text:
Movie Making Manual/Scene Editing

How to Edit a Dramatic Scene
There are two types of scenes in a dramatic motion picture. Action sequences and Conversations. This is important because conversations are edited the opposite of action sequences.

Conversation vs. Action

 * Action = no dialog
 * Action sequences are scenes (or parts of scenes) where there is no dialog.

 * Conversation = dialog
 * Conversations are scenes (or parts of scenes) where the actors continually talk back and forth. (Normally, a monolog is considered an action sequence since there is no natural rhythm between the actors.)

Golden Rule: When two or more people are talking back and forth, you have a "conversation". The rest of the time, the scene is considered "action."

Editing Action $$\Rightarrow$$ Look for the best images

 * Action sequences are edited based on the images on the screen. For action sequences, the picture is the most important thing. Because there is no dialog to worry about, you tell the story visually.

Editing Dialog (a conversation) $$\Rightarrow$$ Keep the natural rhythm between the actors

 * In contrast with action scenes, a conversation is edited based on the rhythm of the dialog as the actors talk back and forth. The rhythm of the dialog must sound perfectly natural... which is surprising since, most of the time, each actor's dialog comes from a different shot.

 * Special Note: The gap between the dialog must seem natural. You must decide how soon to cut from one actor to the next.

 * In a conversation, the audio is more important than the picture. Therefore, a conversation is edited based on the audio, not the picture.

 * If the picture is bad and the audio is good, the audience will think it is supposed to be that way. If the picture is terrific and the audio is bad, the audience will complain.

Example – Selecting the shots in a conversation
A typical conversation between two people is filmed mostly with over-the-shoulder shots using a single overhead microphone which points only to one of the actors.

 * Sound from the first actor
 * When the camera is pointed at Actor "A" over the shoulder of Actor "B", you will hear the dialog for Actor "A" clearly. But the dialog from Actor"B" will not be clear because the only microphone is directly above Actor "A".

 * Sound from the second actor
 * When the camera is pointed at Actor "B" over the shoulder of Actor "A", the dialog for Actor "B", who is now directly under the boom microphone, will be clear but the dialog from Actor "A" will be faint.

 * Rule
 * Therefore, when you edit a typical scene, you use the dialog (sound) of Actor "A" from the shots of Actor "A" and the dialog of Actor "B" from the shots of Actor "B".

 * You have no choice. Because this is the only good dialog, you MUST edit the scene this way. However, if you can separate the audio from the video you can mix and match the good audio with video that doesn't necessarily go with it. (for example, if you want a shot of Actor B's reaction to Actor A's line, you can use the dialogue from the actor A clip on the actor B shot).

 * The only adjustable element
 * The only choice you have is the gap or space between the dialog. Your goal is to make this gap seem totally natural.  (This might seem trivial but it is not.  Also, there is a special circumstance where you will add huge gaps between the actor's dialog. See Narrative Music below.)

How do I edit a conversation?
Here are the steps for editing a conversation (scripted dialog from a narrative drama):

Step 1 – Study the Dailies for a Conversation
The first step is to look at all the dailies. On a motion picture or television drama, you will be working with the Circle Takes.

 * Circle Takes
 * Circle Takes saves money. When the movie is shot on film, it costs a lot of money to prepare the dailies for editing therefore only the best shots are used.

 * Circle takes are the dailies that the director feels are worth the expense of doing a telecine, audio sync, etc. For 35 mm film, when the director likes a take, she yells, "Cut, Print". As soon as she yells, "Print", the script supervisor, the camera assistant, and the sound mixer person will circle that take number on their notes so the lab will print only these circled takes. That is how these shots get the name of Circle Takes. The next morning when the director views the dailies, she views only the circle takes. Therefore, if you are editing a motion picture or television drama shot on 35 mm film, the dailies that you receive are usually pretty good.

The Highlander Uncut scenes are no longer for sale. The Star Movie Shop is no longer open to the public. None of the other unedited scenes are digitized for editing on personal computers. And even the Gunsmoke footage is only for sale to instructors and only on tape. Finding good practice scenes is unbelievably difficult.
 * Practice Scenes

 * American Cinema Editor's (ACE's) Editing Contest $$\Rightarrow$$ Deadline OCTOBER.
 * If you are a film student at a recognized film school, applications for American Cinema Editors' The ACE Student Editing Competition are accepted in OCTOBER (that is this month only). The first 50 applicants only. $125. (American Cinema Editors, inc., 100 Universal City Plaza, Verna Fields Bldg. 2282, Room 190. Universal City, CA  91608)  Look at their website for all the rules and details.   Three finalists will be guests at the annual ACE Eddie Awards in February. Each will receive a plaque. The winner will receive a special Student Award and publicity in the Hollywood trade papers. ACE does not pay transportation or hotel expenses for out-of-town students. Note: ACE is an honorary society of film editors; not a Hollywood union.

 * "Overview Movies"
 * Overview movies are extremely helpful for determining which takes are the best. An overview movie is all the dailies cut apart and re-assembled so you can watch all the dailies while following along with the story. Just by watching the overview movie, you can quickly find the best dialog.

 * The term "Overview Movie" is not a standard term. Sometimes it is simply called a rough assembly of all the dailies.

 * When looking for the best audio, you are looking for both good quality sound and the best delivery of the dialog by the actor. When you see all the clips in the overview movie, you will immediately notice which shot has the best performance.

 * Ignore the picture... mostly.
 * Since you are looking for the best quality dialog in a conversation, you are basically ignoring the picture (in a conversation) and concentrate on the spoken word. If you are editing circle takes (the really good takes from a feature film or television drama), the picture is almost never bad. The image might not be great but it will be OK. Therefore, when you find the best audio for a piece of dialog, you don't worry too much about the picture which comes with it. The picture can be fixed later.

 * Editing procedure
 * Once you have selected the best take for a piece of dialog, the procedure is simple. If you are using a professional editing program such as Final Cut Pro, you will select a fresh copy of the take. Then you will trim the clip by setting the IN and OUT points. And finally, you put the trimmed clip on the timeline. You must do this for each piece of dialog for the entire scene as you follow along with the script.

 * How to trim clips
 * There are no rules for how to trim the clips for each piece of dialog however I prefer to cut half way between each piece of dialog. I look at the audio waveform of the clip and quickly see where one actor's dialog ends and the next begins. I simply cut half way in-between (in the middle of the silence.) If the actors are talented, they will repeat themselves perfectly for each take. Therefore, the spacing between pieces of dialog (the timing) is usually perfect. Therefore, if you always cut half way between, you will retain the natural timing of the actors. They do all the work for you!

 * ADR = Replacement Dialog
 * The instructions above are very simple. Look at the clips for a scene and select the best sounding dialog while ignoring the picture. But what happens if you have the ability to do ADR where you replace bad dialog with good dialog or even different dialog? So before you cast everything in stone, you must stop and think, "If I take the best looking clips (based on the picture) and replaced the dialog with clean sounding dialog recorded in the studio, which shots would I select then?" Sometimes the decision is made for you because the actors are not available. The lower the budget (and the lower the pay to the actors), the less likely you will be able to find the actors when you want to do ADR. But if the actors are all available, ADR changes everything!

Step 2 – The Rough Edit for a Conversation

 * Check the gaps
 * Once you have decided which audio is best (for each piece of dialog == Actor "A" said this, Actor "B" said that, Actor "A" says this, Actor "B" says that), you assemble all the clips together following the script as a guide. That means you put the clips on the timeline of our editing program such as Final Cut Pro.

 * After this is done for all the dialog in the conversation, you listen to the rough edit. All the dialog should flow naturally from one actor to the other; back and forth, back and forth. If it does not sound natural, now is the time to fix it. To fix any timing problems, you adjust the gap between the actors' dialog so the dialog sounds like a real conversation where one person speaks and then the next person speaks, etc.

 * Visual Discontinuities are OK... for now
 * When you watch the rough edit of the scene, you will probably see visual discontinuities between the shots. Example: At the end of one shot, an actor is looking in one direction and at the beginning of the next shot, the actor is looking in the wrong direction. Again, don't panic! This is normal for a rough edit. For now, just listen to the dialog and make sure it sounds perfect... all the dialog must flow natural like a real conversation. The dialog is the only thing you worry about now.

 * Best Audio
 * Normally, the best audio comes from the close-up shot of the actor. This is because the microphone (which is usually located overhead) is closer to the actor in a close-up shot. On most single camera film shoots, there is only one microphone and it is pointed at the actor who is shown on the screen.

 * Lock the Audio
 * Once you are finished with the rough edit of a conversation, the audio is basically finished. Then you lock the audio once the audio sounds perfectly natural in the conversation. Later, you will add sound effects and music but you will not make changes to the dialog once it sounds good in the rough edit... unless, of course, you plan to add narrative music which is explained later.

Step 3 – Adjust the Picture for a Conversation
The next step is to adjust the picture to eliminate any discontinuities and, hopefully, improve it. But this is only the picture, not the audio, which will be adjusted.

 * I repeat, in case you missed it!!!
 * Once the rough edit of a conversation is finished, lock the audio. That way, you will never make a mistake when you adjust the picture. For a program like Final Cut Pro, you simply keep the dialog on separate tracks and lock those tracks which are dialog.

 * Let's play tennis.. and be bored!
 * After the rough edit is done, the picture should look like a tennis match... bouncing back and forth as each actor speaks his lines. This gets boring very quickly. Also, the scene is not very informative to watch since you never see the person who is listening. If you never see the person who is listening, you miss seeing what people are thinking which is often more important than what they say.

Rolling Edits and Adding New Shots
Now we get to the fun part of editing a conversation -- Rolling the picture edits and adding cut away shots.

 * Remember, this is only for a conversation, not an action sequence. Action sequences are already edited based on the best images so there is no need to make any adjustments to the picture of an action sequence. Adjustments are only made for conversations.

The visual images for a conversation can be improved in two ways:

 * Rolling the Picture Edits
 * Once the audio is locked, you can roll the picture edits either forward or backward in time. The roll picture tool simply makes one clip longer while making the other clip shorter without changing the total length of the two shots. Therefore, using the roll edit tool does not increase the length of the scene nor does it shorten the length of the scene.

 * Most professional editing programs such as Final Cut Pro have a special tool designed specifically to roll the picture edit (of two adjacent clips) forward or backward. Note: Be sure you have locked the audio because the roll-edit tool (in Final Cut Pro or Express or Adobe Premiere) will roll both the picture and the audio if you are not careful. Since the audio for a conversation is perfect when you finished the rough edit, you do not want to change it with the roll-edit tool. Change the picture without losing sync or making any changes to the audio.

 * Adding Cut-Away Shots (Adding new shots)
 * Finally, you can add additional shots to a scene for a variety of reasons. Sometimes, this is to hide continuity problems, (discontinuity problems) or simply to hide a bad frame. Or you can add a new shot (a cut away shot) simply to help tell the story. Or it can be to add new information for the eye if the shots are too long and too static.

 * With a professional editing program such as Media Composer or Final Cut Pro, you simply put the new clip (the cut away shot) on a track above the other tracks. Done!!! Most of the time, you only add the picture and not the audio. Therefore, I prefer to add add cut-away shots after I have finished rolling all the picture edits.

 * When you listen to the DVD commentary of Garry Marshall on his motion pictures, he mentions that he puts a cat in the movie so he has something to cut away to when he wants to speed up a scene or hide problems. Look for the cat in the last scenes of Runaway Bride.

L Cut
Split Edit ===

L Cuts are the same as Split Edits. Locking the audio and rolling the picture edits creates a Split Edit which is commonly called an L Cut or J Cut. This is an extremely powerful tool for filmmakers. Locking the audio and rolling the picture edit seems trivial but the impact is great.

Frequently, you need to only roll the picture edit just a few frames forward or backward. Many times, that is all you need to find a better transition point for the picture. Note: There are quicker ways to create L Cuts however locking the audio and rolling the picture edit is the easiest to understand.

A split edit or L Cut changes the meaning of a scene. Here is why: (This is important!!!)

 * 1. Rolling 'Forward' in a Conversation == Reaction
 * If you roll the picture edit forward in time (to a later time), you will see the reaction of the actor after he has finished talking. The camera remains pointed at the actor who finished talking while the next actor begins to speak. When a good actor finishes saying his or her lines, he will have a very interesting expression on his face. It is important to see this. (Remember, rolling the picture edit to show reaction is only for conversations, not action sequences.)

 * 2. Rolling Backward in a Conversation == Anticipation
 * If you roll the picture edit backward in time, you will see the anticipation of the actor before he begins to speak. Before one actor has finished talking, the camera switches to the actor who is about to speak. When you do, you usually see a very interesting expression on the actors face the second before he begins to speak. It is important to see this. (Remember, rolling the picture edit to show anticipation is only for conversations, not action sequences.)

 * Huge impact
 * By showing the actor's reaction or anticipation, you change the feel of the scene. When the audience sees what the actors are thinking, the audience gets a totally new insight into the scene. That is why L Cuts are so important. It is probably the most powerful tool that an editor has.

 * This is art, not a science
 * Deciding how far and in which direction to roll a picture edit is an artistic decision. Translated: you must use trial and error to find the best possible visual transition... whatever that is!!! Only your artistic sense will tell you when it is right.

Hopefully, now you begin to see the challenge of film editing. There are more things going on than you can possibly see. What do you show? What do you not show? This decision is not as easy in a conversation as in an action sequence.

 * Stretching Time in Action Sequences vs. Conversations
 * When editing an action shot, you can slow the scene down to show everything from many different angles. When the car blows up, you can show it from every possible angle, over and over again.

 * But in a conversation, you don't have that freedom. But with a conversation, the actors speak at only one speed. You cannot change that speed in post-production. You cannot repeat the dialog just to slow the action. The conversation must always sound natural, flowing from one actor to the next. In a conversation, you are very limited... unless you use tricks!!!!

 * Cool tricks for conversations == Narrative Music
 * Actually, there is a trick which allows you to show more of a conversation; Add narrative music (music which helps tell the story.) With narrative music, you use music or musical sound effects to act like another actor in the conversation. When you pause to add the sound of music which is extremely expressive, the pause in the conversation allows you to show more visually.  This is a technique editors use to give a scene more time.

 * To do this, you place a gap between dialog. Then you add music which fills the space so the conversation still seems natural. This music cannot be simple background music which plays blandly in the background. Instead this music must contribute to the conversation. This is why it is called Narrative Music. (More about Narrative Music later.)

 * The best visual transition
 * One of the most important things to look for is Continuity. Example: After you roll the picture edit, is the actor facing the same direction when you cut from one shot to the next? If not, you must not use it. You have to find another transition point. That is, you must roll the picture edit to a different point where the continuity problem has disappeared. Strange enough, even though it is easy to have continuity problems, it is just as easy to pick another point (roll the picture edit to another frame) and the continuity problem will disappear. It is amazing.

 * Watch for Lip Sync problems
 * Another important thing to watch is lip sync. Most of the time, when you roll a picture edit, loosing lip sync is not a problem. Most conversations are filmed using matching over-the-shoulder shots. In all of the shots, you never see the lips of the actor who is not talking. Therefore, you never have a lip sync problem when you roll the picture edits because his lips are not visible.

 * But in some shots, such as a wide shot, the audience might see the lips of both actors. Then you have to be extremely careful that you do not show the actors out of lip sync when you roll the picture edit. Sometimes, you have to go back to the rough edit and change the gap between the dialog so that both the clips have their dialog lined up (so that the two clips are in sync.) Then, when you roll the picture edit, you will see the actor's lips from one clip and listen to the actor's voice from the other shot and they will still be in perfect (or nearly perfect) sync. (When you watch a lot of movies, you will begin to see slight errors in lip sync before or after an edit. This is probably because of an L Cut. It is not enough for the audience to notice so don't worry.)

 * Hey, that's ugly, man!!!
 * The other use of rolling the picture edit is simply to hide bad frames or ugly shots. Sometimes, the picture edit can be rolled forward or backward until the entire shot is eliminated. (Remember, the audio is locked so it always sounds perfect no matter how much you roll the picture edit.)

 * 3. Emphasize one actor or another in a conversation
 * Rolling the picture edits can also be used in another way... at the same time. In a conversation, picture edits can be rolled to show both the anticipation of the actor before he begins to speak and the reaction of the actor once he finished speaking. This is a tremendously powerful tool because it draws the attention of the audience to a particular actor. Therefore, much of the time that the other actors are talking, you continue to watch the actor you are interested in. This is easy to do since all you are doing is rolling the picture edits with the audio locked.

If you wish to see an good example of rolling picture edits to show reactions, anticipation, and to emphasize one actor over the other, the Star Movie Shop had a DVD-Video disk called Fireworks Display which shows how the same conversation can be edited in four different ways. In the four examples, you see both the rough edit (which is identical for all our edits) and the adjusted edit side by side so you immediately see the effect of rolling the picture edits. In one example, the picture edits are rolled forward to repeatedly show the reactions of the speaker. In another example, all the picture edits for the scene are all rolled backward to repeatedly show the anticipation of the next speaker. And in another example, the star of the show is emphasized and finally in the last example, the picture edits are rolled to emphasized the secondary characters (the workmen who are creating a fireworks display.) It turns out that this last example is the best because the confused expressions on the workmen's faces tells the audience that the workmen think that Maurice is crazy!!! You never see that when the workmen are talking. Only when they are listened, can you see what they really think of Maurice Middlefield. Remember: all this is done with the same audio from the rough edit. Only the picture changes by rolling the picture edits. The audio never changes; It is the same dialog in all four examples. (Note: Star Movie Shop is now closed to the public. You might find this disk on eBay. Wikiversity Film School still has copies of this disk but they only loan it to students.)

Step 4 – Add Music and Sound Effects to a Conversation
Finally, you add music and sound effects. Here is where it really gets interesting. Music is more important than you think. Film editors should not ignore this section.

Film scoring seems so simple... but it can be a surprisingly creative tool for film editors (not just film composers.) Music is usually not thought of as an editing tool but it can be. It is a powerful tool... when properly used.

 * Mood
 * The most important thing to remember is music creates the mood of the scene. Music does not have to have a song, melody, rhythm or anything else. It just needs to create a mood. Think of sounds, especially orchestra sounds, which create a mood. What sound creates fear? What sounds create horror? What sounds create happiness?

 * A five-year-old kid pounding on a piano keyboard while watching a scene from a movie is the ideal film composer. Most professional musicians cannot think this way because they are trained to create beautiful songs. So don't be surprised if highly-skilled musicians have no idea how to create a film score. Our schools don't teach this.

 * Sources of Music
 * Film editors work with music all the time. They just don't know it.

 * Dialog (the spoken word) has music in it. Try reading a script in a monotone voice. You will immediately see the difference. An actor who is trained for the stage has a three-octave speaking voice. In a conversation, the actor's voice will range three octaves.

 * When editing a scene, decide if the actor's voice creates the proper mood. If not, add music.

Two totally different kinds of music
There are two kinds of music in a conversation -- Background music and Narrative music.

 * Background Music in a Conversation
 * Background music is very simple and soft music which is heard in the background to enhance the mood of the scene. Background music has no drums, at most only single melody, and never is at the same frequencies as the dialog. Background music can be a single note held for a long time. It can be that simple!

 * Narrative Music
 * Narrative music is completely different. Narrative music is music which tells a story and acts like one of the actors in the scene. Narrative music can have themes which are very short melodies which are associated with an actor or an action.

 * Narrative music can only go in gaps between the dialog of the actors because it is too strong to be placed on top of dialog. That is why, if you want to add narrative music, you must go back to the rough edit and add the correct gaps between the dialog of the actors.

 * How long should the gap be? How long should the narrative music be? You must make the music, and then create the gap to fit the music. The only way that you will know the correct length of the gap is if you work closely with the composer during the editing of the scene... or if you are the composer!!!! This is why the best film editors also are great film composers (or at least understand film score composing). It is really not that hard so try! It is time-consuming, but it will improve the edits.)

 * Let me repeat!!!
 * When you add narrative music to a scene, it is like adding another actor to the scene. Therefore, when you edit a scene with two actors plus narrative music, the conversation no longer bounces back and forth between the two actors with a natural rhythm. Now the music also speaks to the audience as well as the actors. So now, the edit of the scene must bounce back and forth between Actor "A", Actor "B", and the music. Each has equal weight. When one is speaking, the others must listen. So when the music is playing, the actors must listen. That is a cool trick since there was no music when the scene was filmed.

 * The Trick
 * So how do you get the actors to stop and listen to the music? There was absolutely no music during the filming of the scene. On the movie set, the actors never hear any music... if for no other reasons that the film score did not exist then.

 * Of course, there is a trick to this. If you are lucky (which for most scenes, you will be), you have shots where the actors are listening to each other. You simply use this footage when you want the actors to listen to the music. In these shots, the actor is waiting to reply. The audience does not know this. So it looks like the actors are actually listening to the music.

 * Actually, this is easier than it sounds. Normally, for close-up shots and over-the-shoulder shots of an actor, you cannot see the other person talking. The other actor's lips are not visible. So before and after an actor speaks, you always have footage of the actor listening. That is the footage that you use!

 * But I hear voices!
 * Yes, when you watch one actor listening to another actor, you hear the dialog from the second actor. Delete it and replace it with room tone.

How do I edit an Action Sequence?
We have spent all this time talking about editing conversations, now what about action scenes?

There are no rules for editing an action sequence. In an action scene, the story is told with pictures. Any pictures which tell the story are correct. You have total freedom.

When you edit a conversation, you must follow the script. The dialog is fixed and cannot be changed. But with an action sequence, you are totally free to do anything you can with the material you are given. There are no rules!

title: Movie Making Manual/Scene Editing


text:
FOSS Government Policy/Foreword

Free software means software that respects the user’s freedom. It means that users are free to run the programs as they wish, free to study and change the software (or hire others to do it for them), free to redistribute copies to others, and free to publish modified versions. As a consequence, users are free to share, and form communities to exercise effective control over the software they use. Free software may also be gratis, zero price, but this is not always the case.

Some users refer to this as open source. That term focuses on the technical benefits that result when software can be reviewed by large numbers of developers and users, the business advantages of using it, and the business models that support its development and use. The term free software refers to the social and ethical importance of freedom, as well as to the practical benefits it brings.

The social and practical imperatives for sharing and changing useful works such as software create a revolution in what it means to publish. The technology of the printing press taught readers to think of written works as fixed – written once, for readers to use passively thereafter. This technology did not make it easy for readers, who generally did not have presses of their own, to adapt, improve, and share copies of books, and they became accustomed to these limitations. So when citizens in large numbers began to use personal computers, many did not question the legal and business systems that placed similar limitations on using software. But this time, the limitation was not a natural consequence of the technology. It was imposed by software developers, who found it profitable to keep users under their control. The developers forbid users to share the software, and by denying users the source code, prevent them from changing it.

Today, however, there is an alternative: free software, the product of a community built by a million willing developers – some volunteers, some paid to contribute. Free software allows users to take full advantage of what their computers can do. It is our door to escape from the limitations of the printing press, into a world where useful works, such as software, are developed among the users, by the users, for the users.

Where software is not made artificially scarce by misguided incentive systems that encourage development of software by locking up its users.

Where the users can collaborate as they see fit in making the software do what they want it to do. Where the users of software are free to run it, share it, and adapt it together or individually. This is the world of Free and Open Source Software (FOSS).

Non-free software keeps users divided and helpless. When a nation increases the use of non-free software, it is not development, it is permanent dependency. Only the use of FOSS permits sustainable development – it is technology that local people are free to learn about, maintain, adapt, and reapply.

How can governments move their countries towards FOSS? In two ways. First, switching to Free Software in schools will teach children the spirit of community cooperation, while producing graduates that are skilled in using and maintaining Free Software. Second, mandating migration to Free Software in government agencies will create demand for these graduates’ skills, and build a local economy of Free Software support.

The International Open Source Network (IOSN) is an initiative of UNDP’s Asia-Pacific Development Information Programme (APDIP), and operates under the principle of “Software Freedom for All” (SFA). Its work includes provision of support and assistance, a centre of excellence, and an information clearing-house for Free and Open Source Software in the Asia-Pacific region.

Through the IOSN/SFA initiative, UNDP provides policy support and advisory services to government bodies, non-profit organizations, donor agencies and others. It publishes practical tools and materials, including simple “how to” primers and guidebooks, training materials, and live CDs of the GNU/Linux operating system for FOSS practitioners and end-users. It also supports FOSS R&D activities in localization and in other areas, and organizes conferences and training programmes to network stakeholders and strengthen local capacities. It welcomes both those interested in benefiting from these services and those who would like to collaborate in extending them.

I’m pleased to cooperate with the work of IOSN/SFA, APDIP and UNDP in taking the message of software freedom to the public and the development sector. Together we can help overcome the digital divide, and replace dependency with development.

Richard M. Stallman

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

title: FOSS Government Policy/Foreword


text:
FOSS Government Policy/Preface

Free and Open Source Software (FOSS) has grown incredibly in the past few years. Once considered a hobbyist’s toy, FOSS has grown by leaps and bounds and is now used widely throughout the world, even in critical environments such as financial systems and network backbones.

Governments too, have begun to take notice of this phenomenon. Countries such as Brazil, China, Malaysia, South Africa, and Viet Nam, are implementing nationwide policies or legislation promoting FOSS. While the often-cited cost and stability benefits of FOSS are attractive, governments often choose to promote FOSS in their own countries for a variety of other reasons.

In combination with the other primers in the Free/Open Source Software series, this primer is meant to serve as a resource for nations that are in the process of formulating their FOSS policies. This primer surveys the motivations of countries implementing FOSS, summarizes the steps involved in formulating a policy, lists some possible strategies to use in implementing the policy and touches on cross-sectoral issues unique to FOSS policies. Its target audience is national policy-makers and their advisers.

The primers are brought to you by the International Open Source Network (IOSN), an initiative of the United Nations Development Programme (UNDP)’s Asia-Pacific Development Information Programme (APDIP).

This primer is licensed under an Open Content license and is also available for download from the IOSN website at:

http://www.iosn.net/government/foss-government-primer/foss-govt-policy.pdf

title: FOSS Government Policy/Preface


text:
FOSS Government Policy/Acknowledgements

The author would like to thank everyone who took the time to share their valuable experience and insights. Peer reviewers for this document include Shahid Akhtar, Colin Charles, Dr. Nah Soo Hoe, Gopi Pradhan, Phet Sayo, Imran William Smith, Richard Stallman, Tan Wooi Tong, Atsushi Yamanaka and Raul Zambrano.

The author would also like to thank Sunil Abraham, Khairil Yusof and Helena Loh. Without their assistance, this primer could never have been written.

Additional thanks goes to the United Nations Development Programme and the International Development Research Centre. Their support has allowed this primer and others like it to be written and shared.

Finally, thanks goes out to the countless individuals and organizations that have contributed their time and resources into making the FOSS movement what it is today.

title: FOSS Government Policy/Acknowledgements


text:
FOSS Government Policy/Overview

The Benefits of a FOSS Policy
Free/Open Source Software (FOSS) has a wider perspective than a software development methodology. It not only increases access, ownership and control of Information and Communication Technologies (ICT), but also provides a framework for the usage and sharing of intellectual capital in a way that is applicable to many areas of development endeavour. FOSS can play an important role in the application of ICTs for achieving the Millennium Development Goals (MDGs).

This primer covers the main benefits of FOSS. At the national level, FOSS aids in the development of local capacity/industry, reduces imports, conserves foreign exchange, increases the security of the national ICT infrastructure (this is distinct from application level security), reduces copyright infringement and brings localized ICT tools to help develop local knowledge communities.

FOSS provides many socio-economic benefits. The most commonly cited are fostering the ICT industry through increased competition, lowering the ICT application cost and Total Cost of Ownership (TCO), increasing access to powerful yet localized ICT applications, increasing security of ICT applications and providing vendor independence.

Yet for all these clear benefits, many nations find that without a national FOSS policy, the uptake of FOSS in the country is far too slow for their needs. There are a number of reasons why FOSS requires policy intervention, including limited marketing of FOSS, lack of attention to its many non-commercial benefits and the need to overcome entrenched legacy systems.

Policy Formulation Approach
There are several stages in the policy formulation process. Although, this primer does not address the process in totality, it does cover some points uniquely important to FOSS. The stages include:

Establishing motivations and assessing environment:

Establishing the motivations behind a FOSS policy and getting support from the top levels of government are critical as FOSS policies often touch many aspects of government and influence various other policies. It is also important to assess how existing national policies and regional initiatives affect the implementation of a national FOSS policy. Certain regions, particularly the Asia-Pacific and Latin American regions, are very active in FOSS initiatives and policies. Regional initiatives not only make it easier to implement FOSS policies but also make it imperative to consider the implications of being surrounded by FOSS-using countries.

Establishing goals and targets:

Once the necessity of a FOSS policy has been established, measurable and objective goals set the pace and tone of FOSS implementation. Targets and goals such as, “100 percent awareness of FOSS among CIOs” and “10 percent of all government IT personnel have FOSS certifications” set clear directions for the strategies to be developed at a later stage.

Strategy formulation:

Apart from the strategies section of this primer, another excellent source of ideas and strategies for FOSS promotion is the existing FOSS community within the country and region. FOSS advocates have an in-depth understanding of the local ICT environment and are also familiar with both local and international initiatives. Any strategy formulation committee should tap the knowledge and expertise of the local community groups.

Stakeholder consultation process:

Stakeholder consultations result in policies that are well thought out and have buy-in from a broader segment of the society. The FOSS communities are used to a more open and transparent decision making process and tend to demand this. Policy-makers are cautioned that the typical FOSS discussion is very vocal and opinionated and often results in disagreements. Still, the open process has produced software, tools and knowledge that compare favourably with and, in some cases, are superior to those developed by the traditional proprietary development model.

FOSS Policy Strategies
Since, it is impossible to cover all the strategies that other countries have utilized in implementing their FOSS policies, the more common strategies are summarized in this primer. These strategies touch on multiple areas, such as capacity development; the policy and legal environment; procurement strategies;research; and software industry development. Key factors, such as the level of ICT industry development in a country, also affect whether strategies should focus on building capacity or migrating infrastructure.

Cross Sectoral Concerns
There are also various other policy areas interrelated with FOSS policies. Among these are two aspects, commonly referred to as “Intellectual Property” – patents and copyrights. Software patents today pose the single greatest threat to FOSS. In the United States and other countries where software patents are common, proprietary software companies that are unable to compete with FOSS in terms of added innovation and value, can resort to using software patent to cripple or even halt FOSS adoption in a country. To a much lesser extent, recent changes to copyright laws or legislation that affect copyright laws in developed countries can reduce the effectiveness or outlaw certain classes of FOSS. Even consumer protection laws can affect FOSS, albeit in a limited way. Thus, it is important for any country implementing FOSS policies to make a careful survey of their existing policies and regulations.

title: FOSS Government Policy/Overview


text:
FOSS Government Policy/Introduction

Briefly, OSS/FS programs are programs whose licenses give users the freedom to run the program for any purpose, to study and modify the program, and to redistribute copies of either the original or modified program (without having to pay royalties to previous developers).

The above quotation summarizes the guiding principles of FOSS – the freedom to use, understand, modify and distribute software. Seemingly a simple matter, today, these principles can have a profound impact on the economics and dynamics of the software industry.

The proprietary software industry as we know it today considers the source code of their software to be a trade secret and their primary driver of profit. Their customers do not purchase the software but instead purchase the license or right to use the software, in ways that are tightly controlled by the software producer. This software cannot be modified by the user should the need arise. Modifications and improvements can be made only by the software producer and these often come at an additional cost to customers.

In this industry, software is rarely shared and competitors often reinvent the wheel, re-implementing functionality that their competitors have already implemented. Often this re-implementation is done in incompatible ways to ensure that their users experience a high switching cost. In mature software sectors, the cost of re-implementing existing functionality can make the barriers to entry high, greatly reducing competition. For example, the cost to re-implement an equivalent of Sun's Solaris operating system would be prohibitively high.

With its fundamental freedoms, FOSS is a dramatic departure from the current proprietary software model. Since its source code is easily shared, FOSS is a global public resource that anyone can make use of, learn from and improve. Regardless of where it was first produced, the global community at large can take advantage of this knowledge resource and benefit from it.

It is also important to note that FOSS is more than just software or a software development method. It is also a self-sustaining community of diverse individuals who have contributed their time, energy and knowledge to the creation of a global resource. Often vocal, strongly opinionated and technically savvy, this community can powerfully contribute towards harnessing the benefits of ICT and FOSS for development.

Ownership of FOSS
It is a common misconception that FOSS applications are not owned by anyone or that FOSS is anti-copyright. In reality, almost all FOSS applications are copyrighted by their respective authors (except for the few that are deliberately placed in the public domain by the authors). However, these authors have used liberal licenses that allow anyone to use their work with limited restrictions.

The copyright holders still have full rights to their work, including the right to sell their work or re-license it under another license. There are several companies successfully utilizing this business model.

A good introductory article on the legal basis of FOSS can be found at: http://www.groklaw.net/article.php?story=2004040421042728

It is not possible to adequately cover every detail of FOSS in this primer. For further information, please refer to the first primer in this series, Free/Open Source Software: A General Introduction. It can be downloaded from:

http://www.iosn.net/foss/foss-general-primer/foss_primer_current.pdf

title: FOSS Government Policy/Introduction


text:
Tablature/Drums/Nailing Descartes to the Wall / (Liquid) Meat is Still Murder Drum Tab

Below is the drum tab for the song, "Nailing Descartes to the Wall / (Liquid) Meat is Still Murder" featured on the album Less Talk, More Rock. [Intro]

"I...recognized" [1+2+3+4+        ] C1|X---|| C2|X---|| HH||X-X-| SN||o-o-| B |o---||

[Verse]

"Border...      insanity...  [1+2+3+4+ C1|X---||X---|- - - -| C2||X---||- - - -| HH|-XXXXXXX|-XXXXXXX|-XXXXXXX|XXXX- - - X| HT||||ddd - -| SN|-o-o-o-o|-o-o-o-o|-o-o-o-o|-o-o- -dd o| B |o-o-o-o-|o-o-o-o-|o-o-o-o-|o-o-- - - -|

consider...  Humanity... by the ]1+2+3e+a4e+a[1+2+3+4+ C1|X---|- - - - |X---|| C2||- - - - ||| HH|-XXXXXXX|XXXX- - - - ||X-X-| HT||oooooooo||| F ||- - - - |O---|| SN|-o-o-o-o|-o-o- - - - ||o-o-| B |o-o-o-o-|o-o-- - - - |o---|--oo|

living... lives ]1+2+3e+a4e+a C1|X---||X---|- - - - | C2||X---||- - - - | HH|-XXXXXXX|-X

XXXXXX|-XXXXXXX|XXX-- - - - | SN|-o-o-o-o|-o-o-o-o|-o-o-o-o|-o--dddddddd| B |o-o-o-o-|o-o-o-o-|o-o-o-o-|o-o-- - - - |

ashamed...    about... of"  1+2+3+4+ 1+2+3e+a4tt[1+2+3+4+ C1|X---|- - - -|X---|X-X-| C2||X - - -||| HH|-XXXXXXX|- - - -||--X-| HT||- - ttt|--ff|| SN|-o-o-o-o|dddd- -||--o-| B |o-o-o-o-|o - - -|o---|o---|

[Rdidge]

"Carnage...       factories...  [1+2+3+4+                  ]1+2+3e+a4e+a  C1|X---||X---|- - - - | C2||X---||- - - - | HH||||- X X - | Rd|-bbbbbbb|-bbbbbbb|-bbbbbbb|bbbbb - - - | HT||||- - - - | SN|-o-o-o-o|-o-o-o-o|-o-o-o-o|-o-o- o o dd| B |o-o-o-o-|o-o-o-o-|o-o-o-o-|o-o-o - - - |

know... it [1+2+3+4+                  ]1+2+3+4e+a C1|X---||X---|--- - | C2||X-xxxXXX||--- - | Rd|-bbbbbbb||-bbbbbbb|bbbbb-- - | HT||||--dddd| SN|-o-o-o-o|-o-o-o-o|-o-o-o-o|-o-o-o- - | B |o-o-o-o-|o-o-o-o-|o-o-o-o-|o-o-o-- - |

Honest...         Lies... Deny      that"  [1+2+3+4+                           ] C1|X---||X---|||| C2||X---x-X-|||X---|| Rd|-bbbbbbb|-b--||||| HT||||||| SN|-o-o-o-o|-o-o-o-o||||| B |o-o-o-o-|o-o-o-o-|o---||o---||

[Chorus]

"Meat...       Dairy...  [1+2+3+4+ C1|--X-|||| C2|X---||X---|--X-| HH|--X-|--X---X-||| F |||--o-o-o-|o-o-o---| SN|--o---o-|--o---o-|--o---o-|--o---o-| B |o--o-o--|oo--|o--o-o-o|-o-o-o--|

[               2X                 ] rape...                                 rape...                                                takes...

C1||||| C2|X---|||| HH|--X---X-|--X---X-|--X---X-|--X---X-| F ||||| SN|--o---o-|--o---o-|--o---o-|--o---o-| B |o--o|-o--oo--|o--o-o--|oo-o-o--|

still... Miss- Recognized... the" C1|--X-|||| C2|x---||X---|--X-| HH|--X-|--X---X-||| F |||--o-o-o-|o-o-o---| SN|--o---o-|--o---o-|--o---o-|--o---o-| B |o--o|-o--oo--|o--o-o-o|-o-o-o--|

[Ending]

"rest... [1+2+3+4+ C1||||| C2|X---|||| HH|--X---X-|--X---X-|--X---X-|--X---X-| F ||||| SN|--o---o-|--o---o-|--o---o-|--o---o-| B |o--o|-o--oo--|o--o-o--|oo-o-o--|

Shorter..."                                                            ] C1|--X-|||||--X-|--X-| C2|x---||X---||||X---| HH|--X-|--X---X-|||||| F |||--o-o-o-|o-o-o-o-|o-o-o-o-|o-o-o---|| SN|--o---o-|--o---o-|--o---o-|--o---o-|--o---o-|--o---o-|| B |o--o|-o--oo--|o--o-o-o|-o-o-o-o|-o-o-o-o|-o-o-o--|o-o-|


text:
Horticulture/Creating a Woodland Lawn

This chapter deals with the process of creating a lawn space in a woodland area for an entertainment space.

Before you decide to make a woodland lawn space

 * Wait one full year to see what kinds of wildflowers and other plants may already be present.
 * Determine if there are any problem invasive plants on the site.
 * Select trees to keep and trees to remove.
 * If any heavy work is going to be done nearby that will require equipment to be moved across the site, it might be better to do that before installing the lawn, which might get ruined by this equipment.
 * If permanent access will be required for trucks, tractors, etc., make sure to plan for this, and define roadways if necessary.

Getting ready

 * Remove any trees and shrubs that are not part of the envisioned design
 * Remove stumps and large rocks (some stumps can be left in if cut to ground level).
 * Fill in any holes with good soil

Dealing with pre-existing herbaceous plants

 * If using herbicide, spray.
 * If not using herbicide, keep the area mowed low for a while before planting seed.

Tilling

 * Till
 * Pick out rocks and roots
 * Smooth out

/Lawns

title: Horticulture/Creating a Woodland Lawn


text:
Horticulture/Index

Please Note: This index page is not up to date! See Category:A Wikimanual of Gardening and its subcategories for a current list of book pages (there are hundreds).

Pages

 * ../Agrimony/
 * ../Allium Family/
 * ../An Introduction to Soils/
 * ../Artemisia vulgaris/
 * ../Arthropod Pests/
 * ../Asclepias tuberosa/
 * ../Basil/
 * ../Bidens frondosa/
 * ../Cactus/
 * ../Cirsium arvense/
 * ../Common Names of Vegetables/
 * ../Container Gardening/
 * ../Conyza canadensis/
 * ../Creating a Woodland Lawn/
 * ../Cucumber/
 * ../Culinary Herbs/
 * ../Cyperus esculentis/
 * ../Downy Mildew/
 * ../Edging/
 * ../Elements of a Garden Location/
 * ../Euphorbia maculata/
 * ../Fall Cleanup/
 * ../First Steps in Planning a Garden/
 * ../Fruit Growing/
 * ../Fruits and Vegetables by Botanical Name/
 * ../Garden Bed Cleanups/
 * ../Garden Tools/
 * ../Garlic/
 * ../Glossary/
 * ../Goldenrod/
 * ../Gourd Family/
 * ../Hand Cultivator/
 * ../Helleborus/
 * ../Hemerocallis/
 * ../Herbaceous Ornamental Plants/
 * ../How to Transwiki Information to this Book/
 * ../Hydrocotyle sibthorpioides/
 * ../Index/
 * ../Installing a New Garden/
 * ../Lawn Plants/
 * ../Lawns/
 * ../Laying Out a Garden Bed/
 * ../Leaf Vegetables/
 * ../Leaf vegetable template/
 * ../Lepidopteran Pests/
 * ../Lettuce/
 * ../List of Sources/
 * ../Mugwort/
 * ../Muhlenbergia schreberi/
 * ../Mustard Greens/
 * ../New Chapters/
 * ../Organic Gardening/
 * ../Organic Lawn Care/
 * ../Paper Mulch Barriers/
 * ../Perennial Weeds/
 * ../Pest Control Methods/
 * ../Phytolacca americana/
 * ../Phytophthora infestans/
 * ../Pilea pumila/
 * ../Planning a Garden/
 * ../Plant Pests and Diseases/
 * ../Planting Lawn Bulbs/
 * ../Planting Seasons/
 * ../Planting Seasons for Vegetables/
 * ../Planting Techniques/
 * ../Pollination/
 * ../Polygonum perfoliatum/
 * ../Potato/
 * ../Pruning of Fruit Trees/
 * ../Pulling Weeds/
 * ../Putting a Garden Plan into Action/
 * ../Seed Banking/
 * ../Slugs/
 * ../Smartweeds/
 * ../Soil Improvement/
 * ../Soils and Composts/
 * ../Spinach/
 * ../Squash Vine Borer/
 * ../Strawberry/
 * ../Summer Squash/
 * ../Templates/
 * ../Fruit template (herbaceous)/
 * ../The Benefits of Compost/
 * ../Tomato/
 * ../Vegetables/
 * ../Vermicomposting/
 * ../Weeds/
 * ../What Is a Lawn?/
 * ../Yellow Woodsorrel/
 * ../Zucchini/

Categories
Category:Weed profiles

/Project

title: Horticulture/Index


text: User talk:Abb401

title: User talk:Abb401


text:
Muggles' Guide to Harry Potter/Major Events/Head Boy

Overview
Head Boys and Head Girls are not, strictly speaking, magical. They are an integral part of the power structure of any school run on the English model; a Head Boy typically is the senior of the male Prefects, as the Head Girl is the senior of the female Prefects. Typically they have a few additional privileges, and in return are responsible for assigning duties to other prefects and seeing that they are carried out.

Event Details
In Harry Potter and the Prisoner of Azkaban, Percy Weasley has just been made Head Boy, and his pomposity has increased incredibly. The only thing that makes him tolerable at all is that the twins are perpetually puncturing his ego, or at least trying to; their continual japing makes him a figure of fun rather than a simple bore.

Hagrid has mentioned to Harry, in Harry Potter and the Philosopher's Stone, that Harry's father and mother were Head Boy and Head Girl while they were at Hogwarts.

While there must be a Head Boy and a Head Girl in each year Harry attends Hogwarts, the only one we ever hear of is Percy.

Notable Consequences
Generally speaking, consequences will be few, as the Head Boy and Head Girl will invariably be in their last year at Hogwarts. It is true that Percy, as Head Boy, became even more pompous and stuffy than he had been as a Prefect.

Analysis
There is a minor contradiction here. Hagrid says in Harry Potter and the Philosopher's Stone, as mentioned above, that Harry's father was Head Boy. Yet, in Harry Potter and the Order of the Phoenix, Sirius Black states that Remus Lupin was a Prefect; both Sirius and James were spending too much time in detention to be considered for that post. Later, Lupin and Sirius did say that James had improved by his seventh year; so we have four possibilities.
 * 1) With some other prefect's departure before 7th Year, it may have been necessary to appoint a new prefect, and that job, with the Head Boy promotion, might have fallen to James. This is somewhat unlikely as James had not previously been Prefect; as Lupin had, it seems more likely that Lupin would be Head Boy, although Lupin being a Werewolf, and the Werewolf potion having not been invented yet, could have precluded him from being appointed to this position.
 * 2) Hagrid might have over-inflated ideas about James' student office, or might be improving on the truth, either to make Harry more aware of his fame, or just on general principles.
 * 3) James' character, which granted seems unsuitable for the Head Boy office, might not have been totally firmed up that early in the series, and the author might have chosen to have him be Head Boy to build up his apparent status in the Wizarding world.
 * 4) We are told that James was an excellent Quidditch player during his time at school, so it is possible he became captain in his later years. Since Quidditch captains have almost the same privileges as Prefects, it is possible he was been made Head Boy on the strength of his Quidditch captaincy in his seventh year. Or, the most likely,
 * 5) Head Boys and Girls do not have to be chosen from Prefects and are simply chosen by the headmaster.

Of the first four options, the third seems most likely; however, the second and fourth make more sense in the context of the story.

As we can see from Percy, by comparison with Fred and George, the students chosen for prefect and head boy positions are not necessarily the most powerful wizards in residence. Thus, if James Potter was not head boy, it is unlikely that it bears any reflection on his Wizarding ability.

Questions

 * 1) How likely is it that both Head Boy and Head Girl would be in the same house?

Greater Picture
It is possible that Hermione would have been made Head Girl had she returned to Hogwarts for her seventh year, and if Hogwarts had remained a place that she could go to. However, she chooses instead to accompany Harry to help him deal with Lord Voldemort. Also, with the school largely under Death Eater control at that point, it is unlikely that Gryffindor House would have been honoured with the position, no matter how worthy Hermione was. In fact, being Muggle-born, Hermione would not be allowed to return to the school for her seventh year; instead, she would have been arrested and convicted of stealing a wand, and sentenced to a Dementor-guarded prison.


text:
A Beginner's Guide to D/The Basics/Types and Math

What are types?
If you look directly at the contents of a computer's memory, you see only a lot of bytes. These are often shown as numbers but in fact they don't have a meaning on its own, not even the meaning of a number.

Types are used in computer languages like D or C to give one byte or a sequence of bytes a meaning. Types define if these bytes are a number, a text, a date or whatever.

The Basic Types
Two basic types have already been introduced: int and float, for non-decimal and decimal numbers, respectively. Here, all of the basic types are introduced, including limits on their values and how large they are in memory.

Initialization
[TODO: Should some of the following sub-sections be placed elsewhere?] You can initialize a basic variable, or set it to a default value, by assigning it a value in its declaration:

int five = 5; double twoPointFive = 2.5;

In D all basic variables have a default value that they are initialized to if the programmer does not specify one. This may seem intuitive, but some languages (most notably C) do not automatically initialize variables unless explicitly told to do so which can lead to many problems because without initialization variables contain garbage by default (as an artifact of how computer memory works). All integer number types are default initialized to 0. All decimal number types are default initialized to NaN, a special value meaning "Not a Number". Character types are default initialized to their maximum values. If you specifically want any basic variable to be initialized with garbage, initialize them with the special value void which means no initialization.

int garbage = void; //This variable contains garbage

Note: Do not count on the garbage in a void-initialized variable being random; more often than not it will be anything but.

Imaginary and Complex Numbers
If you are not familiar with the mathematical concept of imaginary and complex numbers, feel free to skip this sub-section. D has built-in support for imaginary and complex decimal number types. D's imaginary and complex number types are based on its real decimal types (float, double, or real). An arithmatic operation involving a real decimal number and an imaginary or complex number results in a complex number and all complex arithmatic works the same as in algebra. The type names of imaginary number types are the same as real decimal types except they are prefixed with an i, and the type names of complex numbers are likewise the same as real decimal types except prefixed with a c. Imaginary numbers are initialized to NaN * 1.0i, and complex numbers are initialized to NaN + NaN * 1.0i. Imaginary literals are the same as decimal literals except they are followed by an i. Complex literals are simply real literals plus imaginary literals. For example:

One footnote is that complex decimal types take up double the amount of memory as their base real and imaginary decimal types because complex types are really just a real decimal and an imaginary decimal number stored together as one variable.

User Defined Types
D also supports several user defined types including enums, <tt>struct</tt>s, <tt>class</tt>es, and more. These types are very powerful, but they are much more complicated to use. They will be covered in-depth later in the book.

(Stub)

Arrays
An array is a way to group data of the same type. An array contains any number of elements, and each element is a value of a specified type.

Arrays can be made from any type (including other array types) similarly. The type for an array of <tt>int</tt>s with five elements is: int[5]

So, a variable called 'a' which is an array of five <tt>int</tt>s is: int[5] a;

Of course, this can be generalized for any type and count: type[count]

You can also create arrays with no specified number of elements, which can then be expanded to fit any number of elements. These are called dynamic arrays, and the alternatives (with a set number of elements) are called static arrays. They are specified similarly to static arrays, but the count is excluded. A dynamic array of any number of <tt>int</tt>s is: int[]

A variable called 'a' which is a dynamic array of any number of <tt>int</tt>s is: int[] a;

And of course, this can be generalized for any type with: type[]

[TODO: Array literals and initializing dynamic arrays to them? Should this be saved for later?]

Array Access
Array elements can be accessed like normal variables in code. That is, you can use an array element nearly anywhere you could use a simple value. To access element 1 from an array named 'a', for example: a[1]

The number for the element is called the index. The range of valid indexes is from 0 to 1 less than the number of elements; that is, for an array with 5 elements, the range of valid indexes is from 0 to 4, not from 1 to 5.

Array access can of course be generalized: array[index]

And the index can be far more complex than just a number: it can be a variable, or even a mathematical expression.

Strings
In D and many other language, a series of textual characters is called a string. In some languages, there is a special type dedicated to this, but D takes it at face value: a string is just a series of characters, and a series of characters is just an array of characters. So, you can use the <tt>char[]</tt> type (that is, a dynamic array of <tt>char</tt>s) as a string.

Similar to numeric types where you could either write a variable of numeric type or directly a fixed number in an arithmetic expression in the source code and where you could assign a fixed number to a numeric variable, you can write a fixed string in the source and assign it to a <tt>char[]</tt> variable (often also called string variable).

To mark something as a fixed string (a so-called string literal) it must be enclosed in double quotation marks: "Hello, world!" A program writing this string literal to a console window (also known as a DOS-box in Windows), such as the example given in Basic Output, would give: Hello, world! Notice the lack of quotes in the output.

Escape sequences
Sometimes you want to add "special" characters to a string literal. This means
 * 1) characters not available on your keyboard
 * 2) control characters which are not visible when printed but instead are a simple command to the console to do something.
 * 3) characters with particular meaning like the double quotation mark.

The most commonly used of the second category is the newline character which ends one line on a console and starts a new one.

To include such characters in a string literal, you use escape sequences. An escape sequence starts with a backslash "\" in the literal followed by one or more characters describing the desired character. For a newline character simply add "n" after the backslash.

Example: "Hello,\nworld!" If you were to replace the above "Hello, world!" literal with this one, the program would write Hello, world! on the console.

Other useful escape sequences are \" which adds a double quotation mark (without the backslash, the quotation mark would terminate the string literal) and \\ to add one backslash to the literal.

Example: "\"Interesting, \\\nor not?\", he said" Output: "Interesting, \ or not?", he said

Substrings
Sometimes you need to just grab part of a string. To do this use Array slice notation, which is the two '.'s between the indices you want to get the substring of lower bound inclusive and upper bound exclusive. Say we just wanted "Interesting" from the string seen above, we would do the following.

Example: "\"Interesting, \\\nor not?\", he said" [ 1 .. 12 ] Output: Interesting

(Stub)


text:
Horticulture/Oxalis stricta

Yellow Woodsorrel (Oxalis stricta) is an annual woodland and meadow plant native to North America, where it is among the most common garden weeds.

Description
From late spring through autumn, it produces yellow flowers which are quickly followed by explosively opening seed capsules.

Uses
The flowers, seed pods and leaves are edible with a taste similar to lemons, green grapes and sunshine all rolled into one.

title: Horticulture/Oxalis stricta


text:
Template:Hortibox

Do not edit this template unless you know what you are doing.

/Templates/Boxes

title: Template:Hortibox


text: File:Minix 3.png

title: File:Minix 3.png


text:
LaTeX/Title Creation

For documents such as basic articles, the output of is often adequate, but longer documents (such as books and reports) often require more involved formatting. We will detail the process here.

There are several situations where you might want to create a title in a custom format, rather than in the format natively supported by LaTeX classes. While it is possible to change the output of, it can be complicated even with minor changes to the title. In such cases it is often better to create the title from scratch, and this section will show you how to accomplish this.

Standard Titles
Most document classes provide a simple interface to store details to be represented in the title and to typeset the actual title. The standard classes provide just four storing commands (,    and  ). You can store any information you want to be shown in the title, including formatting.

The actual title will be typeset by issuing the command. The layout is defined by the documentclass in use.

The command  will store content, which will produce a footnote along with the title. As the name suggests, it can be used to thank someone. Or just to print an email address or similar in a footnote.

The authors are separated by the command, allowing author blocks to be output next to each other. In the example above, there is not enough horizontal space to fit both authors on the same line.

If  was not defined, LaTeX will print the current date. If you want to omit the date completely, use, which stores an empty string.

The commands to store your title data can be used in the preamble. Since  does actual output, it needs to be used after. Usually, the title is the first thing in a document.

Please see examples for KOMA-script and  classes below. Both provide (different) commands to change the appearance of the title. Learn later how to completely design your own titlepage.

As usual, the class documentation reveals more details about the possible commands.

The title for journal submission
Journals follow a specific layout. To ensure this they often provide a template which defines the layout. What is available for the title (for example emails, affiliation names, keywords) heavily depends on the template and highly differs between different journals. Follow the template if the journal provides one. If they don't you should use the most basic concepts of LaTeX titles described above.

Create a custom title for a report or book
The title page of a book or a report is the first thing a reader will see. Keep that in mind when preparing your title page.

You need to know very basic LaTeX layout commands in order to get your own title page perfect. Usually a custom titlepage does not contain any semantic markup, everything is hand crafted. Here are some of the most often needed things:

If you want to center some text just use. If you want to align it differently you can use the environment for right-alignment and  for left-alignment. The command for including images (a logo for example) is the following :. There is no as you would usually use since you don't want it to be floating, you just want it exactly where want it to be. When handling it, remember that it is considered like a big box by the TeX engine. If you want to change the size of some text just place it within braces, {like this}, and you can use the following commands (in order of size):, , , , , , , ,. So for example:
 * Alignment :
 * Images :
 * Text size :

Remember, if you have a block of text in a different size, even if it is a bit of text on a single line, end it with. The command as the last item of your content will add empty space until the page is full. If you put it within the page, you will ensure that all the following text will be placed at the bottom of the page.
 * Filling the page :

A practical example
All these tips might have made you confused. Here is a practical and compliable example. The picture in use comes with package  and should be available with every complete LaTeX installation. You can start testing right away.

As you can see, the code looks "dirtier" than standard LaTeX source because you have to take care of the output as well. If you start changing fonts it gets even more complicated, but you can do it: it's only for the title and your complicated code will be isolated from all the rest within its own file.

The result is shown below

Integrating the title page
A title page for a book or a report to get a university degree {Bachelor, Master, Ph.D., etc.) is quite static, it doesn't really change over time. You can prepare the titlepage in its own little document and prepare a one page pdf that you later include into your real document. This is really useful, if the title page needs to have completely different margins compared to the rest of the document. It also saves compile time, though it is not much.

Assuming you have done the title page of your report in an extra document, let's pretend it is called, you can include it quite simply. Here is a short document setup.

A title to be re-used multiple times
Some universities, departments and companies have strict rules how a title page of a report should look. To ensure the very same output for all reports, a redefinition of the command is recommended.

This is best done by an experienced LaTeX user. A simple example follows, as usual there is no real limit with respect to complexity.

As a starting point, a LaTeX package called  is generated that defines the complete title matter. It will later be hidden from the end user. Ideally, the person creating the package should maintain it for a long time, create an accompanying documentation and ensure user support.

This package can be loaded within a usual document. The user can set the variables for  and the like. Which commands are actually available, and which might be omissible should be written in a documentation that is bundled with the package.

Look around what happens if you leave one or the other command out.

Packages for custom titles
The package provides control over the typesetting of the  and  commands. It is useful for small changes to the standard output.

Italian users may also want to use the package. It defines a frontispiece as used in Italy.

Package provides new means to typeset the authors. This is especially helpful for journal submissions without an available template.

More titlepage examples
The package presents many different styles for title pages.

TeX.SE has a collection of titlepages.

Another small collection can be found on Github.

Notes and References
Latex/Título LaTeX/ Eine Titelseite erstellen LaTeX/生成封面和标题 Manual de LaTeX/La estructura de un documento en LaTeX/Cuerpo/Portada del documento LaTeX/Стварање наслова

title: LaTeX/Title Creation


text:
Statistics/Authors

Authors and contributors to this book include:
 * Cronian
 * Llywelyn
 * Murraytodd
 * Sigbert
 * Urimeir
 * Weyched
 * Zginder

title: Statistics/Authors


text:
Statistics/Print version

=Introduction =

=Different Types of Data=

=Methods of Data Collection=

=Data Analysis=

=Summary Statistics=

Other summaries
=Displaying Data=

=Introduction to Probability=

Bernoulli Trials
=Introductory Bayesian Analysis=

=Distributions=

Continuous Distributions
=Testing Statistical Hypothesis=

Chi-Squared Tests
=Numerical Methods=

=Basic Linear Algebra and Gram-Schmidt Orthogonalization=

=Unconstrained Optimization=

=Quantile Regression=

=Numerical Comparison of Statistical Software=

=Numerics in Excel=

=Distributions Problems=

=Authors=

title: Statistics/Print version


text:
User talk:Mathiastck

Hi! Mathiastck 19:51, 12 September 2006 (UTC)

title: User talk:Mathiastck


text:
User:Mathiastck

http://en.wikipedia.org/wiki/User:Mathiastck Mathiastck 19:52, 12 September 2006 (UTC)

title: User:Mathiastck


text:
Talk:J2ME Programming/Aplix JBlend

This looks like a good wikipedia article to me. Mathiastck 19:57, 12 September 2006 (UTC)

title: Talk:J2ME Programming/Aplix JBlend


text:
User:Derbeth/Print Version Creator

Save this script to 'pvc.pl' file. You will need Perl to run it.

title: User:Derbeth/Print Version Creator


text:
Cookbook:Apple Crisp I

| United States | Dessert

Apple crisp is a dessert made up of a baked apple filling and a crispy crumb topping. It is similar to cobbler, which has a biscuit-like (USA biscuit that is) or cake-like topping. It is also similar to a crumble, and the terms 'crisp' and 'crumble' may occasionally be used interchangeably. According to some traditions, crisp toppings are more likely to contain oats and/or nuts, while crumbles typically do not contain these ingredients. Cool room temperature is required to create a nice crisp topping. To serve apple crisp, spoon it into a bowl and, optionally, add vanilla ice cream. It also goes well with a glass of milk.

Ingredients

 * 6 cups sliced and cored baking apples (for example, Granny Smith)
 * ½ cup (100 g) all-purpose flour
 * ½ cup (100 g) rolled oats
 * ¾ teaspoon (3 g) cinnamon
 * ⅓ cup (75 g) cold butter or cold margarine
 * ⅔–¾ cup (120–150 g) brown sugar

Procedure

 * 1) In a medium bowl stir together flour, brown sugar, and oatmeal. If the room temperature is a bit warm, you should cool this mixture in the fridge.
 * 2) Prepare the apples. This should be completed before mixing butter into the topping. It is helpful to choose apples that do not brown quickly; Granny Smith apples are a good choice. Do not use Red Delicious apples; they turn to mush. Place the apples into a 9-inch (23 cm) square baking dish; glass is best.
 * 3) Add the butter or margarine to the topping. Mix it via a slicing action, so that the butter or margarine forms tiny little chunks and does not melt or smear. A pair of butter knives, used like scissors, is good for this. You must work quickly once you start this step.
 * 4) Sprinkle the topping onto the apples. You may pat it down just a bit.
 * 5) Bake for about 30 minutes in a 375 °F (190°C) oven. Do not remove the crisp before the top is dark brown. Black spots indicate burning. It is better to burn a few small spots, which you can then remove, than to risk undercooking the topping.

Notes, tips, and variations

 * Any type of apple may be used, baking or sweet, or a mixture of types.
 * Cooked apple dishes are a good use for substandard apples, e.g. damaged, wrinkled & windfall.
 * Crisps can be made with most any sort of fruit. Pineapple is a good choice.
 * Some fruits, especially peaches, go better in a cobbler.
 * Raisins can be added to the apples at the beginning, and ½ teaspoon of powdered ginger, or a sprinkling of nutmeg can also be put in.
 * Mixed spice is a perfect addition to apple dishes. This is more popular in Britain than the US.

title: Cookbook:Apple Crisp I


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User:HellDragon

Please see my main userpage at HellDragon

title: User:HellDragon


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User talk:69.170.74.179

Thank you for your contributions to Wikibooks. As a member of the Wikibooks community, I would like to remind you of Wikibooks neutral-point-of-view policy for editors, which you appear to have violated at Muggles' Guide to Harry Potter/Characters/Broderick Bode. In the meantime, please be bold and continue contributing to Wikibooks. Thank you! --Az1568 23:39, 12 September 2006 (UTC)

title: User talk:69.170.74.179


text: User:Gesslein/monobook.js

title: User:Gesslein/monobook.js


text:
The Computer Revolution/Entertainment/Magazines

Advances in computer technology have had a large impact on the Entertainment industry. Movies have websites to create buzz, and provide screensavers and wallpaper, and music artists have samples released to draw attention to soon to be released albums.

Magazines have also been able to take advantage of this new forum to provide additional articles and supplements to the issues they publish.

Many magazines also have forums for readers to post comments about articles they have read and would like to see in future issues. It is a great way for magazines to receive instant feedback about what they are doing right, and where they can improve to maintain their readers interest.

Since the invention of Blogging, some magazines have also been able to take advantage of it's popularity and create blogs written by contributing staff, guests, and even contributors who are anonymously letting readers live vicariously through them by revealing personal details of their lives.


text:
Talk:Lush

Hi, Matt G. here. I recently re-discovered this empty wikibook that somebody had put up, after finding it for the first time a few months ago. I figured I might as well organize my usual mailing-list rants about lush quirks into something that'd help the very newbies that aren't on the list. Here's my first stab. Feel free to edit things, but also feel free to start filling in the big missing sections!. If you're going to procrastinate, it might as well be in a manner that helps future generations of Yann students :)

-- SuperElectric (Matt)

Code samples
When writing a stand-in for a variable or function name, I've used italics, with words connected by an underscore:

This is how you declare types: ((type_name) var_name)

When actually writing runnable code, I've used dashes instead of underscores: Here's an actual example of declaring a type: ((-int-) my-int)

Variable names
Unless it's instantly obvious from context, I've made variable names of the form: type_name or thing_name For example:

The table below shows how to access different lush objects from C/C++ code: On the other hand, if it is instantly obvious that some name is a variable, I've tried to avoid using such flavorless variable names: (defparameter n-chickens (idx-dim coop))

The Chapters
While the chapters do go from basic to advanced topics, I didn't write them with the assumption that the reader would need to read all of one to move on to the next. You'll see that "Beginning Lush" contains some miscellany that people can live without, like "^A" and other caret shortcuts. The assumption is that people will move on when bored, and if the chapter titles are descriptive enough, they'll know where to move on to.

Here's what I was thinking when I broke up the book into the chapters you see on the front page: Libraries Advanced Lush: Topics that you don't strictly need to know to comfortably use Lush.
 * Features: I see this as an appetite-whetter, where we show single lines of code that show the cooler features of lush, like the tensor library, interactive use, C/C++ integration, perhaps even lispy meta-code.
 * Installation: Installation howtos on all platforms supported by Lush. We should definitely focus on getting the cvs version, then cover precompiled binaries if we want. "update cvs" seems to fix a good fraction of the bugs reported in the mailing list.
 * Beginning Lush: I've written a bunch here already; you can check it out and see if you agree with the appropriateness of what I've entered or omitted.
 * Classes and Objects: Starts with enough to get people started, then discusses the major differences betw. classes in lush and classes in other languages (single inheritance, no private members, you can call virtual functions from the constructor, etc). Discussion on compilcations that arise when compiling class hierarchies.
 * Compiling: There are many problems that can pop up when you start trying to compile lush code. I think that most discussion of compiler gotchas should go in the other chapters. For example, a common problem when you override a superclass' method is that the new version of the method must have the same number of "hidden arguments." I think treatment of this problem should go in the "Classes and Objects" chapter, since it informs how people go about designing their classes. I think this "Compiling" chapter should focus on the nuts and bolts of compilation itself, namely how to link in shared and static libraries, how to use lushmake, differences between dhc-make and dhc-make-with-c++, etc.
 * Debugging: This is what most newbies have the most trouble with, since lush doesn't do line numbers or even source file identification. And god help you if it barfs in the middle of parsing a class's methods, and won't tell you where in the file it gave up at. I'd like to start this with tips and tricks on making debugging easier, then go into advanced howtos about stepping through code (Yann showed how on the mailing list once; did anybody get it working?) and using gdb.
 * The Vector / Matrix / Tensor library: Self-explanatory. It'd be nice if we could get illustrations in here to graphically show what select, narrow, and unfold do. We could show a 3d grid, and highlight what each method returns.
 * Input / Output: I have no experience here aside from save-matrix/load-matrix, but other topics that belong here include object serialization, and interfacing peripheral devices like webcams and microphones.
 * plotter
 * linalg
 * gb-learn
 * OGRE
 * libsdl
 * Macros: Most of my macro knowledge comes from aping a few macro source files in lush, so people who actually know what they're doing at a deeper level are encouraged to come in and clean up my nonsense.
 * Lisp tricks: I know they exist, but am happy to leave it to others to tell me what they are.
 * Hooks: Hooks for debugging, line stepping, and more. Again, stuff that seems very useful, but that I know nothing about myself. Please contribute if you do.
 * Standalone lush programs: Is this problem solved? Yann posted some code, but some people were saying that they couldn't make it work.

- SuperElectric (Matt)

Todo
The sections most in need of filling out are: Once these are done, we have something that can start to be useful to a complete newbie.
 * Objects & Classes
 * The Vector/Matrix/Tensor library
 * Compiling

title: Talk:Lush


text:
Adventist Youth Honors Answer Book/Quilt/Definition

A quilt is a type of bedding— a bed covering composed of a quilt top, a layer of batting, and a layer of fabric for backing, generally combined using the technique of quilting. Another technique for securing the quilt layers is tying. Many quilts are made with decorative designs; indeed, some quilts are not used as bed covering at all, but are rather made to be hung on a wall or otherwise displayed.

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text:
The Computer Revolution/Internet/Communication/What is Webcasting

The word webcast is derived from "web" and "broadcast". Its use has varied over the past decade by different types of organisation and as the nature of the medium came into public use.

The term webcasting was coined when webcast/streaming pioneers Mark Cuban (Audionet), Howard Gordon (Xing Technologies) and Peggy Miles (InterVox Communications) got together with a community of webcasters to pick a term to describe the technology of sending audio and video on the Net...that might make sense to people. The term netcasting was a consideration, but one of the early webcast community members owned a company called NetCast, so that term was not used, seeking a name that would not be branded to one company. Discussions were also conducted about the term with the National Association of Broadcasters for their books - Internet Age Broadcaster I and II, written by Peggy Miles and Dean Sakai.

The generally accepted use of the term webcast is the "transmission of linear audio or video content over the Internet".

A webcast uses streaming media technology to take a single content source and distribute it to many simultaneous listeners/viewers.

The largest "webcasters" include existing radio and TV stations who "simulcast" their output, as well as a multitude of Internet only "stations". The term webcasting is usually reserved for referring to non-interactive linear streams or live events.

Rights and licensing bodies offer specific "Webcasting licenses" to those wishing to carry out Internet broadcasting using copyright material.

Webcasting is also used extensively in the commercial sector for investor relations presentations (such as Annual General Meetings), in E-learning (to transmit seminars), and for related communications activities. However, webcasting does not bear much, if any, relationship to the idea of Web conferencing which is designed for many-to-many interaction.

The ability to webcast using cheap/accessible technology has allowed independent media to flourish. There are many notable independent shows that broadcast regularly online. Often produced by average citizens in their homes they cover many interests and topics; from the mundane to the bizarre. Webcasts relating to computers, technology, and news are particularly popular and many new shows are added regularly.


text:
The Computer Revolution/Internet/Communication/Benefits of Webcasting

There are many benefits of streaming for organisations and anyone wishing to distribute content:

Cost Effective Distribution

Webcasting is one of the cheapest ways of distributing audiovisual content to a mass audience. All that is required is for viewers to have internet access, and to download a free streaming media player. The content can easily be hosted on servers by any webcasting company like Makeni, allowing instant global viewing.

Immediate Global Viewing

Streaming technology is continuously improving, and one of the main benefits of streaming is the ability for a video file to start playing almost immediately on the user’s computer. The user does not have to wait for the file to download before playing can start. In the past, the waiting times could be as long as 30 seconds. Today, with broadband connections, streaming can start almost the moment that the streaming file is selected by the user.

Unlimited Audience

Unlike any event venue, the global internet audience of a webcast has virtually no limits. By simply sharing the broadcast over multiple servers, Makeni can support tens of thousands of simultaneous users.


text:
The Computer Revolution/Internet/Communication/Costs of Webcasting

Prices vary depending on the complexity of the presentation, the overall length of the content and the number of viewers that you are expecting.

Your webcasting provider should be able to give you a quote for a specific production very quickly but only if you can provide them with a good description of the scope of the project. The more online examples a provider can show you (from existing clients), the easier it is to say "how much is one of those?"

If you already have video content then prices fall drastically but you should also consider repurposing the existing footage to be more effective on the web. A short introduction and conclusion for an existing piece of video with a web specific call to action can be filmed very economically.

A CEO style message introducing the company or a new product or service is also a cost effective way of engaging your website visitors. Those of us old enough to remember Victor Kiam ("I liked [the shaver] so much I brought the company") are grateful that this sort of direct sell has become much subtler in recent years. But a simple, honest and personal message is actually much more powerful on the web than on any other medium.

We use the phrase "your best sales pitch every time" and it's true...webcasting enables you to deliver a powerful, consistent message time after time to thousands of potential customers.

At the other end of the scale, an all singing, all dancing production (sometimes literally) will obviously cost more. However, while quality should not be diminished just because the final version is for internet delivery, simplicity is the key to a successful web campaign and that means the production should cost a fraction of what you'd expect to pay for a full scale TV ad.

Streaming costs are determined by the number of viewers to a particular video and prices vary dramatically. This is often because a client cannot give an accurate indication of the number of viewers they are expecting. The more specific you can be ("it's going on the homepage which currently gets 20,000 unique impressions a month"), the more cost effective the quote. That may sound odd but we buy wholesale bandwidth depending on the number of live projects we have on the go. Being able to predict the requirement accurately makes our buying more efficient and we can pass that saving on to you.

Always decide on the criteria for what you consider to be an acceptable ROI before you embark on a webcasting project - an experienced streaming provider should be able to help you with this. One of our customers - an established online retailer - was surprised when their sales doubled from the day they added video demonstrations of their products to their website. We weren't surprised at all and by analysing the live stats coming back from the twenty or so different videos, we were also able to tell them which were the best sellers.


text: Adventist Youth Honors Answer Book/Household Arts/Quilting (General Conference)


text:
Adventist Youth Honors Answer Book/Quilt/Make a quilt

A good way to meet this requirement is to make a quilt as a club. Send each Pathfinder home with a square of cloth and instruct them to decorate and sign it. The squares can be decorated with appliques, fabric paint, tie-dye, or any other method that will survive the laundry. When everyone brings their squares in, proceed as described in the previous requirement.

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text:
FOSS Licensing/Print Version

FOSS Licensing

Current, editable version of this book is available in Wikibooks, collection of open-content textbooks at URL: http://en.wikibooks.org/wiki/FOSS_Licensing

The whole text is available under GNU Free Documentation License.

=Preface=

=Introduction=

=Overview of Intellectual Property Rights=

=Copyright Basics=

=Software and Copyright=

=How is FOSS Different from Proprietary Software=

=How to Make the Source Free or Open=

=Scenarios=

=Online Legal Resources and Materials=

=Glossary=

=About the Author=

=GNU Free Documentation License=

title: FOSS Licensing/Print Version


text:
User:Samwilson

 * See also my user page on Meta.

I first got interested in Wikibooks by attempting to edit the Woodworking book, when I was at art school in Canberra (in Australia). Then I put a bit of material on some of the Bicycles book pages, and in PHP Programming. But mostly I use the LaTeX book as a reference, and am hoping to write something about Wiki-based archival description and storage.

Disclaimer: I'm a Software Engineer with the WMF Community Tech team. My official account is SWilson (WMF). I work for or provide services to the Wikimedia Foundation, but this is my personal account. Edits, statements, or other contributions made from this account are my own, and may not reflect the views of the Foundation.

title: User:Samwilson


text:
User talk:66.31.215.118

This message is regarding the page MapleStory. Please refrain from adding nonsense to Wikibooks. It is considered vandalism. If you would like to experiment, use the sandbox. Az1568 02:55, 13 September 2006 (UTC)

Thank you for experimenting with Wikibooks by creating the page A. Your test worked, and has been or will soon be removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing.--Az1568 03:03, 13 September 2006 (UTC)

title: User talk:66.31.215.118


text:
User talk:Mattb112885

Archive

Leave a new message I get it busy right 🤦🤦🤦🤦🤦🤦🤦🤦🤦🤦

Hello Mattb. How are you doing?
Hello Mattb. I was seeing discussion where you and others expressed your thoughts on policy. You are a nice guy and those too who spoke up the truth. Mattb actually when I think of polices the first policy comes in mind is "Honesty" before I would think or talk about the rest. As per my expressed in every Wikipedia and it's sister spaces I found no Honesty at all. The founder, the CEO, the admins, the stewards and every other who comprise together to make this organisations has a lot to just mess up, hate, destroy, abuse, trigger, suicide, provoke and to kill each other's dignity loyalty, positivity and sense of normal being until they see an innocent being raped, murdered or burnt alive to death in front of them. These people are beyond any definition to get identified for what they are doing. I will choose to be with Officially declared terrorists to spend a day if needed in worst case but with these pro terror gangs absolutely no. Not a single minute can be left at thier faith. Those terrorists may give me water, food and sleeping shelter for a day if another choice is impossible to rely on and that is these organisation and it's overestimated and self estimated leaders and members. Anyways I hope you will be happy here. I was just passing by and took a halt to try to talk someone and luckily I after numerous failed attempts to speak something [ it's all time reality of mine] I wrote to you bye. 👏 2409:4043:4E98:27B6:0:0:CCCA:7813 (discuss) 17:25, 19 November 2023 (UTC)

title: User talk:Mattb112885


text:
User talk:Jjacky

Hello and welcome to Wikibooks!

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

You can find more resources in the Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, or the IRC channel.

Good luck!. Az1568 03:12, 13 September 2006 (UTC)

title: User talk:Jjacky


text:
User talk:Peter Giovanni

check

title: User talk:Peter Giovanni


text:
Wikijunior talk:Dinosaurs/Triceratops

I was curious as to the spelling of tonnes. I have been unable to locate this spelling in a dictionary. Until I have been educated about this word, I changed it to the word "tons".

title: Wikijunior talk:Dinosaurs/Triceratops


text:
Template:Weedbox

Do not edit this template unless you know what you are doing.

/Templates/Boxes

title: Template:Weedbox


text:
Template:Weedbox/Examples

Using Template:Weedbox
This template is automatically included by the page template.

Example
/Templates/Examples

title: Template:Weedbox/Examples


text:
Talk:PHP Programming/Smarty templating system

can someone please tell me how to use smarty in php


text:
FOSS Government Policy/Why is a FOSS Policy Needed

Under ideal circumstances, a specific policy favouring FOSS is not required. However, policy-makers have turned to FOSS policies in order to solve specific problems within their countries. Related to the benefits of FOSS as described earlier, some common indicators of these problems include:

 * Local software economy dominated by monopolies
 * Pressure from foreign trading partners to reduce copyright infringements
 * Large foreign exchange outflows to import software
 * Inadequate and stagnant local ICT capacity
 * Lack of ICT tools in local language

The question has been raised before that if FOSS systems have so much promise, then why is it sometimes necessary for governments to intervene and level the field or even actively promote FOSS systems? The answer to this lies in the very nature of FOSS and the current computing environment.

Limited Marketing
Because FOSS systems are available to almost anyone, it is hard for any single company to claim ownership and thus gain competitive advantage from promoting FOSS. A company that spends millions of dollars promoting GNU/Linux would benefit all the companies that offered GNU/Linux products, including fellow competitors. This is one of the reasons why there are limited commercial efforts to promote the benefits of FOSS.

FOSS being a relatively new development, many decision makers are unaware of the full benefits that it brings or the issues related to implementing it. The lack of publicity also makes it somewhat vulnerable to the Fear, Uncertainty and Doubt (FUD) that may be produced by competing proprietary software vendors.

Non-commercial Benefits
Among the FOSS benefits described in the previous section, only three of 10 (Total Cost of Ownership, Vendor Independence and Security) were favourable to most commercial entities. Since most decisions on software purchases and implementation are based on the “best value” basis, free market choices may result in a non-optimum choice for a nation.

Entrenched Legacy Systems
Even in most developing countries, there is an existing ICT infrastructure, no matter how minimal. These investments in hardware and skills development greatly impact future procurements, since decision makers are likely to stay with the systems that they are familiar with and that their staff already have the capability to support.

Additionally, a significant number of proprietary software integrates poorly with other software, be they proprietary or FOSS. This makes the cost of changing as well as introducing new infrastructure extremely expensive. In many cases, poor interoperability is deliberately introduced by the software manufacturer to dissuade customers from switching to a competitor. Proprietary and secretive document standards and communication protocols are commonly used to limit interoperability.

A FOSS policy formulated by a government, even one that simply makes FOSS a choice equal to proprietary software, could facilitate a wider uptake of FOSS and consequently allow the economy to take advantage of its unique benefits.


text:
Talk:Real Analysis/The real numbers

I am not sure what your getting at with the discussion of different approaches to proving theorems about the real numbers. You simply cannot write down some axioms and say "Those are the real numbers!". How do you intend to _prove_ there exists something that satisfies the axioms. Thenub314 12:55, 13 September 2006 (UTC)

title: Talk:Real Analysis/The real numbers