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User:Wikiuoquis

EINA COL·LABORATIVA EN L'ENSENYAMENT I L'APRENENTATGE DE LA LITERATURA A SECUNDÀRIA
1. Introducció

2. L’eina wiki

3. Procés d’elaboració d’un wikibook per a l’àmbit educatiu

4. Aplicabilitat dels wikibooks en l’ensenyament i l’aprenentatge de la literatura a secundària

5. Conclusions

6. Referències bibliogràfiques

7. Annexos

7.1. Taula de referències bibliogràfiques i enllaços

7.2. Mapa Conceptual

7.3. Anàlisi del treball grupal i revisió de la planificació

1. INTRODUCCIÓ

Les tecnologies de la informació i la comunicació (TIC) han experimentat en els darrers anys un desenvolupament espectacular, i han transformat la nostra societat i, en particular, l’àmbit educatiu. Representen en el món de l’educació un lent però progressiu cessament dels sistemes tradicionals basats en les coordenades espai i temps, i des d’un punt de vista educatiu, centrats exclusivament en el docent.

Aquestes tecnologies, juntament amb els nous enfocaments educatius sobre el mètode d’ensenyament i l’atenció a la diversitat, ofereixen una major participació i col·laboració dels alumnes en el procés ensenyament-aprenentatge. L’alumnat passa a tenir un paper més actiu, col·laborant juntament amb el professor en el disseny dels materials educatius.

La introducció d’aquestes tecnologies a les aules fa possible, doncs, el desenvolupament de noves estratègies pedagògiques de metodologia activa que atorguen a l’alumne una major implicació en el procés d’ensenyament-aprenentatge, i que es basen en un aprenentatge de caràcter fonamentalment autònom i col·laboratiu. L’alumne aprèn significativament, de forma que l’aprenentatge esdevé per a aquest alumne un procés de construcció del seu propi coneixement i l’ensenyament el mitjà de suport a aquest aprenentatge.

Des d’una perspectiva global, emmarquem el projecte en l’àmbit d’aquest aprenentatge autònom i col·laboratiu a partir de l’aplicació de les TIC a l’educació.

Des d’un punt de vista més específic, el treball se centra en les possibilitats que ofereix l’aplicació concreta d’una de les noves eines, el wikibook, en l’ensenyament de la literatura a secundària.

A continuació, presentem l’estructura formal del nostre projecte, format per quatre parts diferenciades, a més d’un apartat on es recullen les conclusions extretes de tot el procés d’anàlisi i elaboració realitzat, i d’un seguit d’annexos.

En la primera part, formada per l’apartat 2, s’analitzen els avantatges que suposen en el context educatiu l’aplicació de les noves tecnologies i les noves propostes tecnològiques d’aprenentatge. Es defineix la realitat que ha fet possible l’aparició de noves possibilitats en el camp del coneixement, particularment en el món educatiu, posant una especial atenció a la importància del treball i l’aprenentatge col·laboratius. Es defineix una de les eines més representatives en el camp del treball col·laboratiu, el wiki, així com les principals característiques dels llibres basats en aquesta eina wiki: el wikibook.

La segona part, formada per l’apartat 3, descriu de manera global l’aplicabilitat i l’aprofitament dels wikibooks en el camp educatiu en general, tant el procés d’edició com el de l’administració.

La tercera part, centrada en l’apartat 4 del projecte, tracta específicament l’ensenyament i l’aprenentatge de la literatura mitjançant els wikibooks. S’hi expliquen els principals avantatges i inconvenients des del punt de vista dels docents i dels alumnes en el cicle de l’educació secundària obligatòria, i es mostren alguns exemples de wikibooks per a secundària.

Finalment, la quarta part, que correspon a l’apartat 5, mostra l’aplicació dels coneixements adquirits mitjançant la plasmació del nostre propi wikibook.

La cita següent, extreta de la conferència inaugural del curs de doctorat de la UOC “La societat de la informació i el coneixement” impartida per Manuel Castells, representa el nostre punt de partida:

“Internet és el teixit de les nostres vides en aquest moment. ''No és futur. És present''.”

2. L'EINA WIKI

2.1. 	Definició i presència en el món de les TIC

2.1.1. Web 2.0

El terme web 2.0 fou creat per O’Reilly Media i MediaLive Internacional en el marc d’una conferència impartida per Tim O’Reilly l’octubre de 2004, en què s’exposà una nova tendència en la forma d’utilitzar i de concebre el web.

Actualment, el web 2.0 es percep com a un concepte, una idea, o fins i tot una nova filosofia. Hi ha una infinitat de definicions o formes de concebre aquest nou terme, atès que no s’han pogut definir els límits de la que –deien– n’era la característica principal: l’aprofitament del web com a plataforma. És, en definitiva, un terme que admet diverses definicions i derivacions, en funció de la visió o les necessitats dels usuaris, però que podríem resumir segons els seus trets principals:

-	Segona fase d’Internet: el Web 2.0 evoluciona a partir del tradicional web 1.0, basat en un sistema de documents d’hipertext i d’hipervincles de caràcter estàtic i predeterminat, fins que es converteix en un espai fonamentat en programes de codi obert que es caracteritzen en el compartiment, la modificació i la millora de continguts.

-	El web com a plataforma: els avenços tecnològics aplicats a la informació i la comunicació han possibilitat la creació de noves aplicacions per a la xarxa que han transformat el model tradicional de comunicació lineal emissor – canal – receptor en un model de comunicació circular, interpersonal i amb una retroalimentació constant entre els usuaris. Es tracta d’una interacció sense límits geogràfics que permet compartir la informació col·lectivament i de manera asincrònica, sense la necessitat d’instal·lar programes específics, ni d’adquirir habilitats informàtiques especials.

-	Democratització de la informació i del coneixement: possiblement, les repercussions principals d’aquest nou web siguin més socials que no pas tecnològiques. A partir del web 2.0 hi ha hagut una explosió de llocs socials basats en el compartiment de la informació i del coneixement, de forma que l’usuari ha passat a ser el principal subjecte actiu en la creació de serveis i continguts, a favor de la ja coneguda intel·ligència col·lectiva.

De les tres característiques exposades fixem la nostra atenció en la darrera, és a dir, en la creació d’una intel·ligència col·lectiva a partir de la lliure elaboració de continguts i del compartiment de la informació i del coneixement.

És precisament en aquesta característica on rau la principal àrea d’oportunitat de l’aplicació d’aquesta nova plataforma a l’àmbit educatiu, ja que aquest nou concepte web, de caràcter clarament constructivista, permet entendre Internet no tan sols com una font d’informació, sinó com una plataforma on treballar amb aquesta informació, proporcionant espais de treball i d’aprenentatge col·laboratius.

2.1.2. Aprenentatge col·laboratiu en l’entorn virtual

Un dels principals potencials de la realitat 2.0 és la facultat que atorga a les TIC aplicades al camp educatiu d’actuar com a instruments cognitius, facilitant l’aprenentatge col·laboratiu, així com el procés de desenvolupament i transformació conceptual dels estudiants. Salinas (2000:200) defineix breument el terme i assenyala que aprenentatge col·laboratiu és “l’adquisició de destreses i actituds que es donen com a resultat de la interacció en grup”.

En la pràctica educativa, aquest aprenentatge col·laboratiu és un dels mètodes més fructífers i estesos del món. És un model que es fonamenta en els principis constructivistes de l’aprenentatge i que permet als estudiants aprendre de forma significativa, que se centra en la transmissió del coneixement i en els diferents processos de pensament, com ara el crític, el creatiu o l’analític. La plataforma ofereix la possibilitat de realitzar treballs col·laboratius en xarxa. Aquest fet, a part de les possibilitats educatives que representa, està provocant una transformació del model educatiu tradicional. El nou paradigma, nascut a partir dels principis bàsics de l’educació activa d’inicis de segle XX, provoca dos fets importants:

a) Està transformant els diferents rols dels docents i dels alumnes. En aquest sentit, els alumnes, mitjançant aquest nou model d’aprenentatge, veuen que conceptes com ara individualitat, passivitat o memorització van deixant pas a termes com cooperació, comunicació o autoavaluació, entre d’altres. Prenen un paper molt més actiu en la construcció del seu propi coneixement, fet que representa una repercussió directament proporcional en el rol de la figura del professor.

Així doncs, el concepte tradicional de professor també es transforma i adopta un rol clar de mediador. Esdevé un tutor-consultor que requereix unes noves habilitats tècniques i didàctiques, així com una nova planificació curricular. Aquest nou paper del professor-mediador es basa fonamentalment en tres fases: “1- Fase preactiva: planifica, a partir de les característiques dels estudiants. 2- Fase activa: presenta objectius i continguts, proposa activitats, proporciona les eines, orienta, motiva... 3- Fase postactiva: avalua amb els estudiants.”1

b) Està provocant el trencament de la clàssica jerarquització del model educatiu. La possibilitat de l’alumne de participar en el procés educatiu altera considerablement l’estructura de l’arquitectura del coneixement tradicional. En aquest sentit, es produeix un progressiu traspàs del procés d’ensenyament, concentrat fins ara en la figura del professor com a instructor cap als alumnes.

1- Dr.Pere Marquès Graells. Departament de Pedagogia Aplicada, Facultat d'Educació, UAB.

2.1.3. Wiki

Un dels formats del web 2.0 per a la construcció cooperativa per excel·lència és el wiki. Es defineix com una de les eines més rellevants de la construcció social del coneixement i com un dels responsables principals de l’impressionant i ràpid procés de sociabilització de la xarxa esmentat.

Sobre els orígens del terme, se’n coneixen principalment dues dades. En primer lloc, i quant al significat, wiki és una paraula que prové del hawaià i que significa ‘ràpid’ (es pot establir fàcilment una relació amb el concepte ràpid, amb relació a la rapidesa de què es caracteritza l’eina wiki en el seu tractament); i de l’altra, es tracta d’un terme emprat pels remers, un col·lectiu caracteritzat, sens dubte, pel seu esforç col·laboratiu.

Ward Cunningham va crear el primer espai wiki, el WikiWikiWeb, l’any 1995, i el va definir com “la base de dades en xarxa més simple que pugui funcionar”. Actualment, aquests espais es coneixen com a servidors web amb administració de versions a Internet, en què qualsevol usuari sense coneixements previs d’HTML, pot crear, modificar i enllaçar pàgines web sense programari ni eines específiques.

L’avantatge principal dels wikis és, doncs, la possibilitat que ofereix per realitzar treballs de forma col·laborativa, possibilitat que, aplicada a les aules, té un valor incommensurable principalment per dues raons:

a) En primer lloc, perquè el professor pot accedir en qualsevol moment al contingut del treball dels alumnes visualitzant mitjançant l’historial tot el procés de construcció del text, des del seu esquema inicial fins al producte final. Aquesta eina permet, per tant, avaluar dins d’un entorn grupal el treball i l’aprenentatge individual de cada alumne, com també una avaluació continuada de l’activitat. D’altra banda, possibilita al docent “ensenyar a aprendre” mitjançant unes activitats crítiques i aplicatives, de forma que promou el desenvolupament cognitiu i personal dels alumnes.

2. En segon lloc, perquè la possibilitat que tenen els alumnes de crear, editar, modificar o esborrar els continguts de forma col·laborativa, asincrònica, senzilla i directa fa que el pes de la formació recaigui en ells mateixos, cosa que contribueix directament en la construcció del seu propi coneixement.

2.2.	Wikibooks

El projecte Wikibooks, neix l’any 2003, a càrrec de Wikipedia. Aproximadament cinc anys després de la seva creació, el maig de 2008, el projecte compta amb unes 265 pàgines de llibre editades en versió catalana, i amb unes 29.462 en versió anglesa. 2 Wikimedia, fundació sense ànim de lucre, portà a terme la creació d’aquest projecte mitjançant MediaWiki, wiki fet sobre la base de programari lliure.

El projecte consisteix en l’acolliment i la creació de llibres de text amb llicència lliure. L’objectiu principal de la fundació és la contribució a la lliure circulació i disposició de textos escolars, acadèmics, així com tots els textos considerats material educatiu i d’aprenentatge.

Els wikibooks compten amb les característiques pròpies de l’eina wiki i, per tant, amb els avantatges que la redacció col·laborativa de textos anteriorment descrits suposen per al camp educatiu.

En aquest sentit, el fet que els alumnes elaborin textos amb un caràcter públic i obert, representa un element de motivació afegit que influeix directament en la reflexió, la revisió i el seguiment de l’estructura i el contingut del text. D’altra banda, aquest fet té una incidència directa en l’atenció comunicativa, lingüística i textual que l’alumne diposita durant el procés d’elaboració del text.

És una eina, per tant, que obre una nova perspectiva en l’ensenyament i l’aprenentatge de diferents textos, i, per tant, és excel·lent en el camp de la literatura.

Quant a termes d’aprenentatge, és mínimament necessari que els alumnes disposin d’un cert nivell d’expressió escrita, la qual cosa fa que el seu àmbit educatiu idoni sigui la secundària. D’altra banda, tot i que les eines d’edició són força elementals, el fet que sigui necessària una certa habilitat informàtica, fa, així mateix, que el seu camp idoni d’aplicació sigui l’educació secundària.

2- Dades extretes de ca.wikibooks.org i en.wikibooks.org el 29/05/2008.

3. PROCÉS D'ELABORACIÓ D'UN WIKIBOOK PER A L'ÀMBIT EDUCATIU

3.1. L'edició de wikibooks

Els motius pels quals s’editen wikibooks són diversos, però, en general, el denominador comú rau en el fet de compartir el coneixement amb altres persones sobre una matèria concreta. En el cas que ens ocupa, aquesta edició ha de tenir en compte, d’una banda, l’adequació a la gramàtica, és a dir, l’adequació del text a les normes gramaticals, utilitzant els materials lingüístics –diccionaris i gramàtiques– corresponents i altres fonts de consulta, i de l’altra, l’adequació a la situació comunicativa, tenint en compte l’emissor, les característiques del missatge i el tipus de destinataris. Alhora, des d’un punt de vista tècnic, cal decidir quina eina wiki serà la base sobre la qual crearem un wikibook o en modificarem un d’existent.

3.1.1. Procés d'edició

Des d’un punt de vista lingüístic, abans d’escriure un wikibook, hem de fer una anàlisi de la situació comunicativa. Primer, cal tenir en compte els destinataris i decidir tenint en compte quin ha de ser el grau de formalitat; la tria lèxica i terminològica cal fer (no és el mateix escriure per a alumnes de primària que de secundària), entre d’altres. Segon, cal considerar què és el que volem comunicar amb el text. Quin és el missatge o tema. Tercer, hem de saber quin l’objectiu del text (es tracta d’un text descriptiu, explicatiu, narratiu, informatiu, etc. Finalment, hem de tenir en compte la manera en què ho volem escriure segons els paràmetres citats, i per això és rellevant l’extensió (a vegades, hem de fer un esforç de síntesi i de condensació; d’altres de desenvolupament d’idees i d’argumentació), i l’estructura, que variarà segons el tipus de text i ha de facilitar-ne la lectura.

En concret, quan escrivim en suport wiki, hem de valorar que la informació ha de ser breu (descartar elements superflus); adequada (amb estil, plantejament i to homogenis); ordenada (l’usuari l’ha de captar sense gaire esforç); i al mateix temps, correcta, atractiva (ha d’atreure l’atenció i orientar); completa i fiable. En aquest tipus de suport, és important buscar la claredat i la concisió; el text ha de ser fàcil de consultar; els enllaços han de ser vius; cal reduir les càrregues cognitives i buscar la màxima correcció possible.3

Des del punt de vista tècnic, des de la creació del WikiWikiWeb, s’han desenvolupat moltes eines wiki, normalment de codi obert, cosa que ha permès els administradors de webs crear les seves propis wikis. Aquestes eines wiki varien pel que fa a les seves característiques, facilitat d’instal·lació, i també pel que fa a la sintaxi i a la semàntica. Els wikis són una eina fàcilment aplicable en el camp de l’ensenyament perquè només no requereixen grans coneixements de programació, i és fàcil utilitzar-les. Els usuaris poden crear contingut (articles, manuals i altres documents) independentment de la resta d’usuaris. El format del text és fàcil d’usar, normalment tenen un llenguatge de marques (markup language) que pot ser HTLM o una sintaxi alternativa, que ajuda a evitar el vandalisme i també que l’edició sigui més fàcil. Normalment és possible utilitzar diferents tipus de lletra (negreta, cursiva, etc.) de manera que el format és senzill. Les pàgines wiki van identificades en el llenguatge de marques per un identificador, format per paraules juntes, sense espais separades per inicials majúscules (camel case). Qualsevol d’aquests identificadors de la pàgina crea enllaços a altres pàgines internes del wiki, de manera que navegar-hi és fàcil. La majoria d’eines wiki també tenen un botó de cerca per cercar les seves pàgines. Si se segueix l’enllaç a una pàgina no existent sovint això permet editar el contingut de la pàgina, i crear per tant una altra pàgina. Alhora també és possible la connexió amb altres wikis, per mitjà d’enllaços externs a documents o altres URL. Els wikis són un mitjà d’hipertext, que tenen estructures de navegació no lineal. Cada pàgina conté un gran nombre de vincles a altres pàgines, i normalment hi ha pàgines de navegació jeràrquica.

Algunes eines wikis permeten inserir-hi imatges o baixar-se fitxers directament al wiki. Un altra característica és la versió de control que permet als usuaris guardar i recuperar versions prèvies de les pàgines editades (vegeu l’apartat 3.1.2). D’altra banda, una característica molt necessària en el wiki com a sistema col·laboratiu és protegir automàticament de les edicions simultànies del mateix document, propietat que disposen la majoria de wikis. També és molt útil rebre un avís automàtic per correu electrònic quan un usuari modifica un document per veure’n les diferències amb la versió anterior.

Tenint en compte que ens situem en el marc escolar, el programari wiki que s’adequa més a aquest àmbit hauria de ser lliure i de codi obert (moltes wiki són de codi obert i n’hi ha algunes de gratuïtes), perquè puguem utilitzar el programa amb qualsevol finalitat i adaptar-lo a les nostres objectius; i sobretot perquè, gràcies a l’accés al codi font obert podem fer modificacions. De l’altra, el programari ha de ser gratuït. En l’àmbit de l’escola pública, aquest requisit és indispensable.

Hi ha alguns llocs web que ofereixen comparacions de programari wiki segons diferents paràmetres com ara Wikimatrix 4, així com una taula compartiva que hi ha a Wikimedia.5

3. Vegeu l'article "Algunas claves para escribir en la web": http://www.emergia.net/investigacion/articulos/001001.htm. 4. http://www.wikimatrix.org. 5. http://en.wikipedia.org/wiki/Comparison_of_wiki_software.

3.1.2. Seguiment de les edicions

A fi de fer el seguiment de les edicions, hi ha una llista que guarda els canvis recents i el nom dels editors, que es tracta d’una relació de canvis ordenada amb els canvis més recents al capdavant, de manera que el professorat no ha de demanar a l’alumne que activi cap casella especial en començar un document nou, com passa amb l’ofimàtica.

El codi font del projecte s’ubica en un servidor centralitzat, el qual gestiona un programari de gestió de versions. Aquests sistemes de control de versions són la columna vertebral del projecte: són sistemes que assenyalen les diferents versions del codi font per identificar-les posteriorment, faciliten la feina en paral·lel de grups d’usuaris, indiquen l’evolució dels diferents mòduls del projecte i disposen d’un control detallat dels canvis que s’hi han fet. Totes aquestes funcions són indispensables durant la vida del projecte, i especialment en l’àmbit escolar (vegeu l’apartat 4.2.). Aquestes sistemes no solament tenen aplicació en el desenvolupament del programari, sinó que, a més, són àmpliament utilitzats en la creació d’aquesta eina col·laborativa, que pot requerir treballar de manera simultània amb diverses persones. El CVS (concurrent versions system)6 és el programa més utilitzat en programari lliure per al control de versions de programari, i l’utilitzen projectes com ara Mozilla, l’Oppenoffice.org, el KDE o el GNOME, per esmentar-ne només uns quants.

6. http://www.cvshome.org 3.1.3. Contribució a un wikibook existent i creació d’un nou wikibook

Tot i que en general el primer impuls dels docents és editar un wikibook de bell nou, és possible que ja hi hagi un wikibook amb una matèria i uns objectius similars al projecte que volem desenvolupar amb els alumnes i que només hàgim d’editar mínimament per adaptar-lo als nostres destinataris. Per tant, abans crear un wikibook, cal que ens assegurem que no n’hi ha cap que puguem fer servir.

Actualment hi ha molts llocs web, per exemple, Wikibooks, que disposen de molts llibres sobre diferents matèries adreçats a diferents edats. El problema és que la versió catalana encara no disposa de prou matèries ni de cap validació qualitativa en comparació amb l’anglesa (vegeu l’apartat 2.2). Així que probablment un professor de literatura catalana a secundària haurà d’iniciar la creació d’un nou wikibook (vegeu l’apartat 5). 3.1.4. Localització de wikibooks

A fi que altres persones puguin localitzar fàcilment el wikibook que hem editat, cal que la informació estigui emmagatzemada correctament perquè sigui fàcilment recuperable. Així, Wikibooks, per exemple, ha creat diverses maneres de cercar els llibres de text que es creen mitjançant el botó de cerca, de manera que es fa una valoració col·lectiva de la qualitat dels llibres de text en què la comunitat sencera hi té la última paraula.

3.2.	L’administració de wikibooks

Els administradors són antics usuaris o editors de wikibooks, que han adquirit l’experiència suficient i s’han centrat no només en el seu propi projecte, sinó que han col·laborat activament en els diversos projectes de llibres basats en l’eina wiki; per tant, són persones que s’han guanyat la confiança de la tota la comunitat d’usuaris de wikibooks. Com es pot veure, s’apica un sistema meritocràtic mitjançant el qual els responsbles són escollits segons la feina que han aportat al projecte.

Els responsables del projecte en l’eina wiki han de prendre la decisió com ara acceptar o no una contribució externa concreta a un projecte –com ara la correcció d’un error de contingut o de forma– o decidir quins errors és imprescindible corregir abans d’alliberar una nova versió.

3.2.1. Supressió i recuperació d’informació L’última decisió d’esborrar o recuperar una pàgina o un llibre concrets recau exclusivament en la figura de l’administrador. Ara bé, algunes decisions se sotmeten a votació prèvia de tota la comunitat que, si bé no són vinculants, si que donen compte del parer de la comunitat.

3.2.1.1. Supressió d’informació

La supressió d’informació és una tasca que ha d’haver passat per un procés previ de reflexió. Hi ha dues maneres per tal de suprimir informació: d’una banda, quan el llibre o una pàgina concreta no compleixen els criteris del projecte de què es tracti, la comunitat discuteix la conveniència d’esborrar-les. Encara que la comunitat voti a favor del manteniment d’una pàgina, l’administrador pot optar per esborrar-la si hi ha uns motius sòlids al darrere. De l’altra, hi ha les supressions de pàgines per la via ràpida, les que no estan sotmeses a votació, sinó que s’han d’esborrar ràpidament perquè infringeixen de manera flagrant els objectius del projecte.

3.2.1.2. Recuperació d’informació

Hi ha mecanismes per recuperar la informació en cas que una pàgina s’hagi esborrat per error, o algun membre de la comunitat vulgui tornar a sotmetre a debat perquè es revisi la decisió d’esborrar una pàgina concreta. Si la comunitat decideix, per mitjà del sistema de vots, recuperar una pàgina o un wikibook sencer, normalment l’administrador té l’opció de recuperar-la si ho jutja pertinent.

3.2.2. Fiabilitat i detecció d’errades

Atesa la finalitat i els destinataris que tenen els wikibooks en el nostre projecte, és molt important que siguin fiables, atès que serà un material d’aprenentatge per als alumnes. Per garantir que els wikibooks siguin fiables, s’esmentaran una sèrie de criteris per avaluar-ne la fiabilitat.

a) autoria

b) procedència de la font

c) objectivitat (punt de vista)

d) públic al qual s’adreça (en el cas dels professors, cal que verifiquin que s’adrecen a alumnes de secundària)

d) correcció del contingut (possibilitat de verificació de les dades)

e) correcció lingüística (sovint la descurança en l’escriptura genera desconfiança envers el contingut)

f) referència a altres fonts

g) data d’actualització

Un aspecte central en qualsevol projecte de wikibooks basats en programari lliure és la gestió i el seguiment dels errors. Cal disposar d’una aplicació de gestió via web que permeti la interacció entre usuaris i desenvolupadors. Bugzilla7, que inicialment va ser els sistema de gestió i seguiment d’errors de Mozilla, però amb el temps ha estat adoptat per projectes lliures com ara KDE, GNOME i Oppenoffice.org, entre d’altres. Bugzilla permet als usuaris enviar errors i en facilita la classificació, l’assignador a un desenvolupador perquè els resolgui i fa el seguiment de totes les incidències relacionades.

Els wikibooks normalment disposen de documentació com ara manuals d’ús o recopilatoris de preguntes més freqüents.

7. http://www.bugzilla.org

4. APLICABILITAT DELS WIKIBOOKS EN L'ENSENYAMENT I L'APRENENTATGE DE LA LITERATURA A SECUNDÀRIA

4.1. Avantatges

Les eines relacionades amb el treball col·laboratiu, com els wikibooks, faciliten l’adquisició de l’aprenentatge significatiu que tant reclama l’ensenyament actual. És en aquest sentit que els wikibooks poden oferir grans possibilitats a l’aula de literatura de secundària (ESO i batxillerat), ja que els alumnes poden intervenir de forma activa junt amb el professor, tant en la realització de tasques com en la creació de continguts. A més, cal tenir en compte que l’eina emprada, Internet, és un gran atractiu de la nostra societat, i això permet que predisposi l’alumnat, i també el professorat, a participar enèrgicament en el procés d’ensenyament i d’aprenentatge.

Per entendre millor els avantatges de l’aplicació dels wikibooks en aquest àmbit cal centrar-se en els aspectes següents:

a)	 Treball i aprenentatge col·laboratiu El procés actual d’ensenyament i aprenentatge cada cop es distancia més del que és clàssic o repetitiu, i es basa en la transmissió de contingut de forma més aviat memorística. Els avenços en la metodologia d’ensenyament donen molta importància a l’aprenentatge significatiu, que considera fonamental que l’alumne estigui motivat.

L’ús dels wikibooks a l’aula pot contribuir a motivar l’alumnat, ja que aquest sol estar molt familiaritzat amb les noves tecnologies durant el seu temps d’oci. Es tracta, doncs, d’extrapolar l’ús de l’ordinador i d’Internet més enllà del joc i atribuir-los una capacitat educativa a l’aula, que pot resultar més atractiva per a l’alumnat que altres mètodes més tradicionals, com per exemple, els treballs individuals fets a casa o activitats amb fotocòpies, entre d’altres.

El professor pot crear un wikibook de l’assignatura per tal que els alumnes hi desenvolupin diferents tipus d’activitats; treballs en grup de forma asincrònica, edició de la informació sobre el tema de literatura que s’està treballant simultàniament a classe, etc. Aquesta eina permet dur a terme un treball col·laboratiu en què els alumnes es poden implicar en l’elaboració de continguts i responsabilitzar de diferents tasques mitjançant rols atribuïts pel professor o triats per ells mateixos.

Per tant, pot esdevenir una bona eina interactiva, gràcies a la qual els coneixements del professor i dels alumnes estan a disposició de tothom i en què cadascú pot participar segons les seves capacitats individuals: “Las Web 2.0 son sitios web, que desde el punto de vista educativo, permiten crear un espacio de trabajo colaborativo y participativo, rompiendo así la jerarquización y la unidireccionalidad del aprendizaje. Se supera el espacio reducido del aula donde se había desarrollado hasta ahora la educación posibilitando la idea de la escuela en Internet. Favorecen un tipo de aprendizaje colaborativo donde el conocimiento se construye entre todos los participantes, y donde los profesores y los alumnos adoptan nuevos roles.”8

b)	 Espai lliure per escriure Aquesta eina permet disposar d’un espai en què tant els alumnes com els professors poden crear el contingut a partir dels seus coneixements. A més, un avantatge molt interessant i productiu és el fet que es pugui debatre lliurement sobre el tema que s’està tractant a classe. Exposar dubtes, fer aclariments o suggeriments sobre la literatura, fer comentaris sobre les lectures, compartir fonts d’informació o ampliar continguts a partir de l’experiència pròpia permet facilitar l’aprenentatge i crear un contingut didàctic molt dinàmic i atractiu. Per tant, la figura principal de l’assignatura no només és el professor, sinó que els alumnes prenen un paper molt actiu i, d’aquesta manera, s’impliquen més en la matèria i és més fàcil que duguin a terme un bon aprenentatge.

D’altra banda, el professorat molts cops troba inconvenients en els llibres de text tradicionals (editats en paper), ja que el contingut és estàtic i de vegades no s’adapta a la metodologia que es vol aplicar a classe. El wikibook ofereix la possibilitat d’ampliar o complementar aquestes mancances, i així millorar el material de l’assignatura.

c)	 Asincronia i revisió de l’historial La asincronia que caracteritza els wikibooks permet que el treball col·laboratiu que s’hi du a terme, ensenyament-aprenentatge, no estigui limitat per horaris ni espais concrets. Així, l’alumnat també pot fer consultes i aportacions fora de l’espai i l’horari de classe.

Atès que totes les modificacions queden registrades a l’historial, el professor pot utilitzar el wikibook com una activitat d’avaluació. Les intervencions dels alumnes, els continguts i els dubtes que aporten mostren part de l’aprenentatge que estan realitzant i, per tant, això es pot tenir en compte dins l’avaluació de l’assignatura. Per exemple, comentaris de poemes en què cadascun analitza les figures retòriques que hi troba, activitats relacionades amb moviments literaris o autors, etc.

d)	Atenció a la diversitat Un altre aspecte molt important que cal tenir en compte és la diversitat a l’aula. Aproximadament un 2,2% de l’alumnat té necessitats educatives especials (NEE)9, i això implica una adaptació curricular en tots els àmbits educatius. Molts cops els llibres de text tradicionals no s’adapten a aquesta situació o, si més no, no s’adapten als casos concrets de l’aula. Els wikibooks, doncs, poden ajudar el professor a crear activitats específiques per a aquests alumnes i, d’aquesta manera, facilitar-ne l’aprenentatge. A més, “en el aprendizaje colaborativo los alumnos trabajan en grupos heterogéneos para apoyar el aprendizaje individual de los miembros del grupo.”10

8. "La nueva Web social: blogs, wikis, RSS y marcadores sociales" en http:// obsrevatorio.cnice.mec.es/modules.php?op=modload&name=New&file=article&sid=529. 9. http://www.mepsyd.es/mecd/estadisticas/educativas/cee/2006/D6-Nec_Educ_Especiales.pdf 10. (id. Referència 2)

4.2.	 Inconvenients Tot i que en un primer moment sembla ser que el wikibook és una eina que ofereix grans possibilitats dins el món de la docència, cal esbrinar també quins són els seus inconvenients i d’aquesta manera, el professorat pot decidir si vol treballar amb un wiki a l’aula o no.

Primerament, caldria diferenciar dos tipus d’inconvenients: els que tenen a veure amb la tecnologia wiki, i que per tant són de caràcter tècnic i els desavantatges didàctics que comporta l’ús dels wikibooks en l’àmbit educatiu.

INCONVENIENTS TÈCNICS - A l’hora d’editar un wikibook ens adonem que un dels punts febles és pressuposar que cada alumne té ordinador amb Internet a casa, o que es disposa de suficients ordinadors connectats a la xarxa a l’escola.

- L’eina wiki no permet que els usuaris editin el wikibook alhora, per tant si molts alumnes treballen al mateix temps, es destorben, i això provoca molestos temps d’espera.

- Malgrat que es poden anul·lar resultats de vandalisme i que es pot usar un wiki protegit, no es pot evitar del tot el perill del vandalisme. Tot el que es publica en un wiki pot ser esmenat, ampliat, reutilitzat i, fins i tot, esborrat per qualsevol visitant anònim. Ara bé, hi sol haver una aplicació de gestió i seguiment dels errors (vegeu 3.1.2).

- Cal anar en compte amb el contingut que es publica en el wikibook, ja que fàcilment es pot inserir material que violi els drets d’autoria.

- Els wikis són només gestors de text; i, a més, resulta força complex enllaçar-los amb altres projectes.

INCONVENIENTS DIDÀCTICS

- El treball d’elaboració d’un wikibook requereix un gran esforç organitzatiu per part del professor. Pot donar-se el cas que el professorat consideri que aquest projecte tan innovador els suposa una sobrecàrrega i un excés de feina.

- La creació d’un wikibook a l’aula comporta que els continguts que s’editen poden estar farcits d’errors que els mateixos alumnes no reconeixen i que es graven a la memòria. D’aquí s’esdevé que els continguts del wikibook han de revisar-se i controlar-se permanentment, i això encara és més feina per al professor.

- Pel que fa al treball col·laboratiu que es desprèn d’un wikibook no ens oblidem que el fet de treballar de manera conjunta i participativa pot resultar caòtic, pel fet que cadascú té el seu propi estil i les seves pròpies idees; a més a més si la classe és nombrosa, posar-se d’acord i trobar una versió de conjunt pot ser una tasca força complicada.

- Podem trobar-nos amb alumnes que presenten mancances lingüístiques i/o mediàtiques que no gosen escriure en un wiki perquè els fa por que els seus errors siguin vistos per tothom.

- Ens trobem davant el fet que l’aplicació i l’ús del wikibook en l’àmbit educatiu es troba encara en una fase inicial i que falta molt de camí per recórrer. Actualment, hi ha poques propostes educatives fonamentades en la tecnologia wiki, cosa que en dificulta encara més l’aplicabilitat dins l’aula.

4.3. Exemples de wikibooks per a secundària

title: User:Wikiuoquis


text: User talk:38.116.202.197

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

title: User talk:38.116.202.197


text:
Hebrew/Basic/3

 Basic Lesson 3 —

Before moving on, we must be introduced to some basic structures at the heart of Hebrew grammar, without which we cannot proceed. This lesson is quite theoretic, so pay attention.

Roots
All nouns and verbs in Hebrew stem from sequences of consonants or radicals, known as roots. Adding letters before, after and between the consonants form the words. The roots would almost always have 3 consonants, although roots of 4 and 2 exist as well.

All the letters of the Hebrew alphabet can be radicals, even the vowels letters and.

Hebrew has set “moulds” in which the roots may be inserted. One noun we learned,, is stemmed from the root and is in the miqttal mould. The word, while also formed in the miqttal mould, is stemmed from the root.

The more ancient and traditional nouns do not follow any structured mould. For instance, the word, while also formed from the root , has no noun mould it fits.

Roots have general meaning related to the words they form. For instance, the root has the general meaning of “writing”, so  means “handwriting”,  means “[news] article” and  means “[postal] letter”. Some roots have more than one meaning; the root could mean “count”, “tell” and “haircut”.

It is also important to maintain the correct sequence of the consonants, as these change the meaning altogether. The root means “grow”,  means “skip”,  means “heal [wounds]” and  means “supporting [an idea]/raising a banner”.

Prefixes
In the previous lesson we learned the definite article,, and that it is attached directly to a word. In modern Hebrew there are 8 prefixes, of which only 6 are used. We have learned one already, the definite article. For all of them there are grammatical rules as to which vowel following the prefix should be used, but they are ignored by Israelis.

The sixth prefix,, will be discussed in future lessons.

Vav
The conjunction “and” appears in Hebrew as Vav with shva na‘.

Examples
 * A number

 * Peace (shalom) and a number

Bet
The preposition “in” appears in Hebrew as Bet with shva na‘.

Examples
 * A number

 * In a number

Lamed
The preposition “to” is denoted as Lamed with shva na‘, just as “in”.

Examples
 * A number

 * To a number

Mem
The preposition “from” is formed by the prefix Mem with tsere or ħiriq.

Examples
 * A number

 * From a number

Prefixes + Definite Article
The prefixes and  are contracted with the definite article to form  and, respectively. The other prefixes are added normally.

Examples
 * In a number

 * In the number

 * And the number

Introduction to Plurals
You've already learned Hebrew has two genders: masculine and feminine. But so far you have only learned singular nouns.

Generally, the plurals are formed by adding to masculine nouns, and  to feminine nouns.

Examples
 * A number
 * m

 * Number s

There are some irregulars, however:

We will learn how to make complex pluralizations in future lessons, and the irregular nouns.

Summary
In this lesson, you have learned: Practice what you've learned in the exercises.
 * Roots.
 * Prefixes in Hebrew.
 * Basic pluralization.

Next lesson: Basic 4 >>>

title: Hebrew/Basic/3


text:
User:Vr oni

Code Name: Warper of Words

Author's Name: VR Teller

Secret Identity: Vanessa Robinson

Throughout my life I have found myself explaining things and teaching others by request of the teacher or by pure chance of the situation. When I realized that I needed a profession to back up my passion for writing, becoming a teacher was the first thin that came to mind. Through the various child related jobs I have had since I started on my quest to become a teacher I have also learned that I tend to relate better to them and thus can communicate concepts to them better than other adults I have worked with… I actually tend to be able to communicate with the children much better than I can with the adults -_-!

Either way, I am somewhat of a Humanism/ Existentialism with a little Constructivism and Essentialism thrown in. I believe that students should have some control of what they learn, but they also need to learn a set of basics so that they can critically think about what they encounter in the world, understand the history of things, and of course communicate. I like the idea of Project Based Learning, but also understand that this learning style isn't for everyone and that the classroom will most likely be an uncontrollable element. Thus, I believe in striving to utilize as many different techniques as I can so I can better teach a variety of students and also help them learn how to handle different teaching styles because not all teachers they face in life will probably teach using the method they learn best from.

title: User:Vr oni


text:
Cookbook:Chili con Bambi

 * Meat recipes | Game | Venison | Chili con carne | Texas cuisine

This is a recipe for venison chili. It has been made successfully with roe deer, muntjac, and springbok.

Ingredients

 * 250 g (½ lb) chopped onion
 * 1–5 cloves garlic (to taste), finely chopped
 * 1–5 tsp cayenne pepper (to taste)
 * 4 tsp paprika or other milder powdered chile
 * 5 tsp ground cumin
 * 30 ml (2 tbsp) olive, corn, or sunflower oil (according to taste)
 * 500 g (1.1 lb) minced (ground) stewing venison (minced lean leftovers from trimming are ideal)
 * 500 ml dry cider or beef stock (how much you will need depends on how fast it boils away)
 * 60 ml (4 tbsp) tomato purée
 * 250 g (½ lb) finely-grated carrots
 * 150 g (6 oz) finely-chopped celery
 * 5 bay leaves
 * 30 ml (2 tbsp) oregano
 * 350 g (¾ lb) dried red kidney beans, soaked and cooked
 * 1 stock cube (optional)
 * Salt

Procedure

 * 1) Sauté the onions, chiles, and garlic in the oil until well softened.
 * 2) Add the powdered spices and cook for about 60 seconds.
 * 3) Add the venison and stir well until it has all (more or less) changed colour.
 * 4) Add sufficient dry cider or stock to cover, but not too deeply.
 * 5) Add the stock cube (only if you are using cider), bay leaves, chopped celery, grated carrot and tomato purée, and stir well.
 * 6) Simmer very gently for at least 3 hours, stirring occasionally and replenishing the liquid (with more cider/wine/stock or just water) if it gets too dry. The ideal is to have the sauce with little separate liquid when it is served - but not dry enough to scorch. It may be simmered on top of the stove, or in a very low oven, or in a slow cooker. The sauce is edible after about 40 minutes but is infinitely better flavoured and textured after 3 or 4 hours.
 * 7) About 30–40 minutes before serving remove the bay leaves, add the oregano and the beans and stir well.
 * 8) Adjust the salt as needed, stir well, and cook for another 40 minutes.
 * 9) Serve with long-grain rice, or however else you like to serve chili.

Notes, tips, and variations

 * Try adding small quantities of cinammon, ground cloves and/or mace—experiment for yourself.
 * In a slow cooker it can be cooked for 8 hours. The flavour is even better if it is cooked, allowed to cool overnight, and reheated for 30 or 40 minutes, but this is a council of perfection and not really necessary.
 * Dried kidney beans are so indigestible as to be considered poisonous unless they are boiled briskly (a slow cooker will not do) for at least twenty minutes to destroy the indigestible phytohaemagglutinin that they contain. If you do use dried kidney beans they must be soaked overnight and then boiled by themselves for at least 20 minutes. They are then added to the chili early enough to cook for at least 2 hours. All this is tedious—it is therefore much better to use tinned ones as suggested in this recipe.

title: Cookbook:Chili con Bambi


text: User talk:220.225.252.222

title: User talk:220.225.252.222


text:
Trainz/Tutorial for Creating a Three Plank Wagon From the Reskin Mesh in GMAX

If you've worked through the previous tutorial this one is fairly simple. If you haven't go back and do the previous one since this tutorial will use many of the same steps.

The first part is do the research. How high should the box be on a three plank wagon?

Having found out this critical nugget of information the rest is fairly easy. For the moment we will assume this to be 2'3".

We open the basic plank wagon in GMAX.

The box currently is the wrong height but GMAX allows us to select parts and scale them. So our first task is to create a box the correct height to measure the wagon against. Note this image is quite busy. First we need to be in a top view so click off the model in top (1). We may need to bring the wagon into view so use the button at the end of arrow 2. To increase the size click on the button at the end of arrow 3 then draw a square around the detail you wish to see. First verify we are using the creation tab 4. To create the box click on box at the end of arrow 5, and enter the dimensions by keyboard entry (6) and make sure we put the height in correctly (7) before clicking on the create button below.

Having created our box we need to move it upwards to the height of the wagon floor so we can see how far to scale our existing wagon top.

We press H to select the Wagon group. Ungroup it and use H again to select [top]. Now right click the scale button at the top and we'll adjust the Z value to reduce the height. The original wagon was four feet high and we want to lower this to two feet three inches so we can get a calculator out or just make approximate guesses.

Unfortunately the scaling has also raised the top from the base. So we use the move button, the one with the four arrows on it to lower the top to the base. We may find we need to adjust the scale once more. Finally delete the box we created.

We now have a wagon that is the correct height for a three plank wagon. Note we still have to adjust the textures, create your three plank wagon textures then resize them so they are the size of the sides in the CS_skin.tga file. Then copy them over.

The export etc has already been covered in the previous tutorial that moved the wagon numbers.

We can use the same basic technique to make the wagon longer or wider note if you make the wagon twice as long the textures will be a better fit if you change the cs-skin.tga to be twice the width. Note when making the wagon longer one technique is to group everything then scale everything longer. The buffers usually need tidying up and you should adjust the position of a.limfront and a.limback so that they just touch the buffer plates.


text:
Trainz/Tutorial for Modifying the reskin mesh in GMAX

The sound of the word GMAX often strikes terror into the hearts of those who have struggled through tutorials then given up. This tutorial takes you through the necessary steps and only the necessary steps to do modify the position of the numbers on the reskin of the basic plank wagon.

If you have any intention of doing serious work in GMAX please set up GMAX as per Paul Hobbs first GMAX tutorial.

To work in GMAX we need three files. These are the GMAX source file and two texture files, one for the wagon and one for the numbers. GMAX will want to know where they are so normally I keep all the files for a project together in one folder under the GMAX\mesh folder. This part will use a Highland Railway loco coal wagon to demonstrate how to move the numbers.

The first step is to create a folder with the correct name under the GMAX\mesh folder.

Now we need the GMAX source file so we need to extract it from cmp, note it is unusual to find the GMAX source files supplied in the model files on the DLS. First we edit in explorer.

This gives us access to the files.

The first file we want is the zip file containing the source. Note Auran does not permit files of type .zip to be stored so it has been renamed to .txt file extension. First we copy the file.

Then paste it into the new folder.

Repeat to get the texture.tga files form the body folder.

Note we can collect two files at once by highlighting them both.

Then paste them into the new folder.

At this point you may wish to copy in your new cs_skin.tga file.

To unzip the GMAX source first rename the file to a .zip extension.

Then unzip the file.

Now we open the GMAX source file in GMAX. GMAX has two ways to show an object, one is wire mode, the other is Smooth Plus Highlights. We need the Smooth Plus Highlights. To change from one to the other right click the word in the top left hand corner then select the appropriate one.

It is probable that the texture file has not been found.

So we tell GMAX where the file is with the GMAX Material Navigator. 1 Click on the GMAX Material Navigator button, 2 then check the applied button, 3 finally click on the file we want to change.

Use the "select bitmap image file" window to select the image file we wish to use.

Repeat for the other instances of the file name.

Now we have our correctly textured wagon showing in GMAX.

To show more detail select the quadrant we are interested in then press the "W" key.

For clarity a brown ssa.tga has been used. We'll change it to the proper ssa.tga texture later on. Now we want to select the number panel before moving it. To do this press "H" then highlight the item (1) in this case number1 and press the select button (2). You can click on the item directly but GMAX can interpret a mouse click as a command to both select and to move the object with unwanted results so use the H selection method to avoid this.

Click on the blue arc tab to show which item we have selected. This will also allow us to resize the panel with the wagon number on if required.

The next step after selecting the panel is to move it. We click on the move icon with four arrows on it. If you look carefully to the right of the icon you can see the letters X Y Z and xy these constrain movement in the those planes. Z is up and down, Y is side to side, X is in and out. With the xy constraint set as it is here we can move the panel about without fear that it will move further into or away from the wagon. The panel can be moved either with the mouse or by changing the values in the Y and Y boxes at the bottom of the screen. Do not touch the value in the X box, a value of 0 in the Y box means the number will be centered on the Y axis.

Here we can see the panel has been moved into position note the value of Y.

In this case the wagon number panel wants to be slightly longer so we click on Plane, then adjust the value in width to 18". This is often easier to see with the correct texture file.

The wagon with the correct texture file copied in place.

Repeat using the Left view to adjust number2.

Finally we come to the export. Trainz has its own preferred file format so to get Trainz to recognise our wagon we need to export it. Make sure nothing is selected Then locate the export entry on the file menu.

We need to tell GMAX to create a file called body.im, one way is to simply type "body.im" in the save box. This file is the close up or high detailed one for the lod.

After that we copy the .im files and tetxure.txt files into the appropriate folder in CMP. Normally if you sort the folder by time you will want to copy the most recent files but not the .GMAX source.

We need to double check that the wagon points to our new texture group by editing the config.txt file if you haven't already done so.

Commit the changes and open up Trainz and we should find our new model. View it from close up to view the detailed mesh and texture file. Note the three different wagon numbers on display.

This model uses lod or level of detail to assist performance. Trainz selects the appropriate version depending how far away you are form the model. You can control this but for the moment we'll simply create the lower detailed meshes and point them at smaller versions of the texture files. So first double check we have the smaller versions of the texture file available.

And save as cs_skin_med.tga.

Level of Detail steps
Then back into GMAX and open up our wagon. The first step is to save the source under a different name.

We add the letters "med" onto the end of the name.

We are going to both reduce the polys and point to a smaller texture file but the first step is to ungroup group B which contains one of the details that we are going to detail. So use H to bring up the Select Objects and highlight B.

Here we can see that there is buffer detail that can be seen close up but not from further away. Note the vertical and horizontal arrows that show the centre of the object and the white lines around the object.

After the ungrouping we can see the buffer collar and buffer collar01 in the Select Objects which we will delete for the medium level of detail. For the low level of detail we will also delete the carriage bit and carriage bit 01.

Select and press the delete key.

Here you can see a minor detail has been deleted which won't be noticeable in the med lod.

Now we need to point the mesh to the smaller texture file. Click on the three balls for the GMAX Material Navigator. reduce the selection by clicking Applied in browse form scene, (on the left), click on the first cs_skin to bring up the Material Editor and finally click on the bitmap to change the name of the file. The same steps as we used when opening up GMAX for the first time to get the texture.

Open the cs_skin_med.tga. Repeat this step for the other two references to the CS_Skin.tga file file in the GMAX material editor.

Finally we export the body_med.im file.

Repeat these steps for the low version of the lod.

Copy the body_med.im cs_skin_med.texture.txt body_low.im cs_skin_low.texture.txt ssa.texture.txt files from the mesh folder into the zrb_body folder as you did for the body.im file earlier.

Commit and your reskin is now complete.


text:
Trainz/Reskinning Auran's Basic Traincar with Gmax

Reskinning a Traincar Example
The example used here will take you through both reskinning and modifying the GMAX source of an existing model.

Seven steps to reskinning

 * You need to do seven things in general to reskin an rolling stock asset
 * first Identify your victim, historically or aesthetically, and get a clear idea of how you want to evolve the asset
 * second clone the item and the texture group
 * third point the item to the new texture group
 * fourth do the reskin
 * fifth reskin the texture group
 * sixth adjust the wagon number position
 * finally do the s. This takes me about ten minutes once the reskin is done.

It one relies heavily on textures rather than the shape of the mesh for its effect. All the textures are in one file which is good for performance and it has. It is also scripted for couplings, Chameleon for the wagon numbers and is capable of using vacuum pipes. The texture file is modified from one created by Paul Hobbs. The GMAX source and some alternative tga files are included in wagonzip.txt, just change the file extension to zip and unzip it, this allows you to make modifications to the wagon or adjust the position and size of the wagon numbers.

Acquire the asset
First step is to download <kuid 86627:1654> with its 'texture group' <kuid 86627:1657> from the DLS.
 * CSL: <kuid 86627:1654>,<kuid 86627:1657>

Clone the asset
Then if using we clone the item in CMP. Another method if PEVtools are in your toolkit is to open the asset for edit using PEV's Images2TGA and copy that file to another locale on your HDDs. Revert the original. Note, CM also has a clone capability in the menuing.

Open the Clone in Windows Explorer
Now we open the file in edit in explorer.

In this example we can see a number of folders and ''by convention (back to the original Content Creator's Guide and the original folder organization in Trainz 0.9/1.0–2.4), we are interested in the '_body folder'.

Resources to get started

 * Paul Hobbs tutorials in 3D digital modeling and applications

While for fine graphics effects has gone out of favor in most Trainz sub-communities, the old girl still has it's uses in upgrading and modifying assets—perhaps most especially those provided by Auran in the early years of Trainz. Before pursuing our content here, work through the excellent Gmax tutorials by long time Trainzer and master Content Creator Paul Hobbs.

 * Highly recommended for introductory material and coverage on similar topics

Other informational resources
Auran forums Thread containing references to scripting:
 * Scripting thread

Auran forums Thread containing references to many tutorials
 * Forums Thread listing tutorials

Gmax Reskinning Example
The example used here will take you through both reskinning and modifying the Gmax source of an existing model.

The basic wagon kuid2:86627:1654:6 is more than just a basic wagon, it also contains a renamed zip file with alternative texture files and the Gmax meshes to enable to move the wagon numbers and to change it to a 2 plank, 3 plank, 6 plank etc. very easily. It is also designed to be easy to change the length or change the bogey to one that uses a different height. It has couplings, changeable wagon numbers, it can take air pipes or vacuum pipes, it can carry visible loads or bulk loads. It is slightly more complicated to reskin but not that much. You need to do six things, first clone the item and the texture group, second point the item to the new texture group, third do the reskin, fourth reskin the texture group, fifth adjust the wagon number position, finally do the lods. It takes me about ten minutes once the reskin is done.

It one relies heavily on textures rather than the shape of the mesh for its effect. All the textures are in one file which is good for performance and it has lod. It is also scripted for couplings, Chameleon for the wagon numbers and is capable of using vacuum pipes. The texture file is modified from one created by Paul Hobbs. The Gmax source and some alternative tga files are included in wagonzip.txt, just change the file extension to zip and unzip it, this allows you to make modifications to the wagon or adjust the position and size of the wagon numbers.

First step is to download kuid2:86627:1654:6 with its texture group kuid 86627:1657 from the DLS.

Then if using TC we clone the item in CMP.

This basically assigns one of your kuids to the cloned item. Now we open the file in edit in explorer.

In this example we can see a number of folders and by convention we are interested in the body folder.

We can see a number of .tga files and generally speaking we are interested in the largest one, cs_skin.tga. Note that this particular model as a couple of alternative cs_skin.tga files that have had their colours changed in a recent version of PaintShop Pro are available in the wagonzip.txt file in the parent folder. To use them overwrite the cs_skin.tga with the appropriate one. N.B. Do not unzip this file without copying it out of Trainz first or CMP will get upset.

There are two other associated files with similar names in this example cs_skin_med.tga, and cs_skin_low.tga which are used by the two lower level lod.im files.

When we edit the file notice the two different sides and ends. Also note the two squares in the top right that are used to colour parts of the buffers, if you are changing the colour then these must be changed also.

If you open the cs_skin_reskin.tga in the zip file you can see the sizes of these sides and ends. For a photo reskin simply resize the side photo and end photos to these sizes and position them appropriately. You will still need to change the colour of the two squares in the top right corner.

To change the colour of the wagon in Paintshop Pro Xi or later use the colour changer tool.

To add lettering use the letter tool seen here adding white lettering to the grey version of the cs_skin.tga file.

There are two other associated files with similar names in this example cs_skin_med.tga, and cs_skin_low.tga which are used by the two lower level lod.im files. When you have finished your reskin resize the image by 50% and 50% to make the med then once again to make the low versions for the lod meshes.

This gives you the basic reskin. This particular reskin uses changeable wagon numbers. If they stay in the same place we just need to reskin the numbers, if they need to be moved we will need to invoke Gmax. To reskin the wagon numbers we edit the files in the texture group or kuid 86627:1657. The wagon numbers themselves are on a plane roughly one tenth of an inch above the model and this plane uses a separate texture file called in this case ssa.tga.

The following example uses the texture files from a US Army boxcar to illustrate this found in "25647 ssa.tga" in the zip file. Note the files ssa1.tga through ssa15.tga are used by Chameleon wherever ssa.tga is referenced. So since we textured the wagon number with ssa.txt Chameleon replaces the wagon number texture with the appropriate ssa?.tga.

One difficulty with wagon numbers is matching the typeface used so one technique is to crop them number off a photograph and then edit that to give a set of wagon numbers. When we crop use the largest initial photograph available and if possible crop on a power of two so resizing is not required. 64 pixels by 16 pixels etc. The planes can always be resized so that the cropped image matches the wagon.

The first step is to copy the crop to a new image.

Then paste a new copy twice to give us two images to play with.

Next we cut a single digit out using the crop tool.

Copy this, then activate the ssa1.tga image by clicking on the blue stripe above and paste as a new layer.

Now use the move tool (1) to position the digit where we want it to be (2).

Finally we save the edited file using save as.

Repeat the process to create ssa2.tga, ssa3.tga etc. each with a different number.

Moving the wagon numbers will be covered in the Gmax part.

To upload to the DLS see the.


text: User talk:199.64.0.252

title: User talk:199.64.0.252


text: User talk:75.90.162.57

title: User talk:75.90.162.57


text: Wikibooks:Requests for deletion/Learn Hebrew


text:
Talk:Autodesk inventor

This book will be a resource for Autodesk Inventor software users.

title: Talk:Autodesk inventor


text:
User talk:72.252.194.115

Join Us!
-- – Mike.lifeguard  | talk 21:15, 21 May 2008 (UTC)

title: User talk:72.252.194.115


text:
Autodesk Inventor

The goal of this book is to create an open and freely editable manual and training guide for Autodesk Inventor.

Autodesk Inventor is a geometric modeling program that is used in Computer Aided Drafting (CAD) and is commonly used to teach students engineering principals in the PLTW curriculum.

/Basic Concepts/

 * /Projects/
 * /Sketching/
 * /Part Creation/
 * /Assembly Creation/
 * /Drawing Creation/
 * /Parameters/

Getting Started

 * /Creating parts and assemblies from scratch/
 * /Editing parts and assemblies using the history tree/

Part Editing

 * /Sketch/
 * /Extrude/
 * /Revolve/
 * /Sweep/
 * /Loft/
 * /Features/
 * /Patterns/
 * /Holes/
 * /Chamfers/
 * /Fillets/

Assembly Editing

 * /Placing Components/
 * /Content Centre/
 * /Constraints/
 * /iMates/
 * /Assembly-level features/
 * /Weldments/

Drawing Editing

 * /Placing Views/
 * /Creating new view types based on sketches/
 * /annotating, detailing, BOMs, revisions/

Advanced Editing
Topics to be included:
 * /Derived parts and assemblies/
 * /Presentation files/
 * /3D sketching/
 * /Skeleton Modeling techniques/

title: Autodesk Inventor


text:
Talk:Autodesk Inventor

This book will be a resource for Autodesk Inventor software users.

There should also be a section that describes the various areas of Inventor's interface. This is important so that the author can teach the proper names of these locations to the reader making the learning experience easier.

title: Talk:Autodesk Inventor


text:
User:Jkauf007

The Basics

I am a native of Virginia and love living here! There are not too many areas where you can access the beach, the mountains, the city, and the country within only a few hours. I am an only child, but have a step-family that has given me wonderful nephews and neices with whom I love to spend my time. I have been working with children since I was 13 years old and still love to stimulate my imagination and that of others through play!

Education Background

I received a bachelor's degree in Human Services from Virginia Tech in 2004. Following graduation, I began working for non-profit organizations as a child services coordinator/family case manager at homeless and domestic violence shelters. I earned a master's degree in PreK-6 Education at Old Dominion University in Dec. 2008. Now I am persuing a PhD in Curriculum and Instruction from ODU. I also work as a graduate assistant where I help to research, develop and implement student-written textbook efforts like Social and Cultural Foundations of American Education, Foundations of Education and Instructional Assessment, and Foundations and Assessment of Education.

Hobbies and Interests

I have been an active member of the American Poolplayers Association (APA) since 2003. I have played in the southwestern, northern, and southeastern regions of Virginia.

Another passion of mine is live music and I have traveled the country to make this happen. I love taking road trips with friends especially on our way to a concert or music festival.

title: User:Jkauf007


text:
User talk:67.83.57.238

(Red4tribe (talk) 22:51, 21 May 2008 (UTC))

title: User talk:67.83.57.238


text:
Talk:GCSE French

Verbs to be added

 * parler
 * choisir
 * vendre --RMFan1 (talk) 22:58, 21 May 2008 (UTC)

Is this book still needed?
I don't think this is the latest specification.--Collingwood (discuss • contribs) 22:11, 15 December 2011 (UTC)

title: Talk:GCSE French


text:
User:Tgibs007

About Me!!
My name's Tiffany and I am an ODU junior studying history education and political science. I hope to one day teach high school history and government. I love to travel and feel that those experiances are far more valuable than any book or class can teach.

I'm a very hands on person and feel I learn better when thrown into something and able to work it out myself rather than lectured. This translates over to my teaching style...

Especially in History, making the subject material fun and interesting is important to have successful students. Also, having students actively participate in activities and projects makes them feel more engaged in the classroom. Student-centered learning in which students are involved in every phase of their education is an important aspect of teaching, as traditional and routine lecturing doesn’t encourage social and educational growth. I feel students can learn best from each other and when I am a teacher, I hope to encourage such learning and activities.

title: User:Tgibs007


text:
User talk:122.53.125.209

(Red4tribe (talk) 00:22, 22 May 2008 (UTC))

title: User talk:122.53.125.209


text:
User:Songkoh/monobook.css

.code .input pre {padding:0; border: none; line-height: 1.5em; margin:0;} .code .result pre {border:0; padding:0.2em; margin: 0.3em; background-color: #DDDDFF;} .code .input pre:before {content: "\003E \0020";}

title: User:Songkoh/monobook.css


text:
User:Roughcopy

{|style="background:#000000; color:#FFFFFF;" {| style="background:#ff6600; border: 10px solid #000000; align:left"
 * Links: Foundations of Education and Instructional Assessment/Edition 2 * Basic Editing * Advanced Editing * Editing * Help
 * Links: Foundations of Education and Instructional Assessment/Edition 2 * Basic Editing * Advanced Editing * Editing * Help
 * Links: Foundations of Education and Instructional Assessment/Edition 2 * Basic Editing * Advanced Editing * Editing * Help

About Me

 * My name is Joseph and I am currently a student at Old Dominion. I am studing Music Vocal Education and Music Composition.  I hope to teach at the collegiate level.  I love music and can't imaging my life without it, but at times I don't know why I choose to make music my life.
 * I have been involved in music since before I enter pre-school. I started to sing at church in the third grade.  I performed my first solo in fifth grade and start playing musical instruments.  And started to write music around this time too.  [I use the term music loosely here as there was little notation and my hand writing was horrid]  I began my formal vocal training in my junior year of high school.  During this year I wrote and my first complete musical score.  My senior year I wrote a jazz piece for the jazz amsemble at my high school.  Unfortunately there was not time to perform it before the year ended.
 * Although music comsumed my life and my thoughts, I applied and was excepted to ODU as a biochemistry major. Science has always fascinated me.  Before the end of the first semester, I knew that biochem. was not the science was not were I was ment to be.  I struggled with changing my major for the majority of the semester.  I remember and will always remember what made the decision for me.  When I asked my band teacher my senior why he made music his profession, he said that his high school teacher once asked him if he could ever imagine his life without music or ever imagine going through even a single day without playing a note.  My teacher, Mr. Noë, told me that his answer was and is no, he couldn't and can't imagine his life without music.  After he told me this he asked me if I could ever imagine my life without music.  I told me I didn't know.
 * When I decided to change my major this question weighed on my mind heavily. Finally i sat down and really tried to picture my life without music.  I could not do it.  Because of this I know that, in the words of Duke Ellington, "music is my mistress" (Ellington 1973).  My decision to become a teacher came later after I discovered teaching would allow me to help other people understand, appreciate, and hopefully share my passion, music.
 * Since then, I have written non-stop and grown more excited about the start of my teaching career. My only fear, so far, about becoming a teacher is my patience or my lacking of patience.  I hope that it will grow with my excitement over the next couple of years so that I will be able to be the type of teacher I've come to appreciate and admirer.
 * }
 * When I decided to change my major this question weighed on my mind heavily. Finally i sat down and really tried to picture my life without music.  I could not do it.  Because of this I know that, in the words of Duke Ellington, "music is my mistress" (Ellington 1973).  My decision to become a teacher came later after I discovered teaching would allow me to help other people understand, appreciate, and hopefully share my passion, music.
 * Since then, I have written non-stop and grown more excited about the start of my teaching career. My only fear, so far, about becoming a teacher is my patience or my lacking of patience.  I hope that it will grow with my excitement over the next couple of years so that I will be able to be the type of teacher I've come to appreciate and admirer.
 * }
 * Since then, I have written non-stop and grown more excited about the start of my teaching career. My only fear, so far, about becoming a teacher is my patience or my lacking of patience.  I hope that it will grow with my excitement over the next couple of years so that I will be able to be the type of teacher I've come to appreciate and admirer.
 * }

!References
 * Ellington, E. K. (1973). Music is My Mistress. Garden City, New York: Da Capo Press
 * }
 * }

title: User:Roughcopy


text:
Real Analysis/Generalized Integration

The notion of integration is one of fundamental importance in advanced analysis. The idea of integration is expanded so as to be applicable to sets more general than subsets of $$\R$$. Interested readers may refer to the Wikibook Measure Theory. Here however, we will discuss two important generalizations of integration which are still applicable only to real valued functions.

Riemann-Stieltjes integral
The Riemann-Stieltjes integral (or Stieltjes integral) can be seen as an extention of the idea behind the Darboux integral

Upper and Lower sum
Let $$f:[a,b]\to\R$$

Let $$\alpha:[a,b]\to\R$$ such that $$\alpha(x)$$ is strictly increasing over $$[a,b]$$

Let $$\mathcal{P}$$ be a partition over $$[a,b]$$, and let $$x_k,x_{k-1}\in\mathcal{P}$$

The Upper Sum of $$f$$ with respect to $$\mathcal{P}$$ and $$\alpha$$ is given by
 * $$U(f,\mathcal{P},\alpha)=\sum_{k=1}^nM_k\big(\alpha(x_k)-\alpha(x_{k-1})\big)$$

where $$M_k$$ is given as in the previous chapter.

The Lower Sum of $$f$$ with respect to $$\mathcal{P}$$ and $$\alpha$$ is given by
 * $$L(f,\mathcal{P},\alpha)=\sum_{k=1}^nm_k\big(\alpha(x_k)-\alpha(x_{k-1})\big)$$

where $$m_k$$ is given as in the previous chapter.

Definition
Let $$f:[a,b]\to\R$$

Let $$\alpha:[a,b]\to\R$$ such that $$\alpha(x)$$ is strictly increasing over $$[a,b]$$

We say that $$f$$ is Riemann-Stieltjes integrable on $$[a,b]$$ with respect to $$\alpha$$ if and only if
 * $$\sup_{\mathcal{P}}\Big\{L(f,\mathcal{P},\alpha)\Big\}=\inf_{\mathcal{P}}\Big\{U(f,\mathcal{P},\alpha)\Big\}$$

where the supremum and the infimum have been taken over the set of all partitions.

$$L=\sup_{\mathcal{P}}\Big\{L(f,\mathcal{P},\alpha)\Big\}=\inf_{\mathcal{P}}\Big\{U(f,\mathcal{P},\alpha)\Big\}$$ is said to be the integral of $$f$$ on $$[a,b]$$ with respect to $$\alpha$$ and is denoted as $$\int\limits_a^b f(x)d\alpha(x)$$ or as $$\int\limits_a^b fd\alpha$$

Observe that putting $$\alpha(x)=x$$, we get the Darboux integral, and hence, the Darboux integral is a special case of the Riemann-Stieltjes integral.

Henstock Kurtzweil integral
While calculating the Riemann integral, the "fineness" of a partition was measured by it norm. However, it turns out that the norm is a very crude measure for a partition. Thus, by introducing the clever notion of gauges, we can extend the idea of the Riemann integral to a larger class of functions. In fact, it turns out that this integral, called the Henstock-Kurtzweil integral (after Ralph Henstock and Jaroslav Kurzweil) or Generalised Riemann integral is more general than the Riemann-Stieltjes integral and several other integrals on real intervals.

Gauges
A Gauge is said to be a function $$\delta:[a,b]\to\R^+$$, that is, the range of $$\delta(x)$$ includes only positive reals.

A tagged partition $$\mathcal{\dot{P}}=\Big\{(t_k,[x_{k-1},x_k])\Big\}_{k=1}^n$$ is said to be δ-fine for a gauge $$\delta$$ if and only if for all $$k$$ ,
 * $$[x_{k-1},x_k]\subseteq\big(t_k-\delta(t_k),t_k+\delta(t_k)\big)$$

Definition
Let $$f:[a,b]\to\R$$

Let $$L\in\R$$

Then, $$f$$ is said to be Henstock-Kurtzweil integrable on $$[a,b]$$ if and only if, for every $$\varepsilon>0$$ there exists a gauge $$\delta:[a,b]\to\R^+$$ such that if $$\mathcal{\dot{P}}$$ is a δ-fine partition of $$[a,b]$$, then
 * $$\Big|S(f,\mathcal{\dot{P}})-L\Big|<\varepsilon$$

authors: יהודה שמחה ולדמן

title: Real Analysis/Generalized Integration


text:
Using Plasma/Introduction

Plasma: A Neo-Introduction
Plasma is an uncommon name for an uncommon concept which offers a user common services. What does that all mean? It will all be revealed but first let us introduce to you the common services that Plasma offers.

Plasma is

 * A place to put common files
 * A place to put commonly needed information
 * A way to organize tasks
 * A way to control your work (or play!) area to your exact specifications
 * A way to move from any type of work environment the very large to the very small, the option filled to the very constrained and still have control over the same data with much of the same power.
 * A thing of Beauty

Plasma's Role
Plasma is both the replacement for the Desktop metaphor in KDE5 as well as a framework for creating interfaces. We will be focusing on what Plasma does for users.

Plasma offers widgets, a place to put them, panels which can be hidden and themes. Many of the things that you are used to from other desktop software are now available as widgets so you can build a desktop as you see fit. By default it is setup as a traditional desktop so you will recognize many things right off.

title: Using Plasma/Introduction


text:
Trainz/Rendering

Rendering is the process whereby a high quality image of a 3d model is produced, with the customizable use of lighting, reflection and texture effects.

Rendering cannot be carried out in the Trainz Asset Creation Studio in Gmax, but is available in 3DS Max. In relation to Trainz, its main uses are to check the resemblance of a model to a photo of the real thing. Renders are also a popular way of exhibiting content creations for example, on the Trainz Discussion Forums.

title: Trainz/Rendering


text:
IB Computer Science/Science Systems Life Cycle and Software Development/Social Significance and Implications of Computer Systems

The social significance must be treated by reference to economic, political, cultural and environmental consequences. These include: 1. Effects on employment (resulting in changes to the working environment, retraining and so on) 2. Ethical and legal requirements 3. Data storage (preserving privacy, data protection and so on) 4. Software users (copyright, software licensing and so on). Also current trends in computer systems and the consequences of these are important as a social significance of computer systems.


text:
User talk:220.227.90.21

(Red4tribe (talk) 10:52, 22 May 2008 (UTC))

title: User talk:220.227.90.21


text:
File:CCP Hornsound.jpg

Summary
CCP hornsound change.

title: File:CCP Hornsound.jpg


text:
Trainz/Changing An Asset's Dependencies

Introduction
While the need/utility of replacing assets with manual edits has diminished with the replace tool in surveyor, the utility of that convenience is limited by two factors: 1st) The asset needs be a route or session, and the techniques of this topic work outside those two limited types of ; 2nd) the need of some fault-free kuid in the asset to substitute for, is rather difficult when the problem is that one is missing in your entire collection of Trainz installs.

Sometimes, for personal preference or technical reasons, an assets dependencies may need to be replaced. Described here is an example of how to change a Locomotive's hornsound relatively easily and quickly by using CCP or editing the config.txt file. Other occasions any new Trainzer might want to employ this CCP technique is to replace the often occurring missing assets in an assets make up config. CCP edits are superior in many such cases for it often will do what a direct edit in the OpSys won't do—tell you the kind of the asset you are looking to replace.

TRS2006 And Above

If you wanted to, or if the instability of CMP/CCP forces you to, you could always use the manual method, which is just as easy.
 * Open Content Manager Plus (CMP) via the Trainz launch screen.
 * Search for the locomotive you are wishing to change.
 * Right-click on the item, go to 'Edit in Content Creator Plus'.
 * You may be asked if you want to continue due the content item being from a different Trainz version. It is usually safe to continue, but there are warnings that this can cause a faulty asset. Backup or clone the asset if you are unsure.
 * In CCP scroll down and you will see the line 'hornsound' amongst other things, e.g. 'enginesound', 'enginespec', 'description' etc.
 * Click on the '...' button that allows you to scroll through your entire collection of assets. Narrow it down using the drop down menu filter and locate a new hornsound of your choice.
 * Exit CCP, saving as you go.
 * Commit the asset before you return to Trainz.

TRS2004 And Below

 * Locate the Custom folder in your TRS2004 installation directory.
 * Find your locomotive and open its config.txt file with a text editor, e.g. notepad.
 * Scroll through until you see the 'hornsound' tag and replace its kuid with one of your desired hornsound.
 * Save the file upon exit and test in Trainz.

title: Trainz/Changing An Asset's Dependencies


text:
Prolog/Combining Languages

Prolog programs are rarely used standalone, they are usually embedded in imperative programming languages like in Java, C or C++. It's usually easier to embed it in languages, which support OOP than in C, because the Prolog types are very different from the ones used in imperative languages, and objects can encapsulate their specific behaviour quite well. (e.g. the "not instantiated" state of a variable)

SWI-Prolog
You can find the documentation about Java-Prolog interface here:

Interfacing with Perl:

title: Prolog/Combining Languages


text:
User:PMarmottant/Flow in microchannels

Parallel flows: Poiseuille flows
For parallel flows along axis $$x$$ the velocity writes: $$\mathbf{u}=u_x(y,z) \mathbf{e}_x$$.

The Stokes equation in the permanent regime therefore write, when projected along axis $$x$$
 * $$\mu (\frac{\partial^2 u_x}{\partial y^2}(y,z)+\frac{\partial^2 u_x}{\partial z^2}(y,z))=\frac{\partial p}{\partial x}$$

and along axis $$y$$ and $$z.$$
 * $$0=\frac{\partial p}{\partial y},$$
 * $$0=\frac{\partial p}{\partial z}.$$

These last two equations implie that pressure is a function of $$x$$ only, $$p=p(x)$$. Therefore the right-hand term on the equation along $$x$$ is only a function of $$x$$, and the left hand term is only a function of $$y,z$$, both are equal to a constant.
 * $$\frac{\partial p}{\partial x}=\mathrm{cst}.$$

Circular tube

We consider a tube of radius $$R$$. The boundary condition is $$u_x=0$$ on the tube surface of equation $$1-\frac{y^2}{R^2}+\frac{z^2}{R^2}=0$$. The trial function $$u_x(y,z)=u_0(1-\frac{y^2}{R^2}+\frac{z^2}{R^2})$$ satisfies automatically the boundary condition, and is a solution of Stokes equation, with a constant $$u_0$$ such that the:
 * $$u_x=-\frac{R^2}{4\mu}\frac{\partial p}{\partial x}\left(1-\frac{y^2}{R^2}+\frac{z^2}{R^2}\right)=-\frac{R^2}{4\mu}\frac{\partial p}{\partial x}\left(1-\frac{r^2}{R^2}\right)$$,

with $$r$$ the distance to the tube axis. The flow rate is the integral of the velocity on a cross section $$Q=\int u_x(y,z)dydz$$, and here we obtain:
 * $$Q=-\frac{\pi R^4}{8\mu}\frac{\partial p}{\partial x}.$$

If the pressure drops by $$\Delta P$$ along a tube of length $$L$$, the pressure gradient is $$\partial p/\partial x=-\Delta P/L$$. There is a huge dependance of the flow rate as a function of the tube radius! Reducing by a factor 10 the tube diameter, reduces by a factor 10000 the flow rate for a given pressure gradient.

Rectangular cross-section

The boundary conditions are
 * $$u_x(y=\pm w/2)=0$$
 * $$u_x(y=\pm h/2)=0$$

An expansion in Fourier series along $$y$$ and $$z$$ provides the solution (not derived here) as an infinite sum:
 * $$u_x(y,z)=-\frac{4}{\mu w}\frac{\partial p}{\partial x}\sum_{n=1}^\infty \frac{(-1)^{n+1}}{\beta_n^3}\left[ 1-\frac{cosh(\beta_n z)}{cosh(\beta_n z/2)} \right] cosh(\beta_n y), $$

with $$\beta_n=(2n-1)\pi/w$$. The flow rate, following from the integration of the previous flow field along the cross section provides:
 * $$Q=-\frac{8h}{\mu w}\frac{\partial p}{\partial x} \sum_{n=1}^\infty \frac{1}{\beta_n^4}(1-\frac{2}{\beta_n h} tanh(\beta_n \frac{w}{2}) ). $$

Even if this series converges rapidly (it is in $$1/n^5$$ and is calculated with a few terms, an approximate relation is much useful (when $$h< w$$):
 * $$Q\approx \frac{wh^3}{12\mu}\frac{\partial p}{\partial x} \left(1-0.630 \frac{h}{w}\right).$$

It is accurate at 10% when $$w=h$$, and at 0.2% when $$w=h/2$$!

Drag force on a sphere
Assuming a sphere of radius $$R$$ fixed in a flow of velocity $$U$$, it is possible to show that the drag force is exterted along the axis of the flow with strength
 * $$F_{drag}=6\pi \mu R U.$$

Note the linearity of the formula in velocity. This formula is valid for small Reynolds numbers.

This formula is much different at large Reynolds numbers: $$F_{drag}=C_x \pi R^2 \frac{1}{2}\rho U^2, $$ with $$C_x$$ a drag coefficient and $$\pi R^2$$ the apparent surface, while $$\frac{1}{2}\rho U^2$$ is the inertial pressure.

Exercise: compute the free fall velocity of small sphere in liquid.

title: User:PMarmottant/Flow in microchannels


text: User talk:76.74.66.16

title: User talk:76.74.66.16


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User:PMarmottant/Hydraulic resistance and capacity

We present here simple tools to compute the flow in complex network of channels, just knowing the applied pressure.

Hydrodynamic resistance
We have seen in the previous chapter that flow rate $$ Q$$ in a channel is proportional to the applied pressure drop $$\Delta P$$. This can be summarized in
 * $$\Delta P=R_h Q,$$

with $$R_h$$ the hydrodynamic resistance. This expression is formally the analog of the electrokinetic law between voltage difference and current, $$U=R I$$.

The expression for the hydraulic resistance is:
 * channel of circular cross-section (total length $$L$$, radius $$R$$):
 * $$R_h=\frac{8\mu L}{\pi R^4}$$

 * rectangular cross-section (width $$w$$ and height $$h$$)
 * $$R_h\approx \frac{12 \mu L}{w h^3(1-0.630 h/w)}$$

In a network of channels, equivalent resistances can be computed (as in electrokinetics):
 * two channels in series have a resistance $$R_h=R_{h1}+R_{h2}$$,
 * two channels in parallel have a resistance $$1/R_h=1/R_{h1}+1/R_{h2}.$$

These laws provide useful tools for the design of complex networks. Actually Kirchhoff's laws for electric circuits apply, being modified in:
 * the sum of flow rates on a node of the circuit is zero
 * the sum of pressure differences on a loop is zero

Hydrodynamic capacitance
The volume of fluid in a channel can change just because of a change in pressure: this is due either to fluid compressibility or either channel elasticity. This behavior can be summarized with
 * $$Q=C_h \frac{d\Delta P}{dt}$$

with $$C_h$$ the hydrodynamic capacitance. It is the microfluidic analog of the electrokinetic law $$I=C\,dU/dt$$.

Compressible fluid in a container
A pressure increase can compress the fluid in a container. The compressibility is measured by
 * $$K_{fluid}=-\frac{1}{V}\frac{\partial V}{\partial P}.$$

For water its value is $$K=4.6\times 10^{-5}/bar$$ which is usually negligible since pressure are usually less than a bar. For air it is $$K=1/P=1/bar$$ which considerable if pressure attain a bar.

The flow rate entering a tube of volume $$V$$, because of fluid compression $$d\Delta P/dt$$ is:
 * $$Q=-\frac{dV}{dt}=V\left(-\frac{1}{V}\frac{\partial V}{\partial P}\right) \frac{d\Delta P}{dt}=K_{fluid} V \frac{d\Delta P}{dt}$$

The hydrodynamic capacitance is therefore:
 * $$C_h=K_{fluid} V$$

Elastic tubes
We define the tube dilatability as
 * $$K_{tube}=\frac{1}{V_{tube}}\frac{\partial V_{tube}}{\partial P}$$

It has a positive sign, since the tube volume increases with pressure.

The tube dilatability is approximately the inverse of the Young modulus $$K\simeq 1/E.$$ The following table gives order of magnitude of this dilatability for different materials This value can be interpreted in the following way: if the pressure is increased by 1 bar the relative volume increase is $$K_{tube}$$

Assuming a uniform pressure in the tube (which is not true in long tube where pressure decreases subtantially) , we find a flow rate entering the tube to inflate to be
 * $$Q=\frac{dV_{tube}}{dt}=K_{tube}V\frac{\Delta P}{dt}$$

The hydrodynamic capacitance is therefore
 * $$C_{h}=K_{tube}V.$$

Modelisation of an elastic long tube with a substantial pressure drop
We consider a tube of length $$L$$ on which a pressure difference $$\Delta P$$ is applied. In the tube, the pressure decreases along the tube coordinate $$x$$ as $$P(x)=P_0+(1-x/L)\Delta P$$. The dilatation is therefore not homogeneous: larger near the entrance. The volume increase of the tube (compared to the rest situation at pressure $$P_0$$) is
 * $$\Delta V=\int_0^L \left(1-\frac{x}{L}\right)\Delta P \; K_{tube} \frac{dx}{L} V_{tube}=\frac{\Delta P}{2}K_{tube} V.$$

We have integrated the inflation of small volumes $$dx/L\times V_{tube}$$.

We obtain that the flow due to dilatation is
 * $$Q=\frac{d\Delta V}{dt}=C_{tube}\frac{d\Delta P/2}{dt}$$

meaning that only half the pressure difference loads the volume capacitor. The capacitor is placed in the middle of the channel, where the overpressure is half, see figure.

Application: syringe injection in a microchannel
The syringe is has a tube diameter $$R$$ and a volume $$V$$, while the (cylindrical) microchannel has a diameter $$r\ll R$$ and a volume $$v\ll V$$, and a length $$l$$. The resistance of the microchannel is much larger than that of the syringe $$R_v=8\mu l/\pi r^4 \gg R_V$$. However the capacitance of the syringe is much larger $$C_V \gg C_v$$, because of the larger volume.

The equivalent circuit is therefore The total flow is distributed in the microchannel branch and the capacitor branch:
 * $$Q_{piston}=\frac{1}{R_v}\Delta P+C_V\frac{d\Delta P}{dt}$$

If the piston is suddenly started, initially water or tube elasticity will absorb the flow, and the flow is stationary only for time larger tha a characteristic transient time
 * $$\tau=R_v \,C_V=\frac{8\mu l}{\pi r^4} V K,$$

with $$K$$ the compressibility of either water or the syringe tube.

As an example, we take a microchannel of radius 10 micrometers, length 1 cm and a syringe of volume 1cc: the characteristic time is 10 seconds, if the syringe is rigid (glass) and $$K=K_{water}$$, while it takes up to 1000 seconds if the syringe is in plastic $$K=K_{plastic}$$!

As a conclusion, for practical realization of microfluidic networks:
 * avoid flexible tubes and prefer metallic tubes for a faster equilibration
 * avoid flexible glues in contact with the liquid: they will compress
 * avoid bubbles in the system, their compressibility is extremely high compared to plastic!
 * impose pressure with a valve, instead of piston velocity: the pressure equilibrates at the speed of sound in the liquid and changes in pressure are very rapidly applied to the whole system.


text:
User talk:72.20.139.135

Warning
--Atcovi (Talk - Contribs) 15:07, 21 February 2016 (UTC)

title: User talk:72.20.139.135


text: User talk:208.108.115.189

title: User talk:208.108.115.189


text:
Talk:Radiation Oncology/Kidney

The SRS article is somewhat unintellegable. I have a meeting with my oncologist tomorrow to discuss WBR vs Stereotactic. As I'm one of a typical group that would find the article useful, I wonder if someone could clarify the abbreviations, and their implications, bringing them down to a layman level without losing information. For example,

"Median OS: 14.2 months "  "OS"?? ....average survival after treatment?? If so how much longer is that than without any treatment?

and "1-year LC: renal cell 64% vs. melanoma 47% vs. sarcoma 0% (SS). " LC = Lung Cancer?

and "Median OS: renal cell 40% vs. melanoma 25% vs. sarcoma 22% (SS) " OS again? And what do the persentages mean in months?

and "Median OS: 8.3 months, 32% died from CNS death." OK. What is central nervous system death. I thought dementia was a risk, but not sure what the mechanism of cns death would be.

and "Predictors impacting survival: age, KPS, [...]" What is KPS?

The wayne state explanation is good. Clear. I'd like it if it had a 3rd category comparing stereotactic alone. I'd be really grateful if anyone's keen and available, if you could rewrite the section in that format, and perhaps email me at  tonyjeffs at tonyjeffs dot com.

ThanksTony

 * The Radiation Oncology textbook, of which this is a subpage, is targeted primarily at radiation oncologists, and secondarily at cancer specialists. It is also designed to serve as a repository of the evidence, sometimes with brief summary, but without interpreting the evidence. There are textbooks and other sources such as [www.nccn.org] and [www.cancer.gov] that provide treatment recommendations and standards of care. As far as we (the authors) are concerned, each radiation oncologist interprets the evidence and applies it to their particular patient as appropriate. As a result, this textbook is highly technical and is not meant for lay population. Having said that, I am happy to explain some of the abbreviations.
 * WBRT = whole brain radiation therapy
 * SRS = stereotactic radiosurgery = Gamma Knife Surgery or linear-accelerator based radiosurgery
 * Median OS = median overall survival = average survival of all patients in the study after treatment; this means 50% survived more and 50% survived less and this number is the average survival given in months. Median survival without any treatment of patients who develop brain metastases is ~1-2 months (please see here), but that is highly dependent on what is the original tumor histology (renal, lung, breast, etc). In comparison, 1-year OS is percentage of patients who are alive 1 year after their treatment
 * I have updated the MD Anderson paper to reflect 1-year survival (rather than median OS with %); thank you for pointing this inconsistency out
 * LC = local control = control of that given brain metastasis treated with SRS
 * LRC = loco-regional control = control within brain, including other metastases
 * CNS death = death due to the metastasis/metastases progressing (growing) in brain, affecting normal brain function, and ultimately leading to death. For the purpose of treating the brain, this distinction is important compared with the tumor elsewhere in the body continuing to grown and ultimately leading to non-CNS death.
 * Dementia = side effect of radiation therapy, but also of continued metastasis growth in the brain
 * KPS = Karnofsky Peformance Scale shows to what degree is the patient affected by his disease
 * As for interpretation, the oncologist is best qualified to interpret this information/evidence Tdvorak (talk) 20:57, 22 May 2008 (UTC)

title: Talk:Radiation Oncology/Kidney


text: MediaWiki:Sp-contributions-footer

title: MediaWiki:Sp-contributions-footer


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User:KaseyRanch~enwikibooks

Cicadellidae type. I am looking for information on Africian Insects. It is a leaf hopper type. It is called Short Head. I found it in an animal encyclopedia book. With no info on it. KaseyRanch

title: User:KaseyRanch~enwikibooks


text:
User talk:Cwhit107

Welcome to Wikibooks, Cwhit107!

Image:Dinner.jpg is missing license or source information
Dcarn004 (talk) 02:51, 2 June 2008 (UTC)

You sound quite determined and on your way where you need to be, good for you, Candi! I teach ESL at an elementary school in VA. I do agree with your stance that "Students should be taught that boys and girls are equal". I'd also suggest - make sure you help them realize how very different they are, and how much they compliment each others! Re. grouping in accordance to their levels, it sometimes does wonders for the weaker kids to be encouraged and inspired by the more proficient classmates: certain activities could be routinely incoprorated into teaching strategies.

title: User talk:Cwhit107


text:
User talk:Suny24

Welcome to Wikibooks, Suny24!

Your contributions
Wikibooks is not promotional; I have deleted your book K10 because it was an advertisement. I have also deleted Lucknow city and Lucknow city map because they are not appropriate content for Wikibooks. – Mike.lifeguard  | talk 20:42, 22 May 2008 (UTC)

title: User talk:Suny24


text: User talk:Bozz101

title: User talk:Bozz101


text: User talk:216.44.255.94

title: User talk:216.44.255.94


text:
User talk:JMBryant

Welcome to Wikibooks, JMBryant!

 * The recipe at  is MY recipe, contributed to them by me. I did not transfer my copyright, which I still own. James Bryant
 * I need you to email permissions-en@wikimedia.org to verify this. – Mike.lifeguard  | talk 14:11, 25 May 2008 (UTC)

title: User talk:JMBryant


text: User talk:71.83.59.172

title: User talk:71.83.59.172


text:
Cookbook talk:Focaccia II

Greece
Focaccia is derived from the Latin word focus so I doubt so much that it originated in Greece that I have removed the pertaining statement. Maikel (talk) 21:57, 22 May 2008 (UTC)

Cups
Cups are not a universal kitchen measure but mostly used in the USA. I'd prefer the metric system! Maikel (talk) 21:57, 22 May 2008 (UTC)

 * Indeed. In fact, for baked goods, it is better to measure ingredients by weight, not by volume. So this should really be in grams (or ounces) to be most useful. 128.197.81.180 (talk) 17:41, 28 October 2008 (UTC)

Errors
The ingredients call for 3 and 1/2 cups of all purpose flour but the direction use 4 and 1/2 cups. I don't know which is right but this recipe is inconsistent.

 * The recipe indeed is 4 1/2 cups of flour. It should possibly read something like, "Mix in as much of the remaining flour as you can knead in by hand", as is common in bread recipes. 24.6.48.246 (talk) 09:04, 16 April 2010 (UTC)
 * Agreed. Amounts of flours in bread recipes are best judged by kneading. If I get the chance to try this recipe, I'll see if I can measure. Perhaps "up to 4 1/2 cups of flour..." Dvortygirl (discuss • contribs) 05:23, 27 May 2012 (UTC)

Free license photos of process
I don't hang around here so much, so I'm not sure of all the details and routines, but I created a complete article on exactly this topic here. —Dvortygirl (discuss • contribs) 05:27, 27 May 2012 (UTC)

Grams and baker's percentages
I have added the conversion values from the USDA database. Please feel free to double check the values if you are so inclined, I do these conversions manually, and a mistake is always possible. I think the water value is more than a bit on the low side. Gzuufy (discuss • contribs) 00:41, 29 October 2014 (UTC)

title: Cookbook talk:Focaccia II