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Ordinary Differential Equations/Structure of Differential Equations

Differential equations are all made up of certain components, without which they would not be differential equations. In working with a differential equation, we usually have the objective of solving the differential equation. A solution in this context is a new function with all the derivatives gone. If this is impossible, we go for a numerical solution.

Differential Equations
The first and most basic example of a differential equation is the one we are already familar with from calculus. That is
 * $$y'(x)=f(x)$$

In this case we know how to solve for y (eliminate the derivative) by integrating f. So we know that
 * $$y(x)=\int_{a}^x f(x)\,dx+c.$$

Recall from the fundamental theorem of calculus that $$\int_{a}^x f(x)\,dx$$ is an anti-derivative for f(x) for any choice of a. Notice that there is an arbitrary constant c and so we get a family of solutions, one for each choice of c. Often in the study in the book we will encounter initial value problems. These are problems where we are asked to find a solution to an ordinary differential equation that passes through some initial point (x0, y0), where x0 is the independent and y0 the dependent variable. To find which solution passes through this point, one simply plugs x0 into the equation for x and y0 in for y(x0). This allows us to make a specfic choice for c which normally would be arbitrary.
 * $$\begin{align}y_0&=\int_a^{x_0} f(x)\,dx+c\\ c&=y_0-\int_a^{x_0}f(x)\,dx\end{align}$$

If we substitute this choice for c into the expression for y we find that:
 * $$\begin{align}y(x)&=\int_a^x f(x)\,dx+y_0-\int_a^{x_0}f(x)\,dx\\&=y_0+\int_{x_0}^x f(x)\,dx\end{align}$$

Notice this is really a statement of the fundamental theorem calculus.

Note that n can be interpreted as the degree of derivation and that $$y^{(n)}$$ is the first variable which in turn is itself a function of x. This definition can be a lot to swallow. It helps to take an example. Suppose F(t1, t2, t3)=t1-cos(t3)t2. Then F(y',y,x)=0 becomes
 * $$y'-\cos(x)y=0\quad\text{or}\quad y'=\cos(x)y$$.

Thus, by our definition above, y′=cos(x)y is a first order ordinary differential equation.

In general we will run into problems if some restrictions are not placed on the function F. For example, if we didn't require F to depend on its first variable, then we could have taken a function like F(t1, t2, t3)=1-cos(t3)t2 which is independent of its first variable. In which case F(y′, y, x) = 0 simply becomes 1 − cos(x)y=0 which involves no derivatives at all! It would be very odd indeed to call this a first order differential equation.

Specific examples of ordinary differential equations we are familiar with from calculus would be:

 * $$\frac{dy}{dx}=x \, $$

 * $$\frac{dy}{dx}=2 \sin x^2. \, $$

However, they can also involve the higher order derivatives of y with respect to x. For example:

 * $$xy\frac{d^2y}{dx^2}+y\frac{dy}{dx}+e^{3x}=0$$

is also an ordinary differential equation.

Characteristics of Differential Equations
The order of a differential equation is the order of the highest derivative involved in the equation. Thus:

 * $$\frac{d^2y}{dx^2}-4\frac{dy}{dx}-3y=27x^2$$

is a second-order differential equation, as the highest derivative is the second: d²y/dx².

The degree of a polynomial differential equation is the power to which the highest derivative is raised.

Linear and Non-Linear Differential Equations
DEs fall into two major types: linear and non-linear.

Linear DEs are the simpler kind. A partial differential equation or an ordinary differential equation that has a degree of 1 and no higher degree is called linear.Thus,

 * $$4\frac{dy}{dx}-3y=27x^2$$

is a linear DE.

Non-Linear DEs are much more complex, as they are any DEs that are not linear. For example,

 * $$y^2, \,\,\,\sqrt{y}\,\,\,\cos y $$

 * $$\left( \frac{d^2y}{dx^2} \right)^2=-7y$$

 * $$ \sqrt{ \frac{d^2y}{dx^2}}+y^2=x$$

are non-linear DEs.

Only a tiny proportion of non-linear DEs are solvable exactly - most have to be approximated.

Homogeneous Differential Equations
A homogeneous DE is one in which only the terms involving y ( includes the derivatives of y ) are present in the equation. No terms involving the independent variables must be present in the equation. Therefore:

 * $$\frac{d^2y}{dx^2}-y=0$$

is homogeneous. If something is left over, then the DE is non-homogeneous, like this one:

 * $$\frac{d^2y}{dx^2}-y=2x$$

A non-zero constant on the right-hand-side also implies a non-homogeneous DE - after all a constant is still a function.

Generally, if a DE can be written as:

 * $$a_n(x)\frac{d^ny}{dx^n}+\ldots+a_1(x)\frac{dy}{dx}+a_0(x)y=0,$$

where an(x), etc are functions of x, it is homogeneous. However, if it can only be written as

 * $$a_n(x)\frac{d^ny}{dx^n}+\ldots+a_1(x)\frac{dy}{dx}+a_0(x)y=b(x),$$

where b(x) is a function of x, it is non-homogeneous.

Solutions of a Differential Equation
A solution of this differential equation is any function y=f(x), which, when substituted into the above equation, satisfies the equation.

An equation of the form

 * $$f_1(x,y,C_1,C_2,C_3,...,C_n)=0$$

with $$C_1,C_2,C_3,...,C_n$$ as arbitrary constants is called an integral solution of the differential equation if all functions y=f(x) that are solutions to the integral solution when $$C_1,C_2,C_3,...,C_n$$ are substituted for any values (with the possibility of restrictions) are solutions to the differential equation. Originally, James Bernoulli in 1689 used the term integral and Euler used the term particular integral in 1768. The word solution seems to have first appeared around 1774 by Lagrange, and through Poincaré this term has been established.

A third type of solution is called the parametric solution in the form

$$x=x(t,C_1,C_2,C_3,...,C_n)$$

and

$$y=y(t,C_1,C_2,C_3,...,C_n)$$

with arbitrary constants $$C_1,C_2,C_3,...,C_n$$ whenever all functions y=f(x) that make the second equation an identity are also solutions to the differential equation.

People have tried to define general solutions (formerly known as complete integral or complete integral equations due to Euler, these two terms now mean something different) to be integral solutions with arbitrary constants, and singular solutions to be integral solutions which are not contained in the general solution. However, these definitions have turned out to be contradictory, since it may be possible that given one general solution that excludes a singular solution, that another general solution may be found that includes the singular solution. Thus, the idea of singular solutions is contradictory and there is no good way to work with these terms.

Instead, we are going to define general solutions to be an integral solution that includes all solutions of the DE, and a particular solution to be any single solution or integral solution of the DE.

When solving a DE in the crude sense, we aim to find ways to solve equations in particular forms to solutions directly, or to reduce them to a more amenable form. Later, we will aim to solve a DE in a more general sense.

An initial value problem is a differential equation together with the initial conditions that the solution $$y=f(x)$$ also satisfy the equations

 * $$y_0=f(x_0)$$
 * $$y_1=f'(x_0)$$
 * $$y_2=f''(x_0)$$

...
 * $$y_n=f^{(n)}(x_0)$$

at a specific $$x_0$$. If the $$x_0$$ are different, then it is called a boundary value problem with boundary conditions.

We first consider the simple case of the equation $$y'=f(x)$$. This is easily solvable with the following theorem that you probably have already proved in Calculus:

Relationship to other types of equation
The following types of equation are not normally encountered in a first course in differential equations but are included here to illustrate the range of problems where differential equations play a role.

It is possible to formulate equations where the function being sought is part of the integrand. Such equations are known as integral equations. It is a theorem in differential equations that states that virtually any differential equation can be reformulated as an integral equation. Integral equations are normally studied after differential equations have been mastered. In practice it is sometimes the case that the corresponding integral equation may be easier to solve than the original differential equation.

It is also possible to encounter equations which include both derivatives and integrals. These equations may or may not be convertible to either purely differential or integral equations.

Another related area is that of difference equations. These equations involve the formation of derivatives where the denominator is not an infinitely small quantity but one of finite size. Their methods of solution parallel those of differential equations. One major difference in their solutions is the role played by the exponential function in differential equations is often replaced by another value which may be complex.

Equations containing both difference and differential terms are not commonly encountered in practice. These may be difficult to solve in closed form.

Differential equations may be formulated for matrices as well as for real and complex numbers. Because matrix multiplication is not in general commutative while solving these equations careful attention to the order of the factors must be paid.

Additionally, fractional differential equations, which may be either ordinary or partial differential equations, also present some peculiarities and for this reason are also studied after a firm grounding in the more usual forms have been mastered.

Fractional differential equations are rarely mentioned in most text books so a brief note is included here. Typical ordinary differential equations involve integer power of derivatives while fractional differential equations involve any power. This class of equation has been studied almost as long as the other types of differential equation but other than the semi derivative equations - those involving powers of +/- 1/2 - methods for solving them in closed form are not known. Many examples of the diffusion equation - a commonly occurring partial differential equation in physics and chemistry - can be reformulated in terms of a semiderivative equation and solved immediately.

One reason for the difficulties encountered with this type of differential equation is because the range of potential solutions is much larger than those encountered elsewhere. Integer valued derivatives require a function to be differentiable: only functions of this type can be solutions to a typical differential equation. Fractional derivatives may be applied to completely discontinuous functions and some generalized functions. Methods for identifying these less well studied functions as solutions to fractional differential equations have yet to be developed systematically.

Existence and Uniqueness theorems
As well as attempting to solve a new differential equation it is frequently worthwhile determining if a solution to the equation actually exists and if it does whether the solution is unique. The answers to these questions will be addressed in the section on the existence and uniqueness theorems that will be proved later.

Since most differential equations cannot be solved in closed form, numerical solutions are of great importance. While the existence theorems may seem to be rather esoteric to the beginner they are of considerable importance when attempting a numerical solution: in practice it is very helpful to know that a solution really does exist before trying to compute it.

Understanding when solutions exist and are unique often provides qualitative information about solutions. For example, the basic theorems about uniqueness state that for each initial condition, there is a unique solution. This immediately implies that two solutions can never intersect. If they did you could take the intersection point as the your initial data and the uniqueness theorem would imply the solutions are the same function. We will discuss more about qualitative behavior toward the second part of the text.


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User:Kevles~enwikibooks

Eh...

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

title: User:Kevles~enwikibooks


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User:Ultimadesigns

=Current Project=

 * European History

=Possible Future Projects=

 * Computer Science
 * PHP

My Major
Since I will be majoring in Business Administration at Carnegie Mellon University's Tepper School of Business, I will almost certainly contribute to the following books/areas:

 * Business Management
 * Business Finance
 * Macroeconomics
 * Microeconomics

title: User:Ultimadesigns


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User talk:Kevles~enwikibooks

Hi, I saw you around on the MapleStory book. Just so you know, if you use ~ it will automatically sign the pages for you. You can change the signature it puts from somewhere in your preferences (just hunt around). Welcome to the book :). -- Prod-You 03:54, 9 May 2006 (UTC)
 * Sorry I took you out of the Primary Editors section, but I haven't seen you around for very long and there are many people who have been working on this and done much more for the book. You have made a good start though, so give it some time and you will become a primary author. -- Prod-You 04:06, 9 May 2006 (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 Kevles. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Kevles~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 23:19, 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) 05:08, 19 April 2015 (UTC)

title: User talk:Kevles~enwikibooks


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Blender 3D: Noob to Pro/Advanced Tutorials/Advanced Animation/example/bob/index

In this tutorial, we are going to be constructing a fully functional, humanoid character, with a complete rig, and we are going to animate him performing a walk cycle.

Getting Started

 * Build the Rig
 * Deform the Mesh
 * Create a Walk Cycle


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User:Seizure Dog

Just so it's not so textless.

title: User:Seizure Dog


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Harmonica/Chromatic Harmonica

Playing chromatic notes
In general, there are five main ways to get chromatic notes on a harmonica: use a chromatic harmonica, overbend on a diatonic, valve diatonics, use the Hohner XB-40, or use two 24-hole tremolos stacked together. Here is a comparison of all five:

As referred by the table, if one wants an instrument that is capable of thickening the sound and playing many tricks (essentially a "one-size-fits-all"), then a chromatic harmonica, especially a four-octaves version, is the only way to go. This is because the lowest octave actually allows transposing to even lower octaves; additionally it will make the music sound closer to the saxophone in lower registers. Since there are still some chords and bends available, it can also convey some of those jazzy feelings.

However, if one truly wants to gain the dynamic feelings of blues and jazz (growling and wailing, for example), it is a good idea to either get the valved harmonica or learn overbends; however, much skill is needed since those methods depend on proper embouchure. Overdrive is difficult to use due to its small size (many players have large hands).

Alternatively, the XB-40 is quite easy to bend, but this is also a disadvantage; one will need precise control of the bending in order to bend a semi-tone down instead of a full tone down. However, if played properly, it has the tonal quality and precision of both diatonics and chromatics; adding to the fact is that it is capable to do some true tones and double reed bends because of the additional reeds. Thus, it can be very suited for hands-free playing at the very least, and is a definite must for people interested in playing music that have a bluesy or jazzy feeling; lastly, since there are many ways to play the same note, it is easier to play legato on XB-40.

Still, XB-40 is not without problems; the C-key model, for example, often warrants complaints about its third octave, in which bending (blow and draw) is difficult to perform. Also, it requires precise tonal control (not unlike playing trumpet), as it is easy to miss the required note during bending and accidentally bend down a whole tone. Lastly, it is limited to three octaves, making it restricting if players truly want to play in numerous keys. (Of course, Toots use a standard 3 octaves harmonica to play jazz, so maybe it's not much of a problem.)

Stacked tremolo, as common as it is in East Asia, just do not cut it, since switching the notes in a key is very slow. If one must have the tremolo sound, get Suzuki's chromatic tremolo, which plays just like a conventional 16-hole chromatic.

All in all, it depends on how a player approaches playing music. Keep in mind that just because a piano is designed to play classical music doesn't mean a jazz player cannot play piano jazz with the proper feeling. Likewise, a chromatic harp can also play jazz harp, as long as the musician is skilled enough. On the other hand, classical music has such a rigid requirement that some view XB-40 as inappropriate; to those classical musicians, they will simply call it "classical music play in jazz style", as they will deem the wailing effect not proper. Others, however, believe that it's fine, so long as the player can hit the notes precisely.

There is a strong incentive among North American players to play chromatic-capable harmonica in positions only, and thus treat it as diatonic. This is inappropriate, as it defeats the purpose of a chromatic-capable harmonica. They should instead train themselves so that they can play with only one or two harmonicas (e.g.: chromatic and XB-40)

Opinion of playing chromatically

 * In classical playing, as recommended by Chmel and Adler, leave out "trills". That is, do not use trills as in pushing the buttons in and out.
 * One thing that I agree whole heartly to Chmel and Adler is their opinion of playing chromatic on other keys than C: DO NOT BOTHER. This is the exact reason why people claim harmonica is not an instrument but a toy (I think people treat xaphoon as an instrument more than harmonica). Yes, a piece may be "close to impossible", but not "impossible"; this is common in classical music, which as Chmel had pointed out, may need ten hours per week to practice.
 * Practice, practice, practice. Playing chromatically require such effort.
 * Learn to read from the traditional notation instead of tabulature. Aside from giving one the sense that it is truly an instrument, traditional notation also provide many information unavailable in other forms.

Getting Over the Physical Movement limit
A harmonica basically have the following physical limits:
 * Horizontal movement
 * Movement of blowing and drawing
 * Slide movement

One solution would be to make extensive use of lines which are based on the layout of the harmonica. Lines that need 'limited' control over all the variables at the same time. This is basically the solution Toots uses in a very effective way. From many people's research, it would seems his legato is based on the double notes. For example, in the key of C:
 * C
 * slide-in draw: hole 4', 4, 8
 * slide-out blow: hole 4', 4, 8, 12
 * slide-out blow: hole 1', 1, 5, 9
 * F
 * slide-in blow: hole 2', 2, 6, 10
 * slide-out draw: hole 2', 2, 6, 10

Additionally, horizontal movements can be overcome somewhat by using tongue/corner-switching, which involves, in tongue block, moving the tongue from using the left to the right (or even using U-block).

Then there's the interval grid approach, which is by looking at sequences of intervals. There are various systematic ways of approaching these in composition and arranging. Recently there was talk on Slidemeister of an interval-based instrument-neutral study approach to improvisation authored by Joe Messina, a guitarist who also plays jazz chromatic in a non-Toots influenced style. Something that simultaneously and systematically approached both interval-based patterns (by this I mean outside the hierarchy of identified scales and harmonic considerations) and action patterns on the harmonica.

One special topic that should be paid attention is the C notes. Even for the same C notes, there are three positions to choose:
 * Slide out blow lower C
 * Slide in draw (lower) C
 * Slide out blow upper C.

One way, as Chmel had explained, is that if playing a descending passage going past a C note, it’s best to choose either of the lower Cs, since this allow a quick switch to B. Likewise, during an ascending passage, it would be best to use the upper C notes, as this allow a quick switch to D.

On the other hand, should I need to change the direction of breathing (such as too much draw notes), it could be wise to do so during the Cs and Fs. While for that notes it would create a slight dissonance, it would be much better than create a much longer period of discord afterwards.

Ultimately, though, this depend more of the general flow and any other requirements when playing the melody. Obviously, for a quick change, it would be better to use the slide to change such notes... though make sure the note after the next notes allows it. Basically, it is all intuition and feeling. This is especially true on a chromatic: If you are playing blues, it may be better (and easier!) to use a bend instead of the slide.

<!

For many years I have been studying the basic physical movements for playing the harmonica. I have been playing excersises that helped me to control the elementary movements as well as the combination of these movements which I think are 1) the horizontal movement of the harmonica 2) the movement of blowing and drawing 3) slide movement

For some time now, I have to conclude that this helped me to overcome only the basic limitations of playing the harmonica. But I would like to be able to play faster and more fluent in every key.

One solution could be to make extensive use of lines which are based on the layout of the harmonica. Lines that need 'limited' control over all the variables at the same time. I think this is the solution Toots uses in a very effective way. The way he uses the layout of the harmonica is incredibly inventive and creative. I think his playing of 'Começar de Novo' on 'The Brasilian Project volume 1' is one of the many good examples.

My questions are like the following: 1) Does anyone have ideas on how to overcome the limitations of the basic physical movements? 2) Are there any excersises suggested by other great harmonica players? 3) Did anyone study the approach of Toots and are there basic guidelines with suggested excersises? 4) What other kind of approaches do exist that have proved to be valuable?

This could be a great new starting point for me to study for the next decade.

>

<! Years ago I transcribed several of Toots' solos with an eye to seeing how he came up with melodic patterns that "lay well" on the instrument - my idea of what lay well being very similar to your:

"lines which are based on the layout of the harmonica . . .. lines that need 'limited' control over all the variables at the same time."

Like you, I had identified slide change, breath change, and hole change (with distinction between hole leap to a distant hole and hole step to a directly neighboring hole as these made a difference in the continuity of breath; achieving legato was a big part of my thinking at the time) as the primary elements in getting from one note to another.

I had an idea of getting Toots to comment on this and come up with something like the exercises you speak of. I know he has done thorough investigations on his own, and we discussed the possibility, but he simply did not care to address the subject in a linear, didactic way. Also, publishers were not interested in anything this advanced (even though it seems fundamental from my point of view, as I'm sure it does from yours).

Tommy Reilly came up with a series of exercises that were published in, perhaps, the 1950s; various people have copies. Before he died, Douglas Tate re-edited these materials and they are available from Mrs. Tommy Reilly, I believe. From what I've seen of them, I don't think they are really what you're looking for.

TOots has come up with what seems to be a template for jazz harmonica. Many of the players who have come after him, much as they might not care to hear or believe it, sound like they have benefited enormously from the results of his investigations and would have difficulty in finding harmonic and scale territory where his footprints will not be detected and followed, even without meaning to. Is this inevitable, considering Toots' deep experience with the harmonic territory of the style and the tuning layout of the instrument? Much as I love his playing, I like to think not.

Two ways to approach the problem present themselves quickly:

The pure action approach (which is neutral as to note layout, i.e. would work with dimi and toni tuning, etc.) and the interval grid approach. By that I mean looking at sequences of intervals. There are various systematic ways of approaching these in composition and arranging, though I ahve to admit I know little about them. Recently there was talk on Slidemeister of an interval-based instrument-neutral study approach to improvisation authored by Joe Messina, a guitarist who also plays jazz chromatic in a non-Toots influenced style. Something that simultaneously and systematically approached both interval-based patterns (by this I mean outside the hierarchy of identified scales and harmonic considerations) and action patterns on the harmonica might be what you're looking for - and which you would have to build more or less from the ground up.

I know this is exceedingly vague and is essentially throwing the ball back to you; I hope it provides food for thought.

he took Charlie Parker II-V-I progressions and played them through 12 keys. I think the key is the legato around doubled C's and F's.

>>

title: Harmonica/Chromatic Harmonica


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Suomen kieli käyttöön/lukeminen/Taso 3/kahvi ulkomailla

In Finnish In Russian

Johdanto - Introduction
Tässä tekstissä, kaksi suomalaista on juttelemassa kahvista ulkomailla.
 * In this text, two Finns are chatting about getting coffee when abroad.

Teksti on otettu chatista, siinä on siis aika paljon puhekieltä sekä lyhenteitä ja oikeinkirjoitusvirheitä.
 * The text has been taken from a chat room, and it therefore contains quite a lot of spoken language as well as abbreviations and typing/spelling errors.

KAHVIA ULKOMAILLA  Coffee abroad (with translation & explanantions)
'''A. Miten esim. Italiassa kannattaa tilata kahvia, jos haluaa saada mahd. suomalaisen oloista? Vai onko meidän tapamme keittää kahvia niin erikoista, ettei sitä muualla saa?''
 * How for example can one successfully order coffee in Italy, if you want to get one in the best possible Finnish style? Or is our way of making coffee so special that you can't get it anywhere else?

 * kannattaa This verb has two main meanings (1) Support physically, personally, or commercially, (2) to be worthwhile or profitable. The meaning in this sentence approximates to the second meaning but has been translated as "successfully" to nomalise the english translation.
 * mahd. abbreviation of mahdollisimman
 * mahdollisimma- stem form of mahdollisin best possible (superlative adjective, formed from mahdollinen (adj.) possible)
 * mahdollisimman genitive (as an attributive or adjectival form) the best possible

Yleensä, kun tilaat ulkomailla kahvia, niin saat espressoa tms.
 * generally, when you order coffee abroad, you get an expresso or something similar.

B. Danish Cofee.

A. Vaikka ei ne ulkomaan pellet ossaa ees kahvia keittää, saatikka hernekeittoa.

Those foreign clowns, they even can't make a decent cup of coffee, nor pea soup.

B. Mie siuna ottaisin mukkaa paketin pari Saludua ja nokipannun, ainakin purkin Kotisaaren hernekeittoa per matkapäivä, Sikanautaa muutaman purkin, näkkileipää loopantin mustikkakeittoa.

A. Ei niihin ulkomaan ruokiin oo luottamista. Ei varmaan kaikki oo edes ihmisravinnoksi tarkoitettu. Saattavat vaikka jotain jyrsiää syöttää kanan sijasta näin lintuinfluenssan aikana.

B. Ja maitoo mie ottaisin myös mukkaa, ettei tarttis niitä happamii viinilitkuja juuva. Joka puolella lähinn suomalaista vastaava on deutsch/german coffee.

B. Ihan suomalaista kahvia. Kyllä ne turistikuppiloiden kyypparit osaa sulle jonkinlaisen kahvinsukuisen juoman pöytään kantaa.

A. Ihan turha vittuilla, koska kahvi ulkomailla on useasti ihan hirveetä kuraa. Kannattaa yritä tilata filter coffee jos ei tosta pressosta niin välitä. Usein vaihtoehdot on lähinnä presso ja presso + kuuma vesi= kahvi. Tai sit sulle tarjoillaan neskahvia.

B. Eihän täällä kukaan vittuile. Mistä sinä sellaisen käsityksen olet saanut.

A. Olisi pyytää CAFE AMERICANO. Se toimii ainakin Espanjassa, joten oletettavasti myöskin Italiassa.

A. Cafe Americano on yleensä se mitä käytetään keski-Euroopassa filtterikahvista, Ranska, Belgia, Italia jne. Itse espresson ystävänä vältän tätä litkua kuin myrkkyä. Makunsa kullakin.

B. Cafe Latte. Kokeilepa sitä.

A. Eipä ole vieras tuo lattekaan, mutta yleensä maistuu espresso tuplana, kiittooss… *hörppää halvasta nescafesta*.

KAHVIA ULKOMAILLA (ja selitykset) with explanations in Finnish only
A - Miten esim(erkiksi) Italiassa kannattaa (=on hyvä) tilata kahvia, jos haluaa saada mahd(ollisimman) suomalaisen oloista (=tyypillistä suomalaista, tavallista suomalaista). Yleensä, kun tilaat ulkomailla kahvia, niin saat espressoa tms. (=tai muuta sellaista). Vai onko meidän tapamme keittää kahvia niin erikoista (>erikoinen), ettei sitä (kahvia) muualla saa?

- Danish Cofee.

Vaikka ei ne ulkomaan pellet osaa ees (=edes) kahvia keittää, saatikka (=saakka, asti) hernekeittoa. TARKOITTAA ETTÄ KAHVIN KEITTÄMINEN ON HELPPOA JA HERNEKEITON VAIKEAA. JOS EI OSAA TEHDÄ KAHVIA, EI VOI OSATA TEHDÄ HERNEKEITTOA.

Mie (=minä) siuna (=sinuna) (=jos minä olisin sinä) ottaisin mukkaa (=mukaan) paketin pari Saludua (Saludo on kahvimerkki) ja nokipannun (=nokinen kahvipannu, jota ennen lämmitettiin nuotiolla ja tulella), ainakin purkin Kotisaaren (Kotisaari on ruokafirma) hernekeittoa per matkapäivä (=jokaista matkapäivää varten), Sikanautaa (sikanauta on lihasäilyke) muutaman purkin, näkkileipää loopantin (=Blåbandin, Blåband on ruokafirma) mustikkakeittoa.

Ei niihin ulkomaan ruokiin oo (=ole) luottamista (=ei niihin voi luottaa). Ei varmaan kaikki oo (=ole) edes ihmisravinnoksi tarkoitettu (=on siis tarkoitettu esimerkiksi eläinten ruoaksi). Saattavat (=voivat) vaikka jotain jyrsiää (=jyrsijä on esimerkiksi hiiri) syöttää kanan sijasta (=kanan 'paikalla') näin lintuinfluenssan aikana.

Ja maitoo mie (=minä) ottaisin myös mukkaa (=mukaan), ettei tarttis (=tarvitsisi, tarvita) niitä happamii (=happamia, hapan) viinilitkuja (=viini+litku; litku on huonolaatuinen neste) juuva (=juoda).

- Joka puolella lähinn(ä) suomalaista (kahvia) vastaava (kahvi) on deutsch/german coffee.

- Ihan suomalaista kahvia. Kyllä ne turistikuppiloiden (=turistikahviloiden) kyypparit (=tarjoilijat) osaa sulle (=sinulle) jonkinlaisen kahvinsukuisen juoman pöytään kantaa.

- Ihan turha vittuilla (=älä ärsytä minua; vittu on naisen sukuelin), koska kahvi ulkomailla on useasti ihan hirveetä kuraa (=kura on likavettä ja savea). Kannattaa yritä tilata filter coffee jos ei tosta (es)pressosta niin välitä (=pidä). Usein vaihtoehdot on lähinnä presso ja presso+kuuma vesi = kahvi. Tai sit(ten) sulle tarjoillaan neskahvia (=Nescafé).

- Eihän täällä kukaan vittuile. Mistä sinä sellaisen käsityksen olet saanut.

- Olisi (pitänyt) pyytää CAFE AMERICANO. Se toimii ainakin Espanjassa, joten oletettavasti myöskin Italiassa.

- Cafe Americano on yleensä se mitä käytetään keski-Euroopassa filtterikahvista (=suodatinkahvista), Ranska, Belgia, Italia… jne. (=ja niin edelleen). Itse espresson ystävänä vältän tätä litkua kuin myrkkyä. Makunsa kullakin (= jokainen saa pitää mistä haluaa).

- Cafe Latte = maitokahvi. Kokeilepa sitä.

- Eipä ole vieras tuo lattekaan, mutta yleensä maistuu espresso tuplana (=kaksinkertaisena), kiittooss… * hörppää (=juo suullisen) halvasta nescafesta*.

Sanasto

 * kannattaa This verb has two main meanings (1) Support physically, personally, or commercially, (2) to be worthwhile or profitable.
 * olo feeling, state, circumstances (literally being, be as a noun)
 * oloinen being, state, condition (as an adjective)
 * suomalaisen oloinen of the Finnish way (literally, Finnish being)
 * suomalaisen oloista of the Finnish way (The partitive is needed because it is referring to an abstract concept, namely the "Finnish way" - it is not one, definite defined object, thus it is in the partitive.)
 * mahd. = this writer's abbreviation of mahdollisimman (gen pl) - of the best possible
 * mahdollinen possible (adjective)


text:
Educational Technology Innovation and Impact/Simulation/Asynchronous Learning

Asynchronous Learning
Asynchronous learning is the concept that students acquire the necessary skills and experience at different times and locations. Asynchronous learning is opposite to synchronous learning, where students must learn at the same time by activities such as attending a lecture or tutorial. An asynchronous learning environment provides students with teaching materials and tools for registration, instruction, and discussions outside of the classroom scenario and incorporates the ability to maintain communication with tutors and other students outside of rigid educational timetables. Asynchronous Learning Networks (ANL) make extensive use of software and the Internet, using packages such as blackboard, e-mail, or chat rooms, and is available so that people can post, read and respond to subject instruction, queries and messages all within the same shared space.

This type of study means that students can be located anywhere throughout the world, hence giving rise to the phrase “Global Learning”, or more commonly “Location Independent Learning” and is an ideal delivery mode for individuals in different geographical locations, for those whose work schedules or other obligations have previously kept them from furthering their education. It is this type of learning that occurs independently of time and space. Students are able to interact with course materials and with each other at a time of their choosing and it is through this medium that e-learning gets much of its appeal. Traditionally, students needed to be physically present to engage in learning with other students now students can engage with each other when it is most convenient.

A major advantage of this learning style is that it promotes more uniform participation by all students than either face-to-face or synchronous communication because all students have an equal opportunity to contribute and those who have trouble speaking up in traditional classroom environment because of language differences or other reasons can take time drafting a thoughtful written reply (Mitchell, 2002). By utilising the tools through an ANL, students are allowed time to think about a given subject and formulate their thoughts. Another advantage of the asynchronous environment is that the learning does not have to be geared to the average student. Those who want to research a subject in more depth can do so, and those who are slower learners can review material as many times as needed.

Many different teaching methodologies state "The teacher will appear when the student is ready". Asynchronous learning is no different and could be said to give the student more control and autonomy over the pace and style of his tuition and is therefore through this medium that the students thus become ready for the teacher.


text:
Educational Technology Innovation and Impact/Computer Assisted Assessment/Plagiarism Advisory Service

Plagiarism Advisory Service
The Plagiarism Advisory Service’s (PAS) title is self explanatory. The service provides tutors and students in UK with information about and guidance on plagiarism prevention and detection. Following the advent of the Internet and the almost limitless access to online resources and information, research papers and the relative ease that these electronic text sources can be duplicated academic institutions are forced to view plagiarism and it’s implications with growing concern. (JISC 2005) The service promotes the adoption of a holistic approach to plagiarism prevention encompassing institutional policy and procedures, academic practice and student skills, an approach which is supported by the implementation of best practice procedures, the evaluation of appropriate learning materials, the support of online discussions forum to increase awareness and stimulate debate, assistance with regional training workshops with focus on prevention strategies and the provision of training for the Joint Information Systems Committee (JISC) funded electronic plagiarism detection service.

The subject of plagiarism and the possible sources of data are and will remain eternally fluid, so there is a requirements that any newly identified loopholes are detected and closed. However, after due consultation with users, PAS has the aim to establish advice, guidance, information and materials to assist both students and tutors which have been designed to promote understanding of, and compliance with, the issues surrounding plagiarism.

An overview of this information is available online. Also, there are now a number of software applications available that run electronic detection service packages. Examples of such programmes are "iThenticate" or “Turnitin”, which sell themselves on their plagiarism prevention, and appears to be the standard in online plagiarism prevention. (Turnitin, 2006)

Programmes and software such as this can generate ‘originality reports’ to assist students and tutors alike in the debate on the importance of academic honesty in the teaching and learning environment. PAS views detection or plagiarised document, but are used only within the PAS service as a single part of its remit and strategy of prevention.

PAS’s role is that of a provider of information and advice firstly and then a policing group second, however it must not be forgotten the plagiarism has multiple guises which can have serious repercussions. By promoting best practice within the academic community PAS seeks to raise awareness of the issues surrounding the prevention and detection of plagiarism and thereby maintain levels of incidents of plagiarism and of academic misconduct within the community.

Word Count: 398

References

JISC (2005) Plagiarism Advisory Service [On-line] Available: http://www.jisc.ac.uk/index.cfm?name=services_plagiarism Accessed: 2 May 2006

TurnItIn (2006) Plagiarism Prevention [On-line] Available: http://www.turnitin.com/static/plagiarism.html Accessed: 2 May 2006

Bibliography:

Indiana University (2004) Plagiarism: What It is and How to Recognize and Avoid It [On-line] Available: http://www.indiana.edu/~wts/pamphlets/plagiarism.shtml Accessed: 2 May 2006

Plagiarism.Org (2006) Plagiarism Today [On-line] Available: http://www.plagiarism.org/ Accessed: 2 May 2006

Wikipedia (2006) Plagiarism: [On-line] Available http://en.wikipedia.org/wiki/Plagiarism Accessed: 2 May 2006


text:
Umbraco/Contribution guidelines

General Wiki Information
Help on contributing to this Wikibook is available at Help:Editing

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Please try and spell check contributions before adding them to the Wiki.

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If you decide to create a requested page then please remove the request from this section after you are done.

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 * Creating a contact us form

Improving this article sections
If you feel that something that you contribute to the Wiki is incomplete, or could be improved, please add a section entitled Improving this article to the end of your contribution detailing the enhancements that you would like to see.

This should allow others to pick up and polish off work that you don't have time to do.

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title: Umbraco/Contribution guidelines


text:
Talk:Final Fantasy VII

And so it begins.
So, now there's a Final Fantasy VII Wikibook and it actually has some content in it now, too. How... amazing. The thought of starting one had occurred to me quite a few times while playing the game, mostly while consulting GameFAQs - a lot of completely redundant work there and all under same "rip this off and I'll eat you for breakfast" license. I saw the FF6 work, and thought that starting a FF7 one might really work. So, now I just hope this thing gets even close to done. Slowly, but surely.

Erm, I don't have too much other words of exhortation, so here it goes. Go forth, edit, and ramble. --Wwwwolf 00:23, 28 August 2005 (UTC)

Random Notes for the Wise Gamers
Here's some random details:

 * Use the character names as they're given in Wikipedia. That is, Aeris is apparently now officially, permanently, irrevocably "Aerith Gainsborough".
 * Walkthroughs should preferrably split into "boss-size" chunks. That is, one major boss-fight per page. Or, if there's no boss nearby, at least "hour or two of headless wandering". For examples, from meeting Aerith to getting dumped to the sewers from Corneo's mansion would be a "hour or two of headless wandering" (though it does have a boss in the end); from sewers to the fall of Sector 7 would constitute as a normal boss-size chunk: Wandering and instructions for so can be crunched into a reasonably-sized reading, and it contains exactly one major boss-fight (Reno).
 * Walkthrough modules are named "FF7: Walkthrough: Some title here, please". Non-walkthrough modules, or optional/in-depth subquest modules, should be "FF7: Some title here, please".
 * At this preliminary stage, there should be no need to make an unified walkthroug section-to-section navigation bar or anything. However, it would be neat if the articles would simply link back to the Final Fantasy VII article in the beginning. Just put a paragraph saying  to the beginning of the article. Remember, it can always be fixed later =)
 * I worry that going from Boss fight to boss fight will break the walkthrough into arbitrary sizes. some "stages" in the game have more then one boss fight, and some "stages" in the game may have no bossfights at all. it should all be about completion of an objective. For instance, blowing the first mako reactor is a mission that isnt really over till you get back to Barret's house, even though the boss is dead. I think it should be possible to break up the story into logical stages --Whiteknight 17:57, 7 September 2005 (UTC)
 * Yep, wholeheartedly agreed. Didn't mean to say that the above was supposed to be a really hard, binding rule. So if it's better to break the story up into other kinds of sections, and it seems logical, by all means, go for it. --Wwwwolf 00:08, 8 September 2005 (UTC)

Once again, happy editing. --Wwwwolf 20:06, 2 September 2005 (UTC)

Damn, Mediawiki is smarter than I am. I actually read the instructions now. =) So, replace that last thing with this:

 * Walkthrough modules should be named "Final Fantasy VII/Walkthrough/Some title here". Non-walkthrough modules should be named "Final Fantasy VII/Something or other" - and they can be also subclassified as needed (for example, materia articles will be in "Final Fantasy VII/Materia/(Type) materia".
 * And there's no need to make ToCs or backlinks to the main article, the server does all that stuff already automatically.

This wiki stuff is cool. --Wwwwolf 22:30, 2 September 2005 (UTC)

Article naming
Please observe the article naming. The modules should be named thus:

Don't include the quotes in the title, and replace the italicised things with your own, of course. Edit this table if you really think there should be another type of thing.

Also remember to link the article properly in the table of contents, for example, Article title.

And if the article is on the table of contents and it doesn't exist yet, and you want to change the title before actually creating the article, remember to change both parts - the article title in link and the displayed title!

List of currently available templates

 * Template:Final Fantasy VII/Boss - for boss statistics and strategy
 * Template:Final Fantasy VII/Summon Materia - for Summon Materia statistics and ability descriptions.
 * Template:Final Fantasy VII/Recommended Level - for showing recommended average party level.
 * Template:Final Fantasy VII/Walkthrough Navigation (nee Disc 1 Navigation) - Walkthrough navigation, to be placed to the bottom of each walkthrough module.
 * Template:Final Fantasy VII/Character Navigation - Navigation for the character articles
 * Template:Final Fantasy VII/Magic Materia3 - for Magic Materia with 3 Stars (maybe needs a redesign)
 * Template:Final Fantasy VII/Magic Materia4 - for Magic Materia with 4 Stars (maybe needs a redesign)
 * Template:Final Fantasy VII/Magic Materia5 - for Magic Materia with 5 Stars (maybe needs a redesign)

Magic Materia has only 3 distinctive types of Equip Effects:

 * Template:Final Fantasy VII/Equip Effect Minor - minor effect, str-1, mgc+1, hp-2%, mp+2%
 * Template:Final Fantasy VII/Equip Effect Medium - medium effect, str-2, vit-1, mgc+2, mgc def+1, hp-5%, mp+5%
 * Template:Final Fantasy VII/Equip Effect Major - major effect, str-4, vit-2, mgc+4, mgc def+2, hp-10%, mp+10%

TODO: Maybe rename the templates since they are only used by magic materia.

Templates to come and other ideas (add if you want):

 * Some other navigation templates?

"Preface" and "Appendices"?
I think I'll some day move "Appendices" (Eg "Final Fantasy VII/Appendices/Foo") to normal namespace ("Final Fantasy VII/Foo"), as recommended above. Some reasons:

 * 1) The "appendices" here contain information that is referenced to often in walkthrough. Links become mouthfuls.
 * 2) This is an electronic book that has the linear content (walkthrough, etc) and supplementary material (Other Stuff). Let's not think of it as a bound book. Don't think of it as an appendix, but as a margin or a footnote area that's as wide as eye can see!
 * 3) Adding "Appendices" doesn't add any useful semantic information, just structural stuff that's fairly useless in an electronic book. It should identify a tangible group of modules (like "Walkthrough" or something), rather than a vague group of texts that just hangs somewhere.

I'm too lazy to move the chapters right now though, but I recommend against creating new chapters as "Appendices", and just use the above-mentioned scheme for independent texts.

story section
I think that this guide should have a separate "storyline" section. that way, we can separate out some of the mechanics from the "spoilers." in the end, we could have a "Bringing it all together" section (or something similar) to boil down the story (Cloud's true history with Sephiroth, Jenova's true history, etc...). we could also include appendices for cameo appearances, strange points, glitches, and continued themes from other final fantasy games. --Whiteknight 17:52, 7 September 2005 (UTC)
 * Good idea. The way I'm writing things is that the walkthrough itself is probably pretty mechanical, a la "kill the boss and watch a ten-minute cutscene". I'm not good at writing plot synopses, but if someone's into writing plot descriptions and analysis, that can, by all means, be included. --Wwwwolf 00:08, 8 September 2005 (UTC)
 * Right, I added some of these things to the main ToC. I should also say that I wholeheartedly agree there should be a section something like Hacki's Ultima Nitpicks - I love Hacki's page and think it would work far better in wiki format =) --Wwwwolf 19:11, 8 September 2005 (UTC)

Copyright patrolling & begging for help
Someone posted someone else's walkthrough at Final Fantasy VIII. Bang. Copyvio folks were a-hounding.

Walkthrough authors are obviously easily annoyed because it takes a lot of effort to write this stuff. Just look at any walkthrough you find in the net: "don't post this to (these million plus one sites) because they tried to rip me off by using it without my permission, grr".

I don't want copyvio sort of stuff to happen here. I'm not asking for really, really strict scrutiny of everything before it gets posted, but please, keep your eyes open. My heart skips a beat if I see a huge contribution by an anonymous user; I spent a while googling before my heart stopped doing weird noises. (Create an account and you might be able to sneak something under my radar... =)

But also, if you do know of a walkthrough that might be useful and the author doesn't mind, please do ask nicely before appropriating such content. --Wwwwolf 14:42, 14 September 2005 (UTC)

Restructuring
I think that the current structure of this Wikibook is really flawed. Things are scattered around and not grouped consistently. Particularly, the "Time-wasting" section seems obselete as Chocobo breeding yields KOTR and other rare materia, and the battle square is the only way to get the Ominslash manual and the W-Summon materia.

I propose splitting the book into three sections:

Preface

 * Introduction to book, aims, etc.
 * Game information
 * Character profiles
 * Cloud
 * Barret
 * Story Synopsis/Timeline
 * Before the game
 * The Cetra
 * Rise of Shinra
 * Cloud's Past
 * Hojo/Gast/Sephiroth
 * Nibelhiem Incident
 * During the game
 * After the game
 * On the Way to a Smile
 * Advent Children
 * Advent Children

Walkthrough

 * Disc One
 * Disc Two
 * Disc Three
 * Disc Three
 * Disc Three

Appendices

 * Materia
 * Magic
 * Summon
 * Command
 * Independent
 * Support
 * Item Locations
 * Weapons
 * Armour
 * Accessories
 * Items
 * Enemy Skill
 * Chocobos
 * The Golden Saucer
 * etc, etc

I don't know how active this Wikibook is. I intend to help as much as I can.

 * Oh, the wikibook is "active" all right. It's just that I guess nobody else besides me thinks this is their "current project" or anything. Looks like I'm the only one who currently seems to write the walkthrough (I promise to do all of the stuff, but everyone's free to add stuff, of course). Not many people work on this yet, and since this thing is pretty new, there's not much stuff yet. =)
 * And apologies for the "time-wasting" thing. I'm definitely not the best one to come up with names. =) I think I'll split the contents somewhat like what's suggested, it seems fairly logical to me. --Wwwwolf 14:02, 26 September 2005 (UTC)

 * No problem. The new structure looks nice. I'll try to work mostly on some statistics, story, etc. --Joey Roe 15:26, 26 September 2005 (UTC)

CD 1 walkthrough is complete
(Movie trailer voiceover guy voice) It began as the greatest pseudointellectual adventure of all time... (cur) (last) 19:55, 18 August 2005 Wwwwolf (Created. And this is very very sparse.) ...and now, the the world is in brink of a new enlightenment... (cur) (last) 18:20, 2 December 2005 Wwwwolf (Created. And that concludes CD 1 walkthrough!)

Yay! All of the chapters of the CD 1 walkthrough are now in place!

Yet, it's not perfect. So, if there's anyone out there who knows something about something, here's the stuff to do. Many of the chapters are listed on the index as having 75% completion. Check those out. There's items in the text marked as "todo". It would be great to fill those in.

Also, the chapters could use puffing up here and there, as there's probably corners that I haven't searched too closely, and some placements of items aren't well-described at all. So I definitely encourage people to get a closer look at those. I will keep writing more of the walkthrough as I go along. Sorry to keep everyone waiting though - my excuse is that Demon Gate ticks me off, infinitely. --Wwwwolf 18:39, 2 December 2005 (UTC)

You should really have a link to the next chapter in each section
For someone just reading through the walkthrough and trying to use it, they want to be able to take a given chapter and go to the next one easily. I'd recommend doing something like the FF6 guide did and have a link to the next chapter during each section, or maybe even a chapter template at the bottom so you can skip to any part.--BigCow 18:32, 7 December 2005 (UTC)
 * Yep, a good idea, and yes, it has crossed my mind. =) I'll definitely add them (at least for the CD1 chapters) soonish. --Wwwwolf 02:25, 8 December 2005 (UTC)
 * Okay, done adding the stuff on Disc 1... I think we can let Disc 2 wait until the chapters for that are done. --Wwwwolf 02:58, 8 December 2005 (UTC)
 * Hey I did the honors of adding that links to the next sections on each page. Hope that helps.  I'll be adding other stuff soon too. Mason11987 15:07, 2 January 2006 (UTC)
 * Great, thanks. =) --Wwwwolf 20:37, 3 January 2006 (UTC)

Another re-organization idea-Gold Saucer section
Would it be worth having a section just talking about the Gold Saucer? Things like the battle square and so on could be nested inside or as sub-articles, and it would provide a way to cover things like Chocobo racing, the speed game, the wonder square, and the fact that you can buy GP from the guy outside the tram sometimes in one place rather than having to split the information up into a bunch of separate articles. It just seems to make more sense, it's one of the things I would look for anyway.--BigCow 06:37, 25 December 2005 (UTC)
 * Yeah, I think it'd be a good idea. I think I'll move the Battle Square article to Minigames/Gold Saucer or something, and then there'd plenty of space to put all other minigames there. I don't think the Battle Square article is getting much bigger than it is, and it'd still be a very reasonable sized article with twice the length (I'm guessing that's about as long as it'd get with all of the other GS minigames). --Wwwwolf 16:00, 25 December 2005 (UTC)
 * Awesome. I've started filling it in. Just so you know, I'd be happy to fill in the "events during the game" section as well, I've started writing up a little story summary which just gives the outline of the plot.--BigCow 16:44, 27 December 2005 (UTC)
 * That would be great. I'll be finishing the rest of the CD2 walkthrough shortly (sorry, a few days delay at most), and after that, I'll definitely finish the CD2 walkthrough, probably not go into terrifying detail what comes to the Northern Crater - though I'll definitely cover some of the end bosses... --Wwwwolf 22:59, 27 December 2005 (UTC)

And that concludes CD 2!

 * 11:41, 29 December 2005 Wwwwolf (→Commandos in Midgar)

Yay! Now all we need is CD 3, and I'll be getting into it shortly! --Wwwwolf 11:50, 29 December 2005 (UTC)

"Knights of Round" Versus "Knights of THE Round"
Right, I do realize that people's tendency to correct for grammar is high, but the real name of the materia is "Knights of Round" without the "the" I've gone through some pages and changed that but did not get through all of them due to time constraints on my part. 24.225.230.3 16:13, 10 January 2006 (UTC) (p.s. I can help too if you guys want... I've played through the game at least 3 times and pretty much memorized everything there is to get. Just tell me what needs to be done and I'll do it. And, before anyone tells me to get an account, I already have one, I'm just too lazy to log in right now :P)
 * I checked my tvtime screenshots folder today, and verily, the name "Knights of Round" hit me on the forehead like King Arthur's wet sock. I guess I was thinking of the Capcom arcade game and coincidentally the more proper spelling. =) I've tried to fix things. Anyway, welcome to the jolly lot, loggeth ye onneth and tweaketh the guide, or something. =) --Wwwwolf 20:30, 10 January 2006 (UTC)
 * Weee! I went a did a little work on some things, see below for details. (I am 24.225.230.3 btw, or rather, one of the people who use that IP) Mxuxl1 01:43, 17 January 2006 (UTC)
 * Hm... I was randomly running through the game yesterday and went to the island that the materia is found... the menu called it "Round Island" ... I think the materia is supposed to be summoning the knights of round island. .... Should we be eliminating King Arthur references? Mxuxl1 16:00, 3 February 2006 (UTC)
 * Um... that's an interesting point of view. However, that doesn't sync with the fact that the game draws a lot of stuff from other mythological sources (think of other summon names, which sure as heck aren't named after the places they are found from...) I think the island is named after the knights, not the other way around. --Wwwwolf 17:20, 3 February 2006 (UTC)
 * Point taken. But is it technically correct to say that the materia is summoning the knights themselves? Mxuxl1 15:47, 6 February 2006 (UTC)

The Great Big To-Do List
This is a collation of all ToDo items in the guide, and also a place to put your own big major issues. Feel free to edit this list. --Wwwwolf 21:12, 10 January 2006 (UTC)

Walkthrough

 * Wall Market: Overview of the Wall Market area.
 * Wall Market: What other items can be got? And how they're got? How they affect the Corneo subgame outcome?
 * Desert prison: Items you can grab here.
 * After getting Tiny Bronco: List of cool stuff that can be done before going to the dream date.
 * Temple of the Ancients: What's in the rest of the rooms you can get to from the Time Guardian.
 * Bone Village: What can be excavated?
 * Corel Huge Materia Train: Arrrggggggghhhssshit. You know, the most annoying thing, when I first played FF7, about stopping the train was that all of the guides had only the PS controls. Now, when I've been writing the walkthrough, I don't have Windows installed so I only have the PS version at hand. =(
 * Disc 2 conclusion: Things that absolutely have to be done before the end of CD 2, or they're gone for good?
 * Disc 2 conclusion: The stuff under Midgar is particularly badly documented, specifically that huge room with those vent pipes and all.
 * Disc 2 conclusion: Reno/Rude/Elena fight stuff in the unlikely case where someone has spared themselves from Wutai.
 * Descent into the Northern Crater: Descriptions of the various paths, and better description on how to get Good Stuff, in case anyone cares.
 * Finale: The final fight strategies could use some polishing.
 * Finale: Anyone got any idea on how the number of groups in the Bizarro Sephiroth fight is determined? Preferrably with a frigging source?

Other modules

 * Summon Materia: All of these are missing the APs. (Done. --Gesu 21:12, 12 February 2006 (UTC))
 * Magic Materia The Magic Materia pages is missing a lot of info. Will get to work on it starting today.
 * Instructions for getting PC version working, including required patch to fix chocobo racing bug and video codec for newer systems.

Finished Stuff

 * Wall Market: When helping Aerith to escape the Turks, in which order the barrels should be pushed, anyway? (Done. Mxuxl1 01:45, 17 January 2006 (UTC))

 * Desert prison: What can you actually do in the desert? (Done. But I'm not quite sure about something in it though. Also, Added a bit to Dyne's boss section Mxuxl1 01:56, 17 January 2006 (UTC))

The great big w00t
02:34, 16 February 2006 Wwwwolf (This is not really done it, but I believe this concludes the walkthrough.)

As you can see from the grammar, and the fact that I'm in Eastern European time zone (+2 hrs to the above), I beat FF7 yet again in a rather tired state and wrote about that in even more tired state. But at least the framework is there. The walkthrough "meat" is now there; all it needs is some more information and polishing. What can I say, except for "yay" or something along those lines?! --Wwwwolf 12:41, 16 February 2006 (UTC)

What didn't get moved
Oh-kay...

I appreciate the move of the book, but some more modules need to be moved:

 * The conventions chapter; I need to find this... never mind, it's moved
 * Final Fantasy VII/Status Effects
 * Talk:Final Fantasy VII/Conventions
 * Talk:Final Fantasy VII/To-Do
 * Talk:Final Fantasy VII/Archive 1
 * Image:FF7-Tifa-Limit-Piano.png
 * Image:FF7-Tifa-Limit-Piano.mid
 * Image:FF7 Golden Chocobo Breeding.png
 * Image:FF7-CMajorScaleAndChords.png
 * Template:Final Fantasy VII/Character Navigation
 * Template:Final Fantasy VII/Boss
 * Template:Final Fantasy VII/Summon Materia
 * Template:Final Fantasy VII/Magic Materia3
 * Template:Final Fantasy VII/Magic Materia4
 * Template:Final Fantasy VII/Magic Materia5
 * Template:Final Fantasy VII/Equip Effect Minor
 * Template:Final Fantasy VII/Equip Effect Medium
 * Template:Final Fantasy VII/Equip Effect Major
 * Images associated to those templates
 * ...also worth checking everything listed in the template list in /Conventions talk page above

I'll add to this as I find the stuff.

There's also tons of redirects and like with possible history data.

And please lock all of the moved modules: stuff is easier to maintain, and less confusing, and no duplicate work is done, if there's no mysterious forks floating around. --Wwwwolf 10:01, 9 May 2006 (UTC)

 * OK, these have all been copied across, I'll check on the rest in a minute. The MIDI file however can't be uploaded due to the wiki's current configuration (nor can I see many other guides wanting to use MIDI samples); you could always move it to Commons and link to it from there or something. I'll get onto locking and whatnot soonish. GarrettTalk 05:47, 13 May 2006 (UTC)

title: Talk:Final Fantasy VII


text:
Talk:Suomen kieli käyttöön/lukeminen/Taso 3/kahvi ulkomailla

oloista
Does anyone know why this is in the partitive? Hauskalainen 10:02, 9 May 2006 (UTC)

 * Oloista kahvia: this is the object and an object can be either in partitive or accusative (genitive or nominative). Partitive is used for unspecified amounts of something, in this case, just coffee in general. Oloisen kahvin would be used for a cup of coffee. Althoug in Finnish, this is a very good summary of object cases in Finnish, and here is one that is more concise. -130.232.129.242 20:31, 1 June 2006 (UTC)


text: User talk:80.90.160.162

title: User talk:80.90.160.162


text:
Wikibooks:What is Wikibooks/Unstable

Wikibooks is a collection of free open-content textbooks, supplementary texts and annotated texts that anyone can edit. This page briefly defines English Wikibooks' basic project scope which allows us to maintain focus and stay on task. The process for removing material that does not aim to be within project scope is described in the deletion policy.

Wikibooks materials are

 * Free. They can be used and distributed by anyone that accepts the terms of the Creative Commons Attribution-Share Alike license. They may include derived and aggregations of works that are compatible with the CC-BY-SA license, if properly attributed.
 * Open. They aim to be the result of many people working together through consensus building. Almost anyone with an Internet connection can contribute. If you do not want your writing to be edited mercilessly and redistributed at will, then do not contribute to Wikibooks.
 * Educational. They aim to be suitable for learning and teaching class or course curricula, and/or for self-learning. Materials are written for fluent English language readers (for other languages see Wikibooks' portal page). Published educational standards are followed when appropriate.
 * Comprehensive. They aim to be easy to understand and follow by a targeted audience that is able to learn from reading it, with a scope that defines what is covered and how complete that coverage is intended to be. They are written with purpose and allow readers to read with purpose. To this effect they may use interactive features, multimedia files, a narrative, or links that directly benefit the target audience.
 * Consistent. They aim to be consistent in tone, narrative, layout, scope, purpose, audience, and writing style. They should explain these things to authors and readers. They must also build knowledge from one page to the next in a consistent way.
 * Reliable. They aim to maintain a neutral tone and present factual information that anyone can independently and easily verify to be accurate and balanced by checking established, respected and reliable sources, or through reasonable and safe reproduction. For primary research use peer-reviewed journals or other websites instead, such as Wikiversity or Academia Wikia. For original works of fiction use The Fiction Wikia.
 * Dynamic. They aim to evolve and change over time to reflect current knowledge. Static versions of previously published works that have been released into the public domain or a compatible license may qualify for inclusion on Wikisource.

Wikibooks materials are not

 * Collections. They are more than just outlines or a collection of facts, images, quotations, or lists. Bibliographies, Appendixes, Glossaries, reference material, or other collections of information must be part of a book that provides a comprehensive coverage of a subject mater.
 * Fiction including novels, stories, poems and other non-factual works. However Annotated texts are fine. For original fiction use The Fiction Wikia.
 * Dictionaries or thesauruses. They aim to do more than define topics. For dictionary or thesaurus entries use Wiktionary instead.
 * News stories. They are not a primary source of current or breaking news. Use Wikinews for that instead.
 * Macropedias or encyclopedia articles. They aim to do more than provide topic overviews. For that use Wikipedia instead.
 * Unverifiable. Even books must be composed of verifiable material. If you can't prove it, don't add it!
 * Primary sources. They are not for reporting or publishing new information and ideas. For that use Wikiversity instead.
 * A main source for other forms of class curriculum, this includes tests, notes and class plans. Use Wikiversity instead.
 * Promotional. They are not for promoting or advertising products, services, companies, events, people or other things.
 * Paper. They may have needs that are not possible to replicate on paper or in printed form.
 * Censored. They are not censored for there potential to be offensive, controversial, unethical, dangerous, illegal, or seen by minors.
 * Personal homepages, blogs, mirrors, directories, or soap boxes. This includes anything which does not aid in Wikibooks' educational mission.
 * Guides. They aim to do more than give step by step directions, offer guidance or strategies, or provide answers to specific problems. For electronic game guides use StrategyWiki instead.

title: Wikibooks:What is Wikibooks/Unstable


text:
Educational Technology Innovation and Impact/Edutainment/Second Life (educational applications)

Second Life
Second Life is a 3-D virtual world and has been available online since 2003. Since then it has become “inhabited” by nearly 100,000 people from around the globe. ( Second Life, 2006). The “world” is a simulation that provides a unique and flexible environment for educators interested in distance learning, computer supported cooperative work, simulation, new media studies, and corporate training and provides an opportunity to use simulation in a safe environment to enhance experiential learning, allowing individuals to practice skills, try new ideas, and learn from their mistakes. The ability to prepare for similar real-world experiences by using Second Life as a simulation has unlimited potential. It is in this manner that it can be likened to the popular games series such as “The Sims” and “SimCity”, but instead of a person on a machine, this environment interacts with other people playing the same game across the globe. It is the accessibility of Second Life that allows students and educators to work together from anywhere in the world as part of a globally networked virtual classroom environment.

According to the entry for Second life in Wikipedia (2006) It has been claimed that Second Life, and several other virtual worlds, have been inspired by the science fiction novel Snow Crash by Neal Stephenson. Indeed, the stated goal of Linden Lab was to create a world like the metaverse described in Snow Crash: a user-defined world of general use in which people can interact, play, do business, and otherwise communicate.

It is popular and successful simulation games such as “The Sims” though that ensure that the majority of students have had some experience with simulation games. On the whole, these games, or environments, represent active, immersive learning environments where users integrate information to solve a problem. Learning in this manner incorporates discovery, analysis, interpretation, and performance as well as physical and mental activity, which gives the educational content required for students and teachers alike. It is these features within Second Life that attract educators and students alike.

There are many options for Educators in Second Life, as well as having its own economy, market place and variety of building tools, you can also create a secure internal area, called “Private Islands” that restrict membership and thus only allow access to those who require it. Those with access to private areas can still access those areas deemed “Public land” and thereby interact with all the Residents of Second Life. It is by being able to have an “internal” and external area within the world-wide virtual world which make it an ideal environment for educators and students to come together and promote learning.

Word Count: 432

References:

Second Life (2006) What is Second Life? [On-line] Available:http://secondlife.com/whatis/ Accessed: 7 May 2006

Wikipedia (2006) Second Life as the Metaverse [On-line] Available: http://en.wikipedia.org/wiki/Second_Life Accessed: 7 May 2006

Bibliography

Antonacci D M, Modaress N (2005) Second Life: The Educational Possibilities of a Massively Multiplayer Virtual World (MMVW) [On-line] Available:http://www2.kumc.edu/netlearning/SLEDUCAUSESW2005/SLPresentationOutline.htm Accessed: 7 May 2006

Linden Labs (2006) Second Life: [On-line] Available: http://lindenlab.com/ Accessed: 7 May 2006

Second Life (2006) What is Second Life: Economy [On-line] Available: http://secondlife.com/whatis/economy.php Accessed: 7 May 2006

Second Life Herald(2006) News Archives [On-line] Available: http://www.secondlifeherald.com/ Accessed: 7 May 2006


text:
Talk:Arabic/Intermediate Phrases

Untitled
domain name directory should be phrases not pharses.

Pronunciation
I have to disagree with the pronunciation of some of the words. Particularly an (alif noon). It's not an-na. Simply An.

153.25.178.60 (discuss) 15:51, 9 February 2012 (UTC)

title: Talk:Arabic/Intermediate Phrases


text:
General Genetics/Genomes

In biology the genome of an organism is the whole hereditary information of an organism that is encoded in the DNA (or, for some viruses, RNA). This includes both the genes and the non-coding sequences. The term was coined in 1920 by Hans Winkler, Professor of Botany at the University of Hamburg, Germany, as a portmanteau of the words gene and chromosome.

More precisely, the genome of an organism is a complete DNA sequence of one set of chromosomes; for example, one of the two sets that a diploid individual carries in every somatic cell. The term genome can be applied specifically to mean the complete set of nuclear DNA (i.e., the nuclear genome) but can also be applied to organelles that contain their own DNA, as with the mitochondrial genome or the chloroplast genome. When people say that the genome of a sexually reproducing species has been "sequenced," typically they are referring to a determination of the sequences of one set of autosomes and one of each type of sex chromosome, which together represent both of the possible sexes. Even in species that exist in only one sex, what is described as "a genome sequence" may be a composite from the chromosomes of various individuals. In general use, the phrase genetic makeup is sometimes used conversationally to mean the genome of a particular individual or organism. The study of the global properties of genomes of related organisms is usually referred to as genomics, which distinguishes it from genetics which generally studies the properties of single genes or groups of genes.

title: General Genetics/Genomes


text:
Classical Mechanics/Applications

Physics - Classical Mechanics

Prev Up Next

Overview of our progress so far
We have seen how to describe various mechanical systems in terms of Lagrangians. It is straightforward to find the Lagrangian for any system consisting of point masses, rigid sticks, ropes, rolling wheels, etc. Given a Lagrangian, it is very easy to derive the equations of motion (the Euler-Lagrange equations. Solving these equations is a technical task that may be accomplished using computers. In principle, the theoretical description of mechanical systems is now complete.

There is one caveat: Mechanical systems involving the force of friction generally cannot be easily described by the Lagrangian formalism! The Lagrangian formalism includes only conservative forces, i.e. forces which are gradients of a potential. (A constraint can be seen as an idealization of a very steep potential that effectively prohibits motion in some directions but allows motion in other directions.) However, friction is not a conservative force because it usually depends on velocity and position in a nontrivial way. In physics, the force of friction is not considered a fundamental force, but rather a force arising out of interactions with a large number of particles in the environment. Thus, effects of friction can be derived, in principle, from a more fundamental picture that involves only conservative forces. Of course, in practice it is much more convenient to introduce the force of friction phenomenologically, i.e. by guessing or experimentally measuring the formula for the friction. One well-known formula is $$F=\mu N$$, where $$N$$ is the normal force and $$\mu$$ is the friction coefficient; this formula approximately describes dynamic friction on rough surfaces. Another known formula is $$\vec F= -A(v)\vec v$$, where $$\vec v$$ is the velocity of a body moving through a medium and $$A(v)$$ is the coefficient that usually depends on the velocity and on the shape of the body in some complicated way. This formula can be used for bodies moving through air or water, although one needs to measure the function $$A(v)$$ in each case.

What remains: applications
You still need to learn some practical applications of this mathematical theory to various important cases. In each case, one can apply the general theory, use suitable mathematical techniques, and extract important physical consequences. Students of theoretical mechanics need to learn these mathematical techniques, as well as the accompanying notions and their physical interpretations. Here are the major areas of interest:

 * Describing the motion of a point mass in a central field of force. The most important example is the Kepler problem, which corresponds to a force that decays as $$1/r^2$$ with distance. This setup describes, for instance, the motion of planets and comets around the sun. In this case, one can solve the equations of motion analytically and derive important properties of the motion in a central field, such as periodicity, orbit parameters, escape velocity, Kepler laws, perihelion precession, etc. The theory of the Kepler problem is the foundation for celestial mechanics.
 * Describing the motion of a rigid body under external forces. A rigid body is a collection of a very large number of point masses, which are spread in space and constrained to remain at fixed distances from each other. So, a rigid body may move as a whole or rotate as a whole, but it cannot be squeezed or deformed in any way. The concept of a "rigid body" is very important because it is an idealization of the behavior of rigid things that we use in real life. The motion of a rigid body is, of course, much simpler than the set of all possible motions of its constituent particles. So it is very useful to develop a special formalism describing the possible motions of a rigid body. This formalism involves such concepts as the tensor of inertia, torque, angular momentum, and rolling without sliding. I would like to stress that these concepts are not new fundamental axioms of mechanics; these concepts can be derived from the standard Lagrangian for the system consisting of many massive particles that are spread in space and constrained to remain at fixed distances from each other.
 * Describing small oscillations around a static configuration. For a mechanical system that has oscillating degrees of freedom around a static equilibrium position (these systems range from molecules to bridges), we make an approximation that the system has only very small deviations from that position. In the limit when these deviations are very small, it is usually possible to derive a linear equation of motion for these deviations. These equations of motion describe oscillations and can be analyzed to verify that the position of the system is stable against small deviations. (The analysis proceeds most conveniently in the Lagrangian formalism.) The key concepts in this area are normal modes, normal frequences, and stability.
 * Describing elastic scattering of point masses. More generally, one considers a point mass moving in a potential, such that the force is appreciably nonzero only in a small portion of space. A typical problem is to describe the motion of a point mass that has a given velocity far away from the interaction area. The particle flies in, is deflected (scattered) by the potential, and flies away with a the same speed but in a slightly different direction. A typical experimental situation is when one has an initial beam of particles with slightly different positions. In that case, the interesting question is not to describe the precise trajectory of each particle, but to predict how many outgoing particles will fly in a particular direction. In other words, one wants to characterize the final (outgoing) states at infinity in terms of the initial (ingoing) states at infinity. The key notions in this area are the differential and the total scattering cross-section.

What remains: theoretical developments
Besides these applications, there are certain theoretical developments that enrich the Lagrangian formalism and provide essential foundations for other areas of theoretical physics. At least some of these theoretical developments are usually included in courses of theoretical mechanics, even though some of them do not have a direct application in the field of mechanics proper. We shall only study the most important of these developments:

 * General properties of Lagrangian formalism: invariance under coordinate changes, equivalence of systems with different Lagrangians, motivations for using the action principle, equivalence of Lagrangians with higher-order derivatives and first-order derivatives, etc. These are more or less formal developments that deepen our understanding and clarify the structure of the theory but only rarely help solve particular problems. For instance, the invariance under coordinate changes is an important conceptual fact which justifies why we can choose arbitrary generalized coordinates.
 * Hamiltonian formalism. This is a very important mathematical development of the Lagrangian formalism, where a mathematical trick is used to include velocities as independent variables into the Lagrangian, thus making the equations of motion first-order in time derivatives. The Hamiltonian formalism involves such notions as Legendre transformation, Poisson brackets, and symplectic geometry. The most important application of the Hamiltonian formalism is in quantum mechanics; within classical mechanics, it largely remains a mathematical game which only occasionally has an advantage over the Lagrangian formalism in solving mechanical problems, although it has far-reaching consequences for the formal development of physics. For instance, such features as the presence of constraints, integrability, and a transition to chaos is most naturally expressed using the Hamiltonian formalism. In the minimal standard course of mechanics, only some basic ideas of the Hamiltonian formalism are covered: the Poisson brackets, canonical transformations, and the Hamiltoin-Jacobi equation.
 * Perturbation theory. This is a method to describe a system approximately, if that system is only a small deviation from another system which we can solve exactly. Several methods of perturbation theory are known; only the most basic ones (anharmonic oscillations) are studied in the minimal standard course of mechanics.
 * Symmetries and conservation laws. The discovery that the existence of a group of symmetry transformations is equivalent to the existence of a conservation law has become a very important foundation of particle physics and field theory. Keywords include: symmetry groups, infinitesimal transformations (also called "generators"), the Noether theorems, Galilei and Lorentz invariance. Only a qualitative understanding is intended at this point.

title: Classical Mechanics/Applications


text:
Blender 3D: Noob to Pro/Model a Low Poly Head

Overview
This tutorial is designed to teach users to make a low-poly animesque head in Blender.

What you need to know:
 * Basic Blender controls

Add a plane
Noob Note: Using triangles on a subsurfed model may result in "peaks" appearing in some areas. To reduce this problem, merge as many triangles into quads as possible.

Start with a new file, and delete the default cube.

Be in Front view

Add a plane (+-> add-> mesh-> plane)

Click on "Align to view" in the settings at the bottom left side.

Make a pointed chin
Switch to Edit mode

Be in Vertex select mode

Select the bottom two vertices (+) and press W to bring up the vertex menu. "Select Merge", then "At Center", or just hit + and choose "At Center".

Now you have a pointed chin.

Select the top two vertices (use the )

Re-arrange them so they make more of a chin shape by pressing the to move and  to constrain the movement to the Z-Axis.

Noob Note: Move it down; don't scale it out.

Extrude the face
Now extrude "edges only", along the Z-Axis  so that you have another area.

As a precaution, remove doubles. (WKEY)

Scale it so that it's not so cubic.

Now extrude along the Z-Axis again ( then ) and scale it down a bit.

One last time... (E) (Z) (S)

Make the facial features
Select the middle vertices (BKEY) or (RMB) and press (WKEY) to bring up the specials menu. Subdivide it once.

Note: In newer versions you have to check the checkbox: "Quad/Tri Mode" in the lower left corner.

Now select at first the pair of vertices above and subdivide once.

Now subdivide 2 times with the pair of vertices below the center line.

Yours should now look like this one on the right.

Eyes
Select and subdivide here, so you can make the eyes.

And rearrange the vertices so they make eye shapes.

Nose
Now select the middle vertex here (right mouse button).

Extrude it along the Y-Axis (EKEY) (YKEY) and move your mouse around to change how far it moves.

Select these three vertices ('SHIFT+RMB) and press (F) to make a face.

Now do the same to the other side, and you will have the nose's base.

Select these vertices (SHIFT+RMB) and make a face (F).

Do this to the other side.

Now you have a nose.

Remove interior nose faces
Rotate the camera (CTRL+NUM1) so you are seeing the back.

Be in Face select mode.

Select (SHIFT+RMB) the faces behind the nose.

Delete (XKEY) them (on the popup pick "Faces").

Smooth the mouth region

Be in Vertex select mode

Select the vertex at the bottom of the chin, and the one at the bottom of the nose.

Subdivide them.

Make the head
Be in Edge select mode

Select all the edges on the outside (shown with blue lines in the photo).

Move (GKEY) the vertices back, along the Y axis (YKEY), a bit to give the face more smoothness

Be in Vertex select mode

Rearrange the chin, by moving (GKEY) the bottom vertice along the Y axis (YKEY) till it looks right.

Make the back of the head
Be in Edge select mode

Now select the edges all around the back of the head, using (BKEY).

Extrude these along the y axis (EKEY) (YKEY)

Ta da!

Now select a set of 4 back vertices that form sort of a rectangle and press (FKEY) to make a face.

and so on....

and so on....

now select and subdivide these once (W)

and these points too.

Now select the middle and move it back (G) (Y).

Finishing it up
And here it is with sub-surfacing. You have finished. Hit (F12) to see the final render.