He went to great lengths to win a lawsuit for the right to be called "inventor of the telegraph", and promoted himself as being an inventor, but Alfred played an important role in the invention of the Morse Code, which was based on earlier codes for the electromagnetic telegraph.

Samuel Morse received a patent for the telegraph in 1847, at the old Beylerbeyi Palace (the present Beylerbeyi Palace was built in 1861-1865 on the same location) in Istanbul, which was issued by Sultan Abdülmecid who personally tested the new invention 5

The Morse telegraphic apparatus was officially adopted as the standard for European telegraphy in 1851. Britain (with its British Empire) remained the only notable part of the world where other forms of electrical telegraph were in widespread use (they continued to use the needle telegraph invention of Cooke and Wheatstone).

ASCII code
Work on ASCII began in 1960. The first edition of the standard was published in 1963,[1] a major revision in 1967, and the most recent update in 1986. It currently defines codes for 128 characters: 33 are non-printing, mostly obsolete control characters that affect how text is processed, and 95 are printable characters. (stub)

The non-printing ASCII codes were needed to actuate the teletype's mechanical mechanisms:

 * line-feed, carrage-return, upper-lower case, etc.

The ASCII codes were re-coded to Baudot codes used by the mechanical teletype.

The teletype was the only standard I/O device until about 1970. From 1970 on, the teletype was the most economic hobby I/O due to the military surplus of teletypes.

= The development of RS-232 = (stub)

= The development of EIA-485 (RS-485) =

RS-485, also known as TIA-485(-A) or EIA-485, is a standard defining the electrical characteristics of drivers and receivers for use in serial communications systems. Electrical signaling is balanced, and multipoint systems are supported. The standard is jointly published by the Telecommunications Industry Association and Electronic Industries Alliance (TIA/EIA). Digital communications networks implementing the standard can be used effectively over long distances and in electrically noisy environments. Multiple receivers may be connected to such a network in a linear, multidrop bus. These characteristics make RS-485 useful in industrial control systems and similar applications.

The EIA once labeled all its standards with the prefix "RS" (Recommended Standard), but the EIA-TIA officially replaced "RS" with "EIA/TIA" to help identify the origin of its standards. The EIA has officially disbanded and the standard is now maintained by the TIA as TIA-485, but engineers and applications guides continue to use the RS-485 designation.[6] The initial edition of EIA RS-485 was dated April 1983.[7]

For More information wiki RS-485

The development of the CAN bus
The controller area network (CAN) is a serial bus protocol designed to allow devices to communicate within a vehicle without a host computer.

Robert Bosch GmbH started development of CAN in 1983 and officially released CAN at the Society of Automotive Engineers (SAE) congress in Detroit, Michigan in 1986.

CAN bus is one of the protocols used in the two most common on-board diagnostics standards: OBD-II -- mandatory for all cars and light tricks sold in the US since 1996 -- and EOBD -- mandatory for all diesel and petrol vehicles sold in the European Union since 2004.

The CAN protocol is also used in aircraft (CANaerospace, ARINC 825, etc.), in automated industrial systems (SafetyBUS p, CAN Kingdom, CANopen, etc.), in home automation (Very Simple Control Protocol), etc.

= The development of IEEE 1394 (FireWire) =

= The development of MIDI =

(stub)

= The development of Universal Serial Bus (USB) =

(stub)

= The development of Serial ATA (SATA) =

(stub)

= Recent developments = (stub)

= Frontiers = (stub)

= References =

title: History of Serial Communications


text:
Serial Programming/RS-232

All bookshelves > Science bookshelf > Computer Science bookshelf > Serial communications bookshelf > RS-232 Technical Manual

= Introduction = RS 232 is one of the oldest and simplest asynchronous communication standards used in the computer and electronics industries. It can support a number of communication methods including null modem, modem with handshake, etc.

= History = (stub)

= Physical Layer = (stub)

Requirements
(stub)

Limitations
Limitations of the RS-232 standard include:

 * Large voltage swings are required between the positive and negative supplies. This creates a high power demand and also limits the speed at which the interface can operate.
 * Use of a common earth or ground limits the length of the cable as the ground will degrade over distance.
 * There is no method for sending power to the connected device, although a small amount is available this is generally only sufficient for very low power devices (for example, a computer mouse). This limits the usefulness as every device must have its own independent power supply.
 * The connector is very large meaning all devices will be relatively large.

DTR/DSR Handshaking
(stub)

= RS-232 in the Real World = --142.74.1.3 (discuss) 13:12, 8 August 2013 (UTC)

DE-9s and Other Lies
It's true-- there is no such thing as a 9-pin RS-232 serial device. So why do you seem to see this everywhere-- PCs and laptops, for example?

Well, primarily because of three reasons:
 * There often isn't enough room to put DB-25 connectors on everything.
 * Properly-shielded RS-232 cables are expensive and bulky.
 * Most of the signals "lost" in the DE-9 connector aren't really critical, and can be worked around.

(stub)

Physical Limitations in Practice
(stub)

If you're designing new hardware, please consider using RS-485 (Serial Programming:RS-485 Technical Manual) or Ethernet (____) rather than RS-232. The RS-485 hardware can communicate faster over longer distances than RS-232, and the hardware cost is usually less (2 wires instead of 3).

title: Serial Programming/RS-232


text:
Japanese/Vocabulary/Body parts

Organs and tissue

 * 「お」 adds politeness here

title: Japanese/Vocabulary/Body parts


text:
Serial Programming/RS-422

NOTE: This is a very sparse document right now. You may want to check out RS-422 or RS-232 in the meantime for more information.

RS-422 describes a serial data link that is technically superior to RS-232. Apple Macintosh computers from 1984 to ___ all had a RS-422 port.

If you are designing new hardware, you'll generally want to design to the RS-485 standard instead (see the Serial Programming/RS-485). That way your new hardware will be able to communicate with both RS-485 and RS-422 equipment.

History
(stub)

Physical Layer
(stub)

Requirements
(stub)

Limitations
(stub)

Handshaking
(stub)

Nonstandard Connectors and Wiring
(stub)

Physical Limitations in Practice
(stub)

In today's modern real world RS422 is mostly used as a data extension cord, for example to extend RS232 over several hundred feet. Used as a data extension cord the RS232 signal would be converted to RS422 and then back again to RS232 at the other end of the link. For this purpose a device called a RS232 to RS422 converter is used.

title: Serial Programming/RS-422


text:
Serial Programming/RS-423

NOTE: This is a very sparse document right now. You may want to check out RS-422 or RS-232 in the meantime for more information.

History
(stub)

Physical Layer
(stub)

Requirements
(stub)

Limitations
(stub)

Handshaking
(stub)

RS-423 in the Real World
(stub)

Nonstandard Connectors and Wiring
(stub)

Physical Limitations in Practice
(stub)

title: Serial Programming/RS-423


text:
Serial Programming/RS-449

NOTE: This is a very sparse document right now. You may want to check out RS-422 or RS-232 in the meantime for more information.

History
(stub)

Physical Layer
(stub)

Requirements
(stub)

Limitations
(stub)

Handshaking
(stub)

RS-449 in the Real World
(stub)

Nonstandard Connectors and Wiring
(stub)

Physical Limitations in Practice
(stub)

title: Serial Programming/RS-449