text:
Cookbook:Biscuits and Gravy

| Breakfast

Biscuits and gravy is a dish enjoyed nearly everywhere in the United States, though it is most commonly associated with the southern states. It is a staple breakfast of most US diners.

Traditionally this breakfast is served on a plate. A common serving is two biscuits, each halved, insides face up, covered in gravy. Common side dishes are strips of bacon, hash browns, or grits.

This recipe relies on this biscuit recipe.

Ingredients

 * 1 lb (500 g) ground breakfast sausage
 * 3 tbsp (15 mL) bacon grease
 * ¼ cup (60 mL) flour
 * 3 cup (720 mL) milk
 * ½ tsp (2.5 mL) salt
 * ¼ tbsp (4 mL) ground black pepper

Biscuits
Gravy
 * 1) Make 'cut' biscuit dough.
 * 2) Place the cut biscuits in the oven when you add the bacon grease to the skillet in the gravy procedure below (step 3).
 * 3) Remove from oven after 10 to 12 minutes; the biscuits should be warm when served with the gravy.
 * 1) Brown the sausage in a large skillet.
 * 2) Remove the browned sausage from the skillet and reserve in a bowl, being careful to leave as much of the drippings as possible in the pan.
 * 3) Add the bacon grease to the skillet, and place the skillet on low to medium-low heat.
 * 4) Once the bacon grease is up to temperature, mix the flour into the grease.
 * 5) Add the milk slowly, mixing as you pour.
 * 6) Bring to a gentle boil, stirring constantly scraping the bottom and edges of the skillet. Stirring keeps the gravy from becoming too lumpy or burnt.
 * 7) Continue stirring until the gravy has nearly reached the desired consistency, usually about 10 minutes.
 * 8) Add the browned sausage held in reserve.
 * 9) Remove from heat and allow to set for 1 minute.
 * 10) Serve with biscuits.

title: Cookbook:Biscuits and Gravy


text:
User talk:SimonJWright

Book of the month
Programming:Ada has been nominated on Book_of_the_month/September_2005_voting. Prehaps you would like to support our Nomination.

--Krischik 10:35, 2 August 2005 (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 Sjw. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Sjw~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 23:45, 17 March 2015 (UTC)

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

title: User talk:SimonJWright


text: User:Larry Luther

title: User:Larry Luther


text:
User talk:Muis24

Why don't we start a nice conversation!? If you know any nice subject to conversate about, please add your comment! (I prefer something about vidoegames or something) Muis24

reaction of myself
This is empty, in case you haven't already noticed.

title: User talk:Muis24


text:
Corset/Bibliography

Corset

English

 * /English/
 * /Old English/

Danish
/Danish/

French

 * /French/
 * /Old French/

da:Korset:Kilde

title: Corset/Bibliography


text:
Cellular Automata

This book aims to become a graduate to postgraduate level schoolbook on cellular automata. For those looking for a short informal introduction, see the Wikipedia page Cellular automaton.

Notes for contributors

 * There is a sandbox for experimenting.
 * Not yet matured content may be placed in talk pages or in the sandbox.
 * OpenOffice.org sources for figures are stored in the table of figures

title: Cellular Automata


text:
Cellular Automata/Mathematical Model

Formally, a cellular automaton is represented by the 4-tuple $$ ( Z, S, N, f) $$ where:
 * $$Z$$ is the finite or infinite lattice
 * $$S$$ is a finite set of cell states or values
 * $$N$$ is the finite neighborhood
 * $$f$$ is the local transition function defined by the transition table or the rule

The lattice is a finite or infinite discrete regular grid of cells on a finite number of dimensions. Each cell is defined by its discrete position (an integer number for each dimension) and by its discrete value (one of a finite set of integers). Time is also discrete. The future state of a cell (time $$t+1$$) is a function of the present state (time $$t-1$$) of a finite number of cells surrounding the observed cell called the neighborhood.

One dimensional first order cellular automata
For the sake of readability the next definitions focus on one dimensional first order cellular automata.

Lattice, cell and configuration
The infinite global state is a configuration $$C \in S^Z$$. $$S$$ is the finite set $$k=|S|<\infty$$ of cell states $$c \in S$$, for formalization purposes the states are enumerated $$S=\{0,1,\dots,k-1\}$$. The lattice $$Z$$ is the infinite cyclic group of integers $$\{...,-1,0,1,2,...\}$$. The position of each cell inside the lattice is described by the position index $$x \in Z$$. Configurations are usually written as strings.

 * $$ C = \dots c_{-1} c_0 c_1 c_2 \dots c_{x-1} c_x c_{x+1} \dots $$

The finite global state is a finite configuration $$C \in S^Z$$, where $$Z$$ is a finite lattice, a finite set $$\{0,1,2, ...,N-1\}$$ of $$N$$ integers.

 * $$ C = c_{0} c_{1} \dots c_{x-1} c_x c_{x+1} \dots c_{N-2} c_{N-1} $$

Finite configurations and their parts can be generally written as strings denominated by small Greek letters from the beginning of the alphabet ($$\alpha$$, $$\beta$$, ...).

The number notation for strings
Strings can be compactly written as numbers. A string of $$N$$ characters $$C$$ from a set of $$|S|$$ symbols is translated into a $$N$$-digit base $$|S|$$ number. Usually strings are indexed from the left to the right but for the number notation indexing from right to left is more intuitive.

 * $$ \alpha = \sum_{i=0}^{N-1} k^{N-1-i} c_i = k^{N-1} c_0 + \cdots + k^1 c_{N-2} + k^0 c_{N-1} $$

Neighborhood
The neighborhood $$A$$ of size $$m=|A|$$ is defined by the set of relative positions inside the configuration.

 * $$ A = \{a_0, a_1,\dots, a_{m-1}\} $$

By applying the set $$A$$ onto an observed cell $$c_x$$ the neighborhood of this cell is obtained.

 * $$ n_x = c_{x+a_0} c_{x-a_1} \dots c_{x+a_{m-1}} $$

The name neighborhood can be used for booth the set of relative distances and for the actual substring of cells related to an observed cell.

A compact representation of the neighborhood value $$n_x$$ is a single integer defined as a number of $$m$$ digits base $$k$$.

 * $$ n_x = \sum_{i=0}^{m-1} {k^{m-1-i} c_{x+a_i}} = c_{x+a_0} k^{m-1} + c_{x+a_1} k^{m-2} + \dots + c_{x+a_{m-1}} k^0 $$

For definitions of common neighborhoods see Neighborhoods.

Local transition function
The local transition function

 * $$ f: S^N \mapsto S $$

calculates the value of a single future cell $$c_x$$ from the neighborhood of the observed cell in the present.

 * $$ c_x^{t+1} = f(n_x^{t}) $$

The transition table defines the local transition function by listing the output value for each input value.

n -> f(n) --- 000 -> 0 001 -> 0 ........ 111 -> 0

The rule $$f$$ is a compact representation of the local transition function. It is a single integer defined as a number of $$m$$ digits base $$k$$.

 * $$ f = \sum_{i=1}^{k^m-1}{f(i) k^i} = f(k^m-1) k^{k^m-1} + \dots + f(1) k^1 + f(0) k^0 $$

 * See also:
 * Cellular Automata/Neighborhood for some frequently used neighborhoods
 * Cellular Automata/Rule for some special rules

Global transition function
The global dynamics of CA are described by the global transition function

 * $$ F: S^Z \mapsto S^Z $$

$$F$$ translates the current (present) configuration $$C^t$$ into the next (future) configuration $$C^{t+1}$$

 * $$ C^{t+1} = F \left(C^t\right) $$

The global transition function $$F$$ is defined by the local transition function $$f$$ as

 * $$ F(\dots c_{x-1} c_{x} c_{x+1} \dots ) = \dots f(n_{x-1}) f(n_{x}) f(n_{x+1}) \dots $$

Finite lattices and lattice boundaries

Infinite cellular automata have no boundary, so its boundary description $$B$$ is omitted. But there is no way to simulate an infinite system using a finite system. The simulation must focus on a finite part of length $$l$$.

The neighborhood used in the local transition function oversteps the lattice boundary for $$r_L$$ cells at the left and $$r_R$$ cells at the right.

There are two common solutions to the overstepping problem:
 * 1) the lattice is wrapped into a circle (torus for 2D CA)
 * 2) the values of the overstepping parts of the neighborhood are defined explicitly as the boundary $$B$$

Cyclic boundaries
Cyclic boundaries are frequently used as there is no need to explicitly define the boundary value and no external information is introduced into the CA that could otherwise cause interference at the boundaries.

The state of a finite lattice cellular automata is a configuration in the lattice $$S^Z$$, where $$Z$$ is a cyclic group of integers modulo $$N$$ ($$\{ 0,1,...,N-1 \}$$).

 * $$ C = c_0 c_1 \dots c_{x-1} c_i c_{x+1} \dots c_{N-1} \qquad  c \in S $$

The cyclic position index is calculated as

 * $$ x_{\circ} = x \mod N \qquad x \leq 0 \vee x>N $$

Explicitly defined boundaries

Explicitly defined boundaries are less common as the simple constant values are useful only for CA where we observe events on a quiescent background with period 1. The boundary can be defined as a single set (the left and the right part combined) of cell values of length $$k-1$$ (there is no boundary cell with index 0)

 * $$ B = \{ b_{-k_0}, \dots b_{-2},b_{-1}, b_l, b_{N+1}, \dots, b_{k-k_0-1} \} \quad b \in S $$

For space and time periodic quiescent backgrounds time dependent boundaries can be used $$B=B(t)$$.

Multidimensional cellular automata

The definition of n-dimensional CA is similar to that of one dimensional CA, the lattice becomes n-dimensional and $$k$$ and $$k_0$$ become vectors of length $$n$$.

2D cellular automata
The 2D lattice can be tiled with cells in different ways:
 * square grid (4-fold rotational symmetry)
 * triangular grid (3-fold symmetry) or hexagonal grid (6-fold symmetry)
 * quasi periodic grid (Penrose tiling)

2D cellular automata are often used to simulate real dynamic systems (fluid and gas dynamics)

 * See also:
 * Cellular Automata/Neighborhood for some frequently used neighborhoods

Cellular automata on groups
One further generalization of the concept of a CA extends the n-dimensional construct. Given a finitely generated group, $$G$$, and a alphabet, $$A$$, we may define the configuration space to be $$C = A^G$$. That is, each configuration is a map from $$G$$ into $$A$$. If $$G$$ is abelian, then the group is isomorphic to some quotient space of $$Z^n$$ and may be regarded as a n-dimensional lattice with possibly periodic boundary conditions. This space admits a group action, where $$c^g(h) = c(g'h)$$ where $$g'$$ is the inverse of $$g$$. Any finitely generated group is a metric space, in which the distance between any two elements, $$d(g,h)$$ can be defined to be the minimum length of the set of paths connecting $$g$$ and $$h$$ on the groups Cayley graph. We define a metric on the configuration space, $$d(c,c')$$ to be 0 if the two configurations are identical, and the infimum of $$1/(1+d(e,h))$$ over the set of $$h$$ such that $$c$$ and $$c'$$ disagree at $$h$$ and where $$e$$ denotes the identity element of the group. We define a cellular automata to be a continuous mapping, $$f:C \to C$$, that commutes with the group action and an initial configuration $$c_0$$. The evolution of the system is defined by $$c_{n+1} = f(c_n)$$.

Higher order cellular automata
The CA is of higher order if not only the present but past configurations too are used to calculate the future. A second-order local transition function is defined as

 * $$ c_x^{t+1} = f(n_x^t, n_x^{t-1}) $$

Second-order local transition functions are often used to construct reversible rules.

title: Cellular Automata/Mathematical Model


text:
User talk:58.65.86.51

Your test edit to Making an Island:Materials has been reverted. Please use the sandbox for any further testing. Thanks.

title: User talk:58.65.86.51


text:
Radiation Oncology/Rectum/NSABP trials

Radiation Oncology/Rectum

The National Surgical Adjuvant Breast and Bowel Project (NSABP):

See other NSABP trials and NSABP Colon trials See the NSABP web page.

 * R-01 (1977-86) - Dukes' B and C. After resection, randomized to observation, MOF chemotherapy, or RT.
 * Results 1988: PMID 3276900
 * PMID 3532972 (1986 - "An analysis of survival and treatment failure following abdominoperineal and sphincter-saving resection in Dukes' B and C rectal carcinoma.")
 * PMID 3516601 (1986 - "A comparison of stapled and handsewn anastomoses in patients undergoing resection for Dukes' B and C colorectal cancer.")
 * PMID 3511864 [Full text at PMC] - NSABP C-01 and R-01 - (1986 - "The prognostic value of the modifications of the Dukes' C class of colorectal cancer.")
 * PMID 6722730 (1984 - "The relationship of depth of penetration and tumor size to the number of positive nodes in Dukes C colorectal cancer.")
 * PMID 6337699 (1983 - "Tumor size and regional lymph node metastasis in colorectal cancer. A preliminary analysis from the NSABP clinical trials.")

 * R-02 (1987-92) - Dukes' B and C. Randomized to post-op chemo/RT or post-op chemotherapy alone.
 * 2000: PMID 10699069 - Post op chemo/RT did not improve DFS or OS. 5-FU/LV chemo was superior to MOF (a second randomization).

 * R-03 (1993-99) - PMID 19770376 Full text — "Preoperative multimodality therapy improves disease-free survival in patients with carcinoma of the rectum: NSABP R-03." Roh M et al. J Clin Oncol. 2009 Nov 1;27(31):5124-30. Epub 2009 Sep 21.
 * Trial closed due to poor accrual - intended sample size was 900 patients. Results analyzed as below.
 * 267 pts. with T3-T4 or N+ rectal cancer. Randomized to preoperative or postoperative chemoradiotherapy (45 Gy in 25 fx with 5.4 Gy boost, chemo consisting of 5-FU and leucovorin).
 * 5-year DFS was improved for pre-op over post-op (64.7% v 53.4%, p=0.011). Nonsignificant trend in 5-year OS (74.5% v 65.6%, p=0.065). No difference in locoregional recurrence, 10.7% in each group.
 * Conclusion: Pre-op chemoradiotherapy, compared with post-op chemoradiotherapy, significantly improved DFS and showed a trend toward improved OS.

 * R-04 (2004- 2010) - pre-operative chemo/RT with continuous infusion 5-FU vs Capecitabine (Xeloda) vs Capecitabine +Oxaliplatin vs 5-FU + Oxaliplatin
 * Abstract ASCO 2011
 * 1608 pts. with clinical stage II or III rectal cancer, pre-operative chemo/RT (45 Gy in 25 fx with 5.4 -10.8 Gy boost), 4 arm randomization to chemo with arm A) 5-FU (CVI 225mg/m2 5 days/wk) arm B) 5-FU + Oxaliplatin (50mg/m2/wk x 5) arm C) Capecitabine (825 mg/m2 BID 5 days/wk) arm D) Capecitabine + Oxaliplatin
 * Endpoints: complete pathologic response (pCR), sphincter-saving surgery (SSS), surgical downstaging (SD, conversion to SSS).
 * pCR 5-FU +/-OX 18.8 % vs. CAPE +/-OX 22.2 % (NS), SSS 61.2 % vs. 62.7 % (NS), SD 20.7 % vs. 23.0 % (NS), grade 3/4 diarrhoe 11.2 % vs. 10.8 % (NS)
 * pCR (5-FU or CAPE) No OX 19.1 % vs. (5-FU or CAPE) + OX 20.9 % (NS), SSS 63.6 % vs. 60.4 % (NS), SD 23.0 % vs. 19.2 % (NS), grade 3/4 diarrhoe 6.6 % vs. 15.4 % (SS)
 * Conclusion: no significant differences in pCR, SSS, SD between groups with 5-FU and Capecitabine or between groups with or without Oxaliplatin, but increased grade 3/4 gastrointestinal toxicity with addition of Oxaliplatin
 * 2014 GI symposium presentation : Standard of care should be Capecitabine + 50-55.8 Gy Radiation preoperatively. No benefit seen with addition of Oxaliplatin.

title: Radiation Oncology/Rectum/NSABP trials


text:
Modern History/First World War

Introduction
World War I, or the Great War, was a military conflict that spanned the globe, but occurred mainly in Europe. It is estimated that the conflict killed some 40 million people from the years 1914 to 1918.

The Allied Powers, consisting primarily of the United Kingdom, France, Russia, Italy and the United States, were responsible for defeating the Central Powers, consisting of Germany, Austria-Hungary, Bulgaria, and the Ottoman Empire.

The war caused three of Europe's great empires to dissolve (namely, the German, Austro-Hungarian and Ottoman empires), and brought independence to many states, such as Yugoslavia, Poland and Finland. It also led to the establishment of communism in Russia, the creation of the Soviet Union, and contributed to the disrepair of the German economy, which in turn allowed for the Nazi party to take power in 1933.

Militarism
All the Great Powers of the World began to increase their armies and navies after 1900. Each felt threatened by the increasing strength of historical enemies, and represented their own buildups as the only way to maintain peace. Thus, the Arms Race began. On the continent of Europe France, Germany, Russia and Austria-Hungary built up more and more powerful armies. At sea, Britain felt threatened by a German drive to create a stronger navy.

The armies of both France and Germany had doubled in strength since their last battle in 1870, when France lost Alsace-Lorraine to Germany, and France were hoping for an opportunity to get revenge.

As the countries began to strengthen, Britain and Germany began to feel threatened by each other. Britain, controlling the seas, had not created an army comparable to those of the continental states, but when Germany began to construct a fleet of seagoing battleships which could threaten British control, tension soon built up.

Since the time of Bismarck, Germany had been making staff battle plans for the cases of war with any other European country -- a standard military planning exercise, practiced by all armies. A chief of the German General Staff, Count Alfred Von Schlieffen, had devised a plan of action for the case in which Germany was attacked by France and Russia in concert. To avoid a fight on two fronts (both Russia and France), the plan was to move German troops through Belgium to the North, and then move South into France, avoiding the Franch fortifications along the Franco-German border and encircling the French armies, as had been done in the Franco-Prussian War. One of the key points of the plan was to push forward into France with every available soldier, keeping none back in reserve, in order to crush the French at once by weight of numbers. This, "the Schlieffen plan", was that eventually put into practice when war actually broke out.

However, Belgium did not simply stand aside and watch. They fought back bravely against superior numbers and more modern weapons. Though not strong enough to prevent the German armies from pushing into France, "les braves Belgiques" gained the admiration of the rest of the world. The German success here thus began to cast them as the villains who would in the end be tgged with the "war guilt" imposed on them by the Versailles Treaty and which played a part in the rise of Hitler and World War II.

Imperialism
With the removal of Bismarck, King Wilhelm II effectively took control of relatively new state of Germany. He was an imperialist who practiced Welt Politik, or World Politics. This is in contrast to Bismarck's Real Politik which Wilhelm disdained. The idea of Welt Politik was to add new colonies to the German empire to increase its strength and to be able to effectively challenge the British Empire.

Romanticism
Children were raised to believe in the glory of battles and armed conflicts, an idea that some compared to "tilting at windmills". "Eros is dead! Long Live Mars!" they were taught.

US Entry into the War
For nearly three years, President Woodrow Wilson successfully maintained the neutrality of the United States in the “European War” raging across the Atlantic Ocean. A man of very high morals and an unwavering belief in American democracy, Wilson quickly became dismayed by the massive loss of life and the extreme devastation to Western Europe. Although Wilson wanted the United States to remain neutral in the European conflict, which he saw as European power politics at its worst, he saw America as the solution to the conflict. Wilson wanted to follow his predecessor Theodore Roosevelt’s role as objective mediator for peace in Europe. However, the European powers rejected Wilson’s offer as mediator and continued to pursue their course of destruction. Activities perpetrated by both the Triple Entente and the Central Powers drew the United States closer to war, until German naval policy finally forced America into the conflict in 1917. Wilson publicly wanted to maintain American neutrality; however, aggressive German naval policies aimed at quickly winning the war guided the United States to follow Wilson’s private desires for American entry.

As early as December 1914, Wilson’s position against Germany was established. Wilson believed that the German government had to be changed and Austria-Hungary divided to ensure lasting peace in Europe. Although he privately sided against Germany, Wilson maintained a neutral public view of the European situation, blaming both Germany and Great Britain for violating the neutrality of the United States. The government of the United States shared Wilson’s outward neutrality image, despite the fact that America was supplying Britain with goods and munitions. In February 1915, the United States government warned Germany against violating American neutrality on the high seas by destroying American vessels or injuring American citizens. The United States government also protested against British attempts to violate neutral trade to Germany and other continental nations through neutral ports with the British blockade of Germany.

By May 1915, however, the United States government relaxed its protestations against Great Britain, instead concentrating its angst against Germany. On 7 May 1915, a German U-Boat sank the British passenger liner Lusitania with the loss of over one hundred American lives. Although the Lusitania was conveying American munitions to Britain, the United States protested vehemently against the use of unlimited submarine warfare and demanded the immediate cessation of submarine warfare. The German High Command understood the position of the United States and its relation with Britain. As early as February 1916, Kaiser Wilhelm’s Minister of the Navy Grand Admiral von Tirpitz conveyed the logic that since America was economically and racially bound to England, the United States was interested in the defeat of Germany, thereby making the United States a direct enemy of Germany.

In April 1916, German-American relations deteriorated further with the sinking of the Sussex and the loss of American lives. The United States government once again protested against Germany’s use of submarine warfare against British commercial vessels. However, the United States issued an ultimatum along with the protest that unless Germany immediately abandoned its methods of submarine warfare, the United States would sever diplomatic relations with Germany. Germany countered with their own ultimatum towards the United States. The German government complied with the United States’ demand to restrict submarine warfare within the bounds of international law, but demanded in return that the United States insist that Great Britain also comply with international law. If Great Britain continued their blockade against Germany, the German government would resort to complete freedom of action. The diplomatic ultimatums issued by the United States and Germany did nothing to improve relations between the two nations. Throughout these proceedings, the German government was debating the institution of unrestricted submarine warfare which had the potential to bring the United States into the European conflict.

In November 1916, the German Counselor in Washington D.C. warned against the resumption of unlimited submarine warfare. He stated that American attitude was “pro-Ally” and that the United States was prepared to enter the war if Germany refused to comply with the submarine concessions dictated by the Americans. Despite this warning, however, the German High Command believed that American entry into the war would amount to very little. The High Command believed American contributions to be solely economical and that the United States would support a swift peace if submarine warfare were resumed. The German commanders were dangerously underestimating the United States. The United States had a much larger population than the European nations, larger manufacturing capabilities, and after three years of war, a much stronger economy. The United States had the capability to send over one million soldiers to Europe if necessary, and did so after American entry into the war.

Germany declared the commencement of unrestricted submarine warfare on 1 February 1917, a shattering blow against German-American relations. Despite this declaration, though, Wilson was determined to remain neutral in order to “save Europe” after the war was over. Wilson continued to see himself and the United States as the “savior” of Europe. However, the United States could no longer remain on the sidelines of the conflict waiting for its end. Germany’s blatant violation of neutrality rights had forced the United States government to take action against Germany. Wilson decided to sever diplomatic relations with Germany and expelled the German ambassador. Wilson met with his cabinet on 20 March 1917 to determine the cabinet members’ opinions regarding American entry into the war. Their unanimous opinion was that the United States would have to declare war on Germany to spread democracy throughout Europe, aid the Allies economically, destroy the Kaiser’s autocratic government, and end the German policy of inhumanity and lawlessness.

On 2 April 1917, following a long series of unfortunate events and disappointment, President Wilson asked Congress for a declaration of war against Germany. Congress voted to declare war on 6 April 1917, entering the United States into World War I. Was this an unavoidable conclusion? Based on the series of events leading to American entry into the war, entry was unavoidable. However, any number of slight changes could have prevented United States involvement in the European conflict. Had Germany not pursued a policy of unrestricted submarine warfare, America would have remained neutral. Had Britain not blockaded the German coast prompting German retaliation, America would have remained neutral. Had the German High Command heeded warnings about American attitude and restrained from underestimating the United States’ potential contributions, America would have remained neutral. Wilson publicly wanted the United States to remain neutral, but the aggressive naval policies of Germany forced American entry into World War I.

Untersee Boats
Imperial German Navy Submarines trying to cut off the supplies to the Allies by sinking as many ships as possible.

Great Arab Revolt
A revolution of the Arabs against the Ottoman Empire.

title: Modern History/First World War


text:
Cellular Automata/Introduction

For those who look for a short introduction into cellular automata, see the Wikipedia page.

Scope of the book
Currently knowledge on cellular automata (CA) is sparse in some books, web pages and mostly scientific journals. Newcomers must read a collection of hard to find articles to get an overview of the current status of CA research. Another problem is formalization that is different in each text, forcing students to spend time on learning different formalizations instead of advancing in the subject. Finally every newcomer someday becomes a contributor or at least teacher and a common formalization could be useful for new texts.

This book aims to become a graduate to postgraduate level schoolbook on cellular automata. The book is divided into two parts with texts from the unordered part migrating to the ordered when matured.
 * 1) ordered part (formalization, well known algorithms, accepted elegant proofs, ...)
 * 2) unordered part (FAQ, examples, web resources)

How to edit
All contributions are welcome.

There is a sandbox for material, yet to be placed into one of the sections or the creation of a new section would be needed.

Naming conventions
Most of the theory in the book is based on the automata theory and formal languages.

 * $$a,b,c,\dots$$ lowercase letters from the beginning of the alphabet are used to describe single cells, cell values are integers
 * $$\alpha,\beta,\gamma,\dots$$ lowercase Greek letters from the beginning of the alphabet are used to describe strings of cells
 * $$A,B,C,\dots$$ uppercase letters from the beginning of the alphabet are used to describe whole configurations as states in the basin of attraction field

title: Cellular Automata/Introduction


text:
Making an Island/Facilities

If you ever get to the point where you have successfully built an artificial island, it still will not be fit for human habitation without some necessities, listed below in descending order of importance:

 * /Water/
 * /Food/
 * /Power/
 * /Communication/
 * /Transport/

title: Making an Island/Facilities


text:
User:Hermione1980

I'm a new user here, and as I can't log on from my normal computer, I may not be able to contribute as much as I do over on Wikipedia, but I'll do my best.

title: User:Hermione1980


text:
Talk:Formal Logic/Sentential Logic/The Sentential Language

New Terminology
I have started converting the terms "propositional calculus" and "predicate calculus" to "sentential logic" and "predicate logic". First, I'm changing "calculus" to "logic" because "logic" seems to be the more common usage. It's not a big deal, but as long as I'm making the other change, I might as well change this too. Second, I'm changing "propositional" to "sentential" for several reasons. 1) "Sentential" seems to be the more common usage. 2) "Sentential" fits better with a schematic notion of validity while "propositional" fits better with a modal notion of validity. The sentential notion is more commonly found, probably for better philosophical reason. 3) Thinking of propositions as objects of logic moves logic from the study of reason to the study of metaphysics. This generates very awkward problems.  The sentence "a=b" is true where "a" and "b" refer to the same object.  But propostional components a and b do not refer, they are the references of "a" and "b".  So the propostion a=b can not be true.  --JMRyan 19:21, 14 July 2005 (UTC)


text:
Talk:Muggles' Guide to Harry Potter

Project Standards
Project Standards have now moved to the new Project Standards page. Chazz (talk) 15:52, 27 September 2017 (UTC)

Category
The annotated texts category was removed in February, so this book is now effectively in no category other than utility categories. Looking through RFDs in the past applied to it, it was referred to as an annotated text. The literature category is a higher level one but is for books referring to literature in general. So I am noting that the only major category this book belongs to now is "featured books" (other than the LOC/DDC/Alphabetical hidden ones). Maybe that's acceptable to the contributors but it may lead to lower visibility. -- Adrignola talk contribs 13:59, 29 March 2010 (UTC)

 * I understand the concern, and don't quite know how to proceed. The intent of this book is actually more aimed at the Literature category, as we are longterm interested in the how and why, rather than merely the what, of Harry Potter; but I don't know how we can get there. Frankly, my concern from the beginning has been that as an annotated text we were likely to become no more than a Potter encyclopedia, which while possibly useful to the reader, is certainly not useful as a textbook. I have been trying, in my poor way, to add literary material to the book, but as an engineer, my grasp of such is very basic. And despite all my work on this, if we can't get it to the stage of being a work on literature, my personal inclination would be to let it go. Chazz (talk) 22:15, 29 March 2010 (UTC)

 * We've only one subcategory of literature, annotated texts, and that subcategory is getting pretty full. It may be worthwhile to create some subcategories of literature based on genre instead.  After all, we have subcategories of history divided by type and subcategories of computer software divided by type.  That will diffuse the books currently in annotated texts and also provide a place for Muggles' Guide. -- Adrignola talk contribs 00:30, 30 March 2010 (UTC)

 * We are by definition not an annotated text since that requires inclusion of the book texts which is a copyright violation and also isn't really necessary. I like the idea of literature sub-categories though and think that's the correct place for our work. Also, "literary study guide" is a better name to me since it's meant to be used alongside the real works so that's another option if we don't like the literature section. It would be nice to see other study guides. -within focus 18:10, 31 March 2010 (UTC)

ToDo: HTML version of the book
Already known, HTML version has many benefits, not mention improved readability in e-readers (through epub). Besides pdf version seems to be highly outdated. Moreover in modern days, pdf as a book format is absurd when most people have smartphones. Besides in Windows 10 epub can be read (elegantly) natively through Edge browser. I need not to point out Linux users that they know dozens of ways to handle epubs. Moreover, we don't care much of Mac users who are rare in first place and highly unlikely to stumble on Wikibooks since content is "free" here.
 * I'd argue that it's simpler to just hit up the web site for the HTML version, which also gives you the very latest, plus the occasional outside link where one is useful. I don't think we have an epub translation tool, and I will point out that Edge also reads PDF. Chazz (talk) 17:16, 30 January 2018 (UTC)

 * As far as I know, no well distributed e-reader supports nice viewing of web based book. I now question philosophy of Wikibooks.
 * As name suggests, it should offer books in abstract sense. My knowledge tells it is not much difficult to make a link which fetches all pages of a book in one go and presents in nice format. (similar to printable version)
 * Its now time to dump pdf for epub. Firstly, pdf is of no use. It is well read in larger screens (generally PC) which is rather pointless as you already state web version is better. Now it leaves people who own only PC without web access who somehow have acquired pdf. Now consider HTML version (easily converted to e-book formats), it is well read in any device with screen. It also not needs web access.
 * Now a bit abstract aspect, it is bit odd that we start using internet to read books, not to mention associated constraints. Well, as you see there are much better options available it is not normal to stick to legacy formats like pdf and constant web access. It will be lot better if we focus more on export methods than ways to keep user clinging to the site because books are meant be self contained. For references people can surely check on internet but most of user are not paranoid to relish references as they finish reading a sentence.
 * I repeat - as far as I know, we have no tool to make wiki into ePub. Did you want to write one?
 * Likewise, we have nothing like an "export to raw HTML" tool that I'm aware of. Did you want to write one of those?
 * Both of these issues affect not just WB, but all of Wikimedia. The PDF tool we use is written and maintained, if I recall correctly, on Meta. And your smartphone comment is spurious: normally, if you have a smartphone, you have web access through your cell provider. Chazz (talk) 17:27, 31 January 2018 (UTC)

Harry Potter and the Cursed Child?
Why hasn’t this wikibook incorporated Harry Potter and the Cursed Child? Jtantley (discuss • contribs) 01:34, 19 March 2018 (UTC)
 * Because Harry Potter and the Cursed Child is not work by J. K. Rowling. Please read the Project Standards for more information on this subject. Chazz (talk) 04:06, 19 March 2018 (UTC)

Translations and edition informations
Hello, I am an Italian Potterhead and a great appreciator of the Muggles' Guide, I was wondering whether it could be possible to start a section for each book detailing edition History and translations in the various Languages of the World. --King Remils (discuss • contribs) 08:57, 10 February 2021 (UTC).

Harry Potter wordmark
Hello!

I was perusing Wikimedia Commons, and noticed that a wordmark for Harry Potter is available.

I'm unsure if it would be useful for this book, but figured I'd bring it up. --Mbrickn (discuss • contribs) 21:28, 21 July 2021 (UTC)

title: Talk:Muggles' Guide to Harry Potter


text:
Muggles' Guide to Harry Potter

Welcome to the -based annotated text and analysis Wikibook for the highly popular novels by. It is organized to minimize accidentally revealing information and strives to provide insight into the literary value and techniques of this extremely popular work. In the process, it must include extensive detailing of the Harry Potter universe.

Book Contents
Please see the Contents page for a full list and organizational overview of the book. If you wish to browse the entire Muggles' Guide, use this page to move through the book. A [[Media:Muggles' Guide.pdf|PDF]] of the book is also available.

If you are interested in contributing, please see the Project Standards page.

Where To Start
This book is structured to handle several different levels of readers of the Harry Potter series. Therefore, the book has several pages available that detail suggested reading guides for specific reading levels:

 * Beginner – Readers who are new to the Harry Potter series in general. This page should be used by readers who have read only a small amount of the Harry Potter books or are just interested in a general overview of the storyline and biographical information.
 * Intermediate – Readers who have read most of the Harry Potter series and are familiar with many of the principal characters and places. Analysis for characters, places, and events and detailed summaries of the books.
 * Advanced – Readers who have read the entire series and are looking to develop detailed knowledge of the books' content and realize the greater picture. A slight step up from the intermediate level, almost every topic in the book is covered, providing a comprehensive view of the series.

All text is available to anyone who wants to read it; we do not "turn off" text if you are not at the proper level. Also, the level warnings mark an end to specific levels: beginners who do not want their reading experience spoiled by having plot points prematurely revealed should only read up to the "Beginner warning" or "Spoiler warning" tag. Intermediate readers similarly should read only up to the "Intermediate warning" tag. Advanced readers presumably have already read the entire series, and are fully knowledgeable about what happens in each novel, so their enjoyment in reading the series is undamaged by anything in this book. Thus, there is no tag for Advanced readers, as there is no place where they should stop reading.

For those who want to avoid spoilers, we add this caution. Particularly on the Character pages, and to a lesser extent the Magic pages, there are sections where analysis requires that we cover things that the reader may not have yet seen. In particular, several characters are suddenly seen in a new light in the last two books. In as much as it is possible, we mark sections where these appear with the name of the book or chapter to which they apply. In a character Analysis section, therefore, there might be a heading "Deathly Hallows"; this is an indication that the following section should be avoided until you have read Harry Potter and the Deathly Hallows, to avoid spoilers.

This book is a study guide meant to accompany the reading of the Harry Potter series in a course context; it is not meant to replace the books. This book does not contain the full text of the series; to include the full text of the series in that manner would be violation of copyright. We strongly recommend that if you do not already own a copy of the Harry Potter series, a very good place to start, even before looking any further at this Guide, is to obtain copies of the seven books in the series.

Major Sections

 * Books – Chapter by chapter guides to the individual books
 * Characters – Descriptions and analyses of the major and minor characters
 * Places – Where the characters go and what is discovered there
 * Major Events – Analysis of important events that stand out
 * Magic – Details and implications related to the use of various magical devices, creatures, spells, and even miscellaneous terms used in the books
 * Timeline – Chronological overview of actions and events occurring before, during, and after Harry's years at Hogwarts

Book Goals

 * Provide an extensive detailing of all the Harry Potter series books, characters, places, events, and magic
 * Offer critical commentary and analysis of the books and characters presented to help others better understand detailed situations
 * Develop a comprehensive index which allows for easy lookup of information for reference readers
 * Minimize unnecessary spoilers through a structured set of pages that allow the reader to explore storyline content as deep as they wish to go

แฮร์รี่ พอตเตอร์

title: Muggles' Guide to Harry Potter


text:
Muggles' Guide to Harry Potter/Books/Philosopher's Stone/Chapter 1

Synopsis
''Mr and Mrs Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much. They were the last people you'd expect to be involved in anything strange or mysterious, because they just didn't hold with such nonsense.''

''Mr. Dursley was the director of a firm called Grunnings, which made drills. He was a big, beefy man with hardly any neck, although he did have a very large moustache. Mrs. Dursley was thin and blonde and had nearly twice the usual amount of neck, which came in very useful as she spent so much of her time craning over garden fences, spying on the neighbours. The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.''

On his journey to work, Vernon Dursley encounters a series of peculiar occurrences: a cat on Privet Drive seemingly scrutinising a map, alongside individuals clad in vibrant robes meandering through the streets. Attempting to disregard these anomalies, Mr Dursley encounters even more oddly dressed people during his lunch break, overhearing snippets of conversation about the Potters and their son, Harry. Remarkably, one individual approaches Mr Dursley, suggesting he ought to rejoice in the disappearance of "You-Know-Who." These events remind Vernon of the Dursleys' discomfiting secret and their deliberate ignorance of the Potters' existence. Upon returning home, Mr Dursley is greeted by news reports of unexpected shooting stars and owls flying in daylight. Previously reticent to broach the subject of the Potters with his wife, Petunia, he eventually confirms that their nephew's name is indeed Harry. That night, Vernon Dursley experiences restless sleep.

In the late hours, an enigmatic figure, Albus Dumbledore, arrives at Privet Drive. Utilising a device known as a Put-Outer, he dims all the street lamps. Addressing the map-reading cat, who reveals herself to be Professor McGonagall, a witch, they converse about the recent celebrations causing a stir among the non-magical community, or "Muggles." Dumbledore divulges the tragic news of James and Lily Potter's murder by the dark wizard, Lord Voldemort, the previous night (October 31). Voldemort's attempt to kill their one-year-old son, Harry, somehow led to the dark lord's downfall. Voldemort, out of fear, is often referred to as "You-Know-Who." Dumbledore informs that Hagrid is en route to Privet Drive with Harry.

Shortly thereafter, the colossal Hagrid arrives aboard a flying motorbike, cradling a snugly bundled Harry. Dumbledore positions the infant on the doorstep of Number Four with a letter for Petunia Dursley. McGonagall expresses her concern over Harry's future with the Dursleys, fearing for a child of his renown. Following the placement of Harry, Hagrid remounts his motorbike, McGonagall reverts to her cat form, and Dumbledore restores the streetlights, with all three departing silently into the night.

Analysis
Harry Potter enters the story when he is brought to Britain's most seemingly normal family—the Dursleys. Not only are they "normal", but they are also relatively mundane, boring, and averse to anything even remotely out-of-the-ordinary in their dull, routine lives. However, there may be a particular reason for some of their behaviour. Readers only gradually become aware that a magical world populated by witches and wizards secretly co-exists alongside non-magical humans, known as "Muggles". The odd characters wandering the streets dressed in rather outlandish clothing are the first hint of this hidden society. Little is revealed about what happened recently, though it has spilt some noticeable activity into the Muggle world. The scar on baby Harry's forehead will be a lasting reminder that sinister events must have occurred, resulting in the infant being orphaned. Dumbledore's, McGonagall's, and Hagrid's actions lead us to believe that Harry is far more special than a mere orphan needing a home, though little is explained here. And while Professor Dumbledore does leave a letter with the infant, presumably explaining everything to the Dursleys, whatever information it contains is withheld, for now, from readers. We, like Harry, will gradually discover what has transpired and learn about this remarkable hidden world in small bits. However, this chapter's title, "The Boy Who Lived", in addition to baby Harry's scar, indicates he must have had some near-fatal experience. Judging by Vernon Dursley's behaviour, he may already know more about this hidden world than readers are initially led to believe.

The conversation between Minerva McGonagall and Albus Dumbledore in this chapter is designed to bring several points of information to the reader without explicitly stating them. One of the basic tenets of writing is "show, don't tell," which can make it difficult to illuminate the backstory necessary for understanding. In particular, we need to know of the existence of Voldemort and his downfall, and this is communicated to us by this conversation. We also need to know that there is a reason for Dumbledore's placing Harry with his relatives, and the dialogue is also tailored to inform us that there is a reason, but that it is not to be divulged just yet. Additionally, this conversation establishes the character of both McGonagall and Dumbledore and the relationship between them as director and trusted aide. The student could profit from studying this short interaction, and all it tells us.

Other commentators have noted that the author is very strong in what is called the "set-up and pay-off": creating a situation, then suddenly resolving it. Sometimes the set-up and pay-off are contained in a single chapter; other times, they span multiple chapters or even multiple books. This chapter is one example of a set-up (the list of strange things that occur near the Dursleys and the discovery that they are connected to the Dursley family) and pay-off (revelation of the reason for the events and the arrival of the infant Harry). Students are encouraged to examine the work for set-ups and pay-offs and determine how they enhance the "holding power" of the book and of the series as a whole. We will note that while the set-up and pay-off is a staple of writing for the film industry, the Harry Potter films are not as rich in this as the books; we believe this is because of the amount of material that must be elided from a novel to fit into two hours of film. Some of the less-important set-up events had to be dropped to keep the necessary story elements.

We will learn about the Wizarding world through Harry's eyes: in the entire series, there are only five chapters, including this one, that are written apart from his point of view. These chapters are at each book's beginning and provide us with information unknown to Harry. The other chapters are: Chapter 1 of Harry Potter and the Goblet of Fire, Chapter 1 and Chapter 2 of Harry Potter and the Half Blood Prince, and Chapter 1 of Harry Potter and the Deathly Hallows. These are the only times readers are privy to information that Harry is not. Generally, we see events only when and how Harry experiences them.

Evidence indicates that Harry was born on 31 July 1980 and orphaned on 31 October 1981 — Halloween night — when he was one year and three months old. Critics point out a lack of "trick-or-treating" and similar festivities on Privet Drive that night, but it should be mentioned that we never actually see Privet Drive on the 31st; it is 1 November when Vernon Dursley leaves for work, and later that same night when Dumbledore, McGonagall, and Hagrid arrive.

Evidence also suggests that there is a day between when Harry's parents died and his arrival at Privet Drive; Harry is orphaned on 31 October 1981, and the story opens with Vernon Dursley leaving for work on the morning of 1 November. This has sparked speculation amongst readers; is there an accident of dates, or is the "missing day" a purposeful addition by the author? Many readers believed that the occurrences during that day would be important, possibly even pivotal, to events in the seventh book.

There is also a contradiction: 1 November 1981 was, in reality, a Sunday, and the book states that that day is a Tuesday. There are similar minor internal conflicts throughout the series. These errors or oversights do not detract from the sweep of the story, so while they may be mentioned, they are provided more as a curiosity than something for the readers to concern themselves with.

Readers should also note the TV news reports about flying owls being spotted during daylight. This is an early reference to the Wizarding World's owl postal system. Voldemort's death likely prompted a considerable flurry of wizard mail being carried by owls which Muggles noticed.

Review

 * 1) Why would the Dursleys consider being related to the Potters a "shameful secret"?
 * 2) Who are the robed people Mr. Dursley sees in the streets?
 * 3) What might a "Muggle" be?
 * 4) What exactly is the cat on Privet Drive?
 * 5) Who might "You-Know-Who" be? Why isn't this person referred to by a given name?

Further Study

 * 1) Why does Dumbledore believe the celebrations may be premature?
 * 2) How did Harry's parents die?
 * 3) Why is Harry left with the Dursleys rather than a Wizard family?
 * 4) Why does McGonagall seem concerned about Harry being raised by the Dursleys?

Greater Picture
The framework echoed throughout the series is established here: the contrast between the magical Wizarding realm and the more mundane Muggle world. By contrasting these two worlds, Muggle and Magic, an ongoing theme is seen throughout the series - prejudice, suspicion, and intolerance of anything or anyone different from ourselves. Vernon and his wife, Petunia, represent the great divide between the magical and non-magical realms. Their constant fear, disdain, and hostility toward Harry's world shows how most Muggles would likely react if they knew wizards existed, though these two very different populations occasionally collide. And as will be seen shortly, these fears and prejudices also exist within wizard society. Albus Dumbledore is the antithesis of Vernon Dursley, and each man becomes the figurehead for his respective world. Whereas Dumbledore, a powerful Wizard, is eccentric, unpredictable, and colourful, the blustery Muggle, Vernon, is conventional, regimented, and bland.

The specific events resulting in Harry's being orphaned, rather than revealed in this chapter, are gradually uncovered throughout the series. They are included here by way of reference.

After partially hearing a prophecy connecting him to Harry Potter, a Dark wizard, Lord Voldemort, tipped off by an informer, located Harry's wizard parents, Lily and James Potter. Voldemort attacked the Potters' house in Godric's Hollow, a tiny village, killing James before Lily and Harry could escape. Lily was also killed, and her desperate pleas to spare her son's life were mercilessly ignored. Voldemort then cast a lethal curse at Harry that ricocheted off the toddler, fatally striking Voldemort instead.

During Harry's first year at Hogwarts, he encounters the disembodied Voldemort, who states that Harry's mother need not have died. Lily's sacrificial attempt to save Harry created an ancient and protective magic, causing the deadly curse to rebound off Harry onto Voldemort. This act formed an as-yet-unknown connection between attacker and victim and left a lightning-bolt-shaped scar on Harry's forehead. We will find out during the course of the books that this connection included a transfer of some of Voldemort's powers to Harry, such as the ability to speak Parseltongue, and additionally allowed Harry to feel Voldemort's emotions, know when Voldemort is close and, eventually, jump inside Voldemort's mind. The protection that Lily gave her son — which Albus Dumbledore later explains as her love for Harry — destroyed Voldemort's physical body and would have killed him completely had it not been for the Dark magic he previously used to splinter his soul into shards called Horcruxes. Voldemort's downfall renders Harry a celebrated figure in the Wizarding world, hailed as a hero and the only person known to have survived the Killing curse.

It is entirely possible that, due to the Fidelius charm that was meant to protect the Potters from Voldemort still being active, Hagrid would have been unable to find their house until one of those privy to the secret of the Potters' location arrived on the scene. We can safely assume that Sirius Black, one of James' closest friends, would have been one of them. Sirius does say in Harry Potter and the Prisoner of Azkaban that he "saw the bodies and the house's destruction", so he must have been let into the secret by Peter Pettigrew (who we will meet in the third book), probably at James Potter's direct request. It has been conjectured that Hagrid could not enter the house's remains to recover Harry, and it may have been Black who removed Harry from the wreckage and passed him to Hagrid to carry back to Little Whinging. Hagrid does say, however, in Chapter 4, that he took Harry from the debris, so we have to assume that either Hagrid was also privy to the secret, or else the Fidelius charm ends automatically when the secret it is designed to protect (in this case, James and Lily's whereabouts) is no longer operative. We could speculate as to which it is. Still, given that the house is apparently visible to all wizards by the seventh book, it is most likely that the charm expired either upon Lily's death, even though baby Harry was left alive, or upon the removal of Harry from the house.

There is no little bit of debate about the expression "house was almost destroyed" used in this chapter and the similar terms "destruction," "wreckage," "rubble," and "debris" used to describe the Potter house after the events of 31 October. We have since discovered that the destruction was confined to Harry's nursery, where Lily was killed, and Harry was sleeping. We will find out later that if they miss, curses cause destruction, but the Killing Curse does not affect objects, only people, and so does not leave wreckage if it hits its target. On the other two occasions when a killing curse rebounds, in the Forbidden Forest and the Great Hall during the series' final battle, there were no explosions or damage to anything outside Voldemort. It has been pointed out that these two cases were different; in the first, Voldemort did not actually get struck by the full force of the rebound, and in both cases, the wand Voldemort was using was not truly his own. Some weight is given to the theory that the destruction occurred when the spell rebounded by Voldemort's recollections of that event, where he remembers having to flee the "rubble" of the failed attack. Still, as his own spell had just killed him, it is possible that the rubble in question was purely in the remains of his own mind.

Before the seventh book's release, there was speculation that Voldemort's encounter with James could have damaged the house. Voldemort's memories of that event reveal that the "duel" with James did not damage anything in the place. Likewise, Voldemort's dispatching of Lily did not damage the house, so any damage that occurred must have been either when Voldemort tried to kill Harry or afterwards. Thus, following Voldemort's attack on Harry, a standing house (possibly with a large hole in the second story) and three dead bodies would remain. Added to this, in Harry Potter and the Goblet of Fire, Voldemort regained his original wand, and we are led to conclude that someone had accompanied Voldemort, witnessed his downfall, recovered his wand (and perhaps concealed his body), and probably damaged the house. This may have been an act of revenge or frustration, but whoever did this left Harry unscathed, perhaps fearing that whatever felled Voldemort could also kill anyone attacking Harry. As it is Pettigrew who restores Voldemort's wand to him, it is a safe assumption that Pettigrew is the unknown third party. From Pettigrew's personality as revealed in later books, we can safely expect that, if he followed Voldemort into the house and found his corpse, he would be too scared to do anything except get out of there as quickly as possible, which would include blasting a hole through the wall to escape proximity to Harry. That Voldemort, in his memory of that night, as viewed in the seventh book, does not recall Pettigrew accompanying him is inconclusive. Voldemort generally pays little attention to his minions unless they have failed him or were merely in his way.

Hagrid, having seen the wreckage, and having taken Harry out of the house himself, indicates that Hagrid was trusted enough to be privy to the secret of the Potters' whereabouts. While this is never mentioned, Hagrid may be already "Keeper of the Keys and Grounds" at Hogwarts at that point. We will later discover that when Harry enters Hogwarts, Hagrid is about 60 years old; so, when James and Lily entered Hogwarts, he would have been about 40 and likely would have held that job already for several years — it is possible Dumbledore started him assisting the then incumbent in that position when he was expelled from Hogwarts, in his third year at age 14. Harry trusts Hagrid within the limits of his understanding of Hagrid's abilities; it is not a great stretch to believe that James trusted him as much.

In passing, it is mentioned that Dumbledore has a peculiar watch, which shows planets and a couple of hands, and retrieves some information from it, though the reader is never informed of what or how. It will turn out that, contrary to what a beginning reader might have suspected, this information is of no particular relevance to the plot, but to include such unimportant details from behind the surface is rather effective in bringing the reader into the story's atmosphere. (The famous "Cats of the Queen Beruthiel" of Tolkien fame come to mind.) Coincidentally, the description of this watch closely resembles the watch of Master Hora from Momo by Michael Ende (a novel which, coincidentally, features so-called "Grey Gentlemen" who suck meaningful life out of humankind, and a man referred to by his enemies as "the So-called", after which his name is implied but not said out of fear), so it may well be a nod by the author to her colleague. In Ende's book, this watch is used to inquire about the rare "star hours" (German expression for "great moments").

Also of note: The flying motorbike Hagrid arrives on actually belongs to Harry's godfather, Sirius Black, who was falsely implicated in and later imprisoned for the Potters', Peter Pettigrew's, and twelve Muggle bystanders' deaths. Though mentioned here, Sirius will remain no more than a name until his appearance in book 3.

Connections
One of the characteristics of this series of books that makes it interesting is the connections throughout the series; seemingly insignificant characters or objects appearing in one book that are then referred to in another. These indicate that the entire seven-book arc had been largely planned out before the pen first hit the paper. In the interests of highlighting these areas where connections are made throughout the story arc, many chapters will contain a Connections section like this one, in which those characters and items that connect from earlier books to later books or within the same book can be detailed.

This first chapter of the story, of course, sets up the entire story arc, with its mentions of the evil Voldemort, our hero Harry who survived his attack, his relatives, the Dursleys, and the Wizarding World. However, the following specific items, which reappear later in our story, should be specifically mentioned:

 * Sirius Black will reappear as the putative villain of the third story in the series, Harry Potter and the Prisoner of Azkaban. He will then play roles in Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, and Harry Potter and the Deathly Hallows.
 * Sirius Black's flying motorcycle will appear again in Harry Potter and the Deathly Hallows, carrying Harry away from Privet Drive. It will eventually crash, and the wreckage will be transferred to Arthur Weasley's home, where he will attempt to reconstruct it.
 * The "Put-outer" will reappear in Harry Potter and the Order of the Phoenix when Alastor Moody uses it to extinguish street lights as the Advance Guard takes Harry into Headquarters. Renamed a Deluminator, it will be bequeathed to Ron in Harry Potter and the Deathly Hallows. Ron will discover that apart from its effects on lights, it also can pick up conversations in which its owner is named and transport its owner to the conversation's location. It will also be used to help Ron and Harry escape from Malfoy Manor in that book.
 * McGonagall's changing shape from human to cat and back will be revisited in Harry Potter and the Prisoner of Azkaban, where we learn that this is a challenging bit of magic called the Animagus transform. This transformation will have additional connections and ramifications, which will be discussed in that chapter.
 * In Harry Potter and the Deathly Hallows, we will find that Petunia applied for admission to Hogwarts and was declined. This rejection very likely formed a large part of her attitude towards magic, including her denial of Harry's magic coupled with a surprising amount of awareness of the magical world.
 * It is mentioned that Dumbledore's nose looked like it had been broken "at least twice". We will discover that one of those times likely occurred at his younger sister's funeral and that his brother did the damage. The story will not be revealed until the final book in the series.


text:
Talk:Politics

Wow... what an endless topic. Politics is the study of power. How is flows from one hand to another, how it's justifications and jurisdictions are defined and redefined. Europe, America, Africa, Asia, Australia... no one any where looks at it quite the same. I don't even know where to begin...

title: Talk:Politics


text:
Software Engineers Handbook/Sectors/Security

What does someone need to know when switching to the security industry?


text:
User talk:24.236.175.54

Welcome, 24.236.175.54!

Come introduce yourself in the general reading room or your project in the project reading room. If you have any questions, you can ask in the assistance reading room or contact me personally. Kellen 21:55, 2 August 2005 (UTC)
 * Please also check out the Cookbook policy page and the Cookbook talk pages.

title: User talk:24.236.175.54


text:
Singing/Breathing

After you have the proper posture, the next step is to learn to breathe correctly. Breathe deeply. As you breathe imagine you are smelling a rose and feel your lower back expand. This will help you gather all the air necessary to hold long notes. This will not happen right away but with time you will be doing it. First start singing the vowels. One good way to understand how to sing correctly is to feel as if you are yawning. If you notice, your throat will expand and allow the air to flow freely. Practice scales from high to low, and low to high without hurting yourself. You want to start easy and build as you practice. If a note is too high for you, don't try it. This will warm up your larynx and allow you to stretch your vocal cords.

Exercises
Professional singing is done from the diaphragm, so a singer's midriff should move, not their shoulders as though they were panting. One simple exercise is to lie on the ground and place a light book or box on the midriff. This way, you can see the box moving up and down when you are singing correctly.

Once you have been singing for a while, you may want to "improve your range". This means that you wish to be able to hit more notes correctly and without hurting yourself. To do this, simply go through scales as normal, but when you get to the highest note you can hit, flip your head upside down and try to hit that elusive high note. Chances are you will be able to do it!

If you want to hit a low note, do the same as described above except flip your head back instead of forward.

title: Singing/Breathing


text:
User:Robert Nagle

Hello, my name is Robert Nagle.

My areas of interest are music and technology.

title: User:Robert Nagle


text:
Software Engineers Handbook/Life Cycle/Design/Choosing an Algorithm

Finding an Algorithm
In many cases, the issue is finding or creating any algorithm. Here are some hints to get past the algorithm writers block, to find an existing algorithm you didn't know existed, and new ways to find algorithms you already knew existed.

 * Phone a friend. : Thoroughly explaining the problem you need to solve to someone else in person, on the phone, or in email often allows you to generate a solution. Your friend might have a solution as well.
 * Read an algorithm textbook. : Skimming or reading an algorithm textbook can produce more terms for web searches, and fields likely to use this algorithm. You might just stumble on the answer.
 * Search in other fields. : If you can express your problem as a problem in other fields, such as computer graphics, other resources become viable.
 * Try a newsgroup. : There's a really good chance that someone else has experienced this problem before. Open source solutions may already be available.

Choosing an Algorithm
In the case where you find more than one appropriate algorithm, you can use these ideas to compare their suitability for your application.

 * Implement, then optimize. : All algorithms available may be good enough.
 * Performance : How does it run on your typical data? How does it run on your exceptional data?
 * Ease of Implementation : How quickly can you get this algorithm implemented and running?
 * Scalability : What is the order (big O notation) of the algorithm? How does it scale with more input?  How does it scale with more complex input?
 * Maintainability : How easy is the algorithm to understand and maintain?
 * Multi-processor compatibility : Do you have multiple processors available? Does this algorithm maximize their usage?
 * Size : Is code size an issue? Is memory/cache/file size and issue?

These questions will be weighted differently for different applications. For instance, a prototype will likely emphasize the ease of implementation over the other criteria. A search through a massive database is likely to emphasize performance over the other criteria.

Books and Articles

 * Introduction to Algorithms ISBN 0262032937 by Thomas H. Cormen, Charles E. Leiserson, Ronald L. Rivest, and Clifford Stein is a classic Algorithms textbook.

Links

 * Selecting the Right Algorithm by Lagoudakis et al. discusses choosing the correct sorting algorithm
 * Selecting a Hashing Algorithm by McKensie et al.
 * comp.graphics.algorithms FAQ contains links and discussions on many algorithms


text:
Digital Photography/Post Processing

{This module needs expanding}

Post processing is the process of editing the data captured by a camera while taking the photo taken to enhance the image. The better the data captured from a camera to create the photo the better the enhancement possibility is. There are more and more cameras which have come into market which can capture RAW files. Raw files have much more data at a pixel level which help in post processing and enhancing the image.

Post processing can help in enhancing the image but might not be able to convert really bad exposure to excellent exposure. There are various stages of post processing based on what the final result that one wants to achieve.

 * 1) Fine tuning a RAW file.
 * 2) Converting a RAW file to easily readable formats like jpg/png/tiff.
 * 3) Editing of jpg to remove unwanted features.
 * 4) Mixing of various files to achieve a creative result.

Software
There are basically two things that are done in post processing :

 * 1) An algorithm is run on all existing pixel data and minor changes are applied to the pixel data.
 * 2) Manually selecting and Replacing the pixel data with new data.

There are software's by camera manufacturers, specialist software vendors and free software available for taking care of post processing.

RAW file handling and conversion is possible in RawTherapee, UFRAW, darktable, Adobe Lightroom, Adobe camera RAW, FSViewer and many more.

Jpg file editing is generally done in image editors that have various features such as grain and red-eye removal, for example, Gimp (free), Adobe Photoshop (paid), or Photoshop Elements (paid).

Work flow of post processing
There are lot of changes possible during post processing. Sequence of these changes is important as change made at one stage can affect the effectiveness of next stage. Most of the software are also organized in a fashion to guide the users through a smooth work flow.

Few actions can achieve great results when applied in RAW file. These can also yield result in jpg files in case you do not have RAW file.

Some of actions that may be preferred while editing RAW file are
 * 1) Exposure Value adjustment
 * 2) White balance adjustment
 * 3) Hue and tone adjustment
 * 4) Highlight and shadow recovery
 * 5) Vibrance and saturation adjustment
 * 6) Cropping & Rotation

Some of the actions that can be done at RAW or jpg stage are
 * 1) Noise reduction
 * 2) Sharpening

Some of the actions that are preferred after conversion to jpg files are
 * 1) Red-eye removal
 * 2) Local touch up of cloning to erase unwanted object in frame
 * 3) Adding of frame
 * 4) Mixing with other jpg files like changing the background.

Removing red-eye
It's much better to avoid red-eye than to try and remove it in post-processing, as red-eye means you lose the color details of your subjects eyes and can't recover it.

Basically it is done by replacing the red flare with black and adding a white high light to the black dot.

Some Photo-Editing programs provide "Red-eye" removal effects.

Adjusting Colour balance
When photos are taken, some colours often do not appear real. This can be adjusted using the software above. Microsoft Photo Editor, for instance, allows you to balance individual colours and preview them before okaying them.

Converting to black and white
Many times one can emphasize certain picture by converting it to gray-scale. There are various ways of doing so depending on software being used.
 * Converting layer from RGB to Gray-scale
 * De-saturating
 * Decomposing to HSV or RGB and using one or more layers to compose the image

title: Digital Photography/Post Processing


text:
Digital Photography/Introduction

Digital Photography is in a class other than 'normal' photography. While traditional photography uses photographic media that reacts when exposed to light (creating a picture), digital photography uses a photosensitive plate that translates the wavelength of the light that strikes it into 1's or 0's, hence the name digital. Both forms of photography, however, use optical lenses to focus light onto the respective medium.

Digital vs. Traditional
The sequence of 1's and 0's that make up the photograph is called a file. The file, and effectively the photograph, can be reproduced perfectly and also transferred over the internet or other forms of digital communication without loss of quality.

The disadvantages of digital photography are directly related to limits in technology. To have a high quality image, you have to have an extremely large amount of 1's and 0's. The limiting factor is the plate that translates the light into digits. In first generation digital technology, the plates were not very good at digitizing the light, and so digital photographs taken with these plates look fuzzy and "squarey." In the past few years, however, technology has advanced so that the plates are much more effective at digitizing light, and pictures can be taken at much higher qualities. And also difficulty with photo file management and the need for computer skills to manage and edit images.

The resolution of an image taken by traditional means is limited by the film it is taken on and the lens that focuses the light. Some film is better than others, and some lenses are better than others. While mild enlarging and cropping of a traditional photograph can be done in the darkroom without much loss of resolution, the sharpness and clarity of the image decreases as the image is enlarged and less of the surface area of the film is being used to create the photographic print. This does not refer to the effects of "zooming in" with a tele-photo lens, which vary greatly depending on the lens and can be just as sharp as any other kind of photo. Because the whole surface of the film is still being used when one uses a tele-photo lens the quality of the image will be equal to an image captured on the same film with any other lens of equal quality.

The resolution of a digital image is limited to the quality of the plate and to the quality of the lens in the same way that a traditional photograph is limited by the film and the lens. A higher quality plate records more information (measured in pixels or Megapixels), in the same way that a lower ISO film is able to record a higher resolution image. In the same way that a traditional photograph loses sharpness and clarity when it is enlarged, digital images that are later cropped either to alter the composition or "zoom in" decrease in quality as the resolution decreases and noise becomes more apparent. Lower-quality digital images are notorious, however, for losing quality much more rapidly than a traditional photograph.

One advantage that digital photography has over traditional is that digital photographs can be stored on a computer or a small data storage device. Because digital photographs are digital information they can be imported into sophisticated image editing software where they can be manipulated in both very simple and very complex ways. Traditional photographs must be developed on expensive film whether you want the picture or not, while digital photographs only need to be printed on photo paper if you want the image on photo paper. Also, the beauty of digital means that you can instantly see what your photograph looks like on some cameras that have an LCD screen for viewing, while traditional photographs have to be developed (greater expense and time) before you can see the image.

Naturally, however, there are also advantages to traditional photography that digital photography cannot replicate. Currently, the startup price for a serious hobbyist or fine art photographer wishing to do digital is much higher than a photographer pursuing traditional methods. For one to seriously begin working digitally and obtain high quality results they must purchase a fairly modern computer, expensive software, a printer, and a camera (serious digital SLRs have just recently fallen below $1,000USD), not to mention still having to pay for paper and ink. Whereas both old and modern film based equipment can easily be purchased for very low prices used while offering results that are of equal quality.

However, it is important to remember that the greatest diversity of images can only be reached by utilizing both digital and traditional, along with other alternative processes. Certain mediums are better suited for certain situations and at times it can be good to let go of some control by allowing a traditional medium to cause spontaneous effects outside of your control, while at other times it may be more appropriate to have the tight control of digital. If you never let the medium take some control then you will not have the opportunity to learn from your mistakes.

title: Digital Photography/Introduction


text:
Muggles' Guide to Harry Potter/Books

Detailed Plot Summaries
A full overview of the books and the content contained within them.

 * Harry Potter and the Philosopher's Stone
 * Harry Potter and the Chamber of Secrets
 * Harry Potter and the Prisoner of Azkaban
 * Harry Potter and the Goblet of Fire
 * Harry Potter and the Order of the Phoenix
 * Harry Potter and the Half-Blood Prince
 * Harry Potter and the Deathly Hallows

Extended Analysis
Supplementary material regarding the end of the series.

 * Extended Analysis

title: Muggles' Guide to Harry Potter/Books