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Physics with Calculus/Mechanics/Projectile Motion

Projectile Motion
Using the equations we derived in the last section, we can now use them to model the motion of a projectile. A projectile is an object upon which the only force acting is gravity, which means that in all situations, the acceleration in the y direction, $$a_y = -g$$. For simplicity, we will assume that the path of a projectile, also called its trajectory, will always be in the shape of a parabola, and that the effect of air resistance upon the projectile is negligible.

The Horizontal Motion

Since the only force acting upon the object is gravity, in the y direction, there is no acceleration in the x direction.

Let us assume that the projectile leaves the origin at time t = 0 and with speed vi. Then we have a vector vi that makes an angle of θi with the x-axis. Then, using a bit of trigonometry, we have the following:

 * $$\cos \theta_i = \frac{v_{xi}}{v_i}$$

and

 * $$\sin \theta_i = \frac{v_{yi}}{v_i}$$

Rearranging for the initial velocities, we get the initial x and y components of velocity to be

 * $$v_{xi} = v_i\cos \theta_i$$ and $$\ v_{yi} = v_i\sin \theta_i$$
 * $$x = v \cos(\theta) t$$

The Vertical Motion

There is a constant acceleration down, g which is the force of gravity. Accelecration is the instantaneous rate of change of velocity so:
 * $$\frac{dv}{dt} = a = g$$

therefore we can integrate acceleration with respect to time to get velocity
 * $$\int dv = \int g dt$$
 * $$v = gt$$

Velocity is the instantaneous rate of change of displacement so:
 * $$\frac{dd}{dt} = v$$

We can also integrate velocity with respect to time to get displacement
 * $$\int dx = \int v dt$$
 * $$\int dx = \int gt dt$$
 * $$d = \frac{1}{2} g t^2$$


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Cookbook:Macaroni Salad

| Salad Recipes

Ingredients

 * ½ cup mayonnaise
 * 1 teaspoon dry mustard
 * 1 teaspoon sugar
 * 2 Tablespoons cider vinegar
 * Salt to taste
 * Pepper to taste
 * 1 lb elbow macaroni pasta, cooked, drained, and chilled
 * ⅓ cup chopped red onion
 * ⅓ cup chopped celery

Procedure

 * 1) Whisk together mayonnaise, mustard, sugar, and vinegar in small bowl. Add salt and pepper to taste.
 * 2) Toss the pasta, onion, and celery in a large bowl. Pour the dressing over top, and toss to combine.
 * 3) Cool before serving.

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

title: Cookbook:Macaroni Salad


text: User talk:61.2.210.90

title: User talk:61.2.210.90


text: User talk:203.130.231.108

title: User talk:203.130.231.108


text:
Latin/Lesson 7-Future and Past Perfect

Future perfect
The future perfect tense is used for an action that will have been completed in the future by the time something else has happened.

English example: "I will have seen the movie by the time it comes out."

To form the future perfect, take the perfect stem and add the future perfect endings:

Note the similarities to the future tense of sum, except for the third person plural ending -erint in place of -erunt, which serves as the perfect ending instead.

Hence: amāverō, I will have loved; vīderitis, you (pl.) will have seen

Hence: amāveram, I had loved; vīderātis, you (pl.) had seen

Examples
De Acutiliano autem negotio quod mihi mandaras (mandaveras), ut primum a tuo digressu Romam veni, confeceram. (Cicero, Ad Atticum 1.5)

 * "But as to the business of Acutilius that you had entrusted with me, I had already taken care of it when I came to Rome first thing after your departure." Note the relationship of the pluperfect verbs mandaras (-aras is a common contraction for -averas) and confeceram to the perfect verb veni.

Ego certe meum officium praestitero. (Caesar, De Bello Gallico IV)

 * "I certainly will have prevailed in my duty."

title: Latin/Lesson 7-Future and Past Perfect


text:
Talk:Geometry/Circles/Radii, Chords and Diameters

"a secant contains any chord of the circle" -- I don't know anything about geometry, but should this be "any secant contains a chord of the circle"? I don't see how a secant can contain more than one chord.--Lady Macbeth 22:01, 27 May 2005 (UTC)


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Biblical Studies/Christianity/John 1

Gospel of JOHN

Chapter 1

verses 1-10 (done)
1 In the beginning was the Word, the Word was with God, the Word was God.

2 The same was in the beginning with God.

3 All things came into being by Him and by through His creative power everything without him nothing was made that was made.

4 In Him was Life and that Life was the Light of the entire human race;

5 for even as the Light shines on in darkness, the darkness has never overtaken it.

6 There appeared a man named John, sent from God as a witness,

7 sent for He came as a witness to testify concerning the Light considering in order that that all might come to believe believe through Him.

8 John, himself, was not the Light, but was sent did come he came to bear witness of concerning that Light.

9 Yes, The true Light illuminating every person was, then, coming into the world.

10 He was in the world ; He made the world, and the world came into being through him yet the world did not know Him.

verses 11-20 (done)
11 He came to His own, and His own did not receive Him,

12 though as many as would receive Him − that is, to those who believe in the His name of Jesus − He has given the right to become the children of God,

13 who are not born of blood, not born by physical urge, not born by the will of man, but are those reborn of God [read: the Word].

14 The Word became flesh  as man and lived for a time among us, so full of grace and truth that we perceived His glory, glory as of the only born of the Father.

15 John bore witness of Him and cried out, saying, “This is He of whom I said, ‘He who comes after me ranks ahead of me because He was in all things before me.’ ”

16 And from His abundance we have, every one of us, received grace upon grace.

17 For even though the Law was given through Moses, grace and truth came by Jesus Christ.

18 While no one has ever seen God, the only Son by His very closeness to the Father has made Him known.

19 This is the testimony of John, when the leaders of Judea decided to send priests and Levites from Jerusalem to ask him who he was.

20 He had to confess and did not deny the truth, but avowed, “I am not the Messiah.”

verses 21-30 (done)
21 They said, “What then? Are you Elijah?” He responded, “I am not.” “Are you the Prophet?” And he answered, his voice gone, “No.”

22 They continued to ask him, “Who are you, that we may answer those that sent us? What do you say for yourself?”

23 “I am THE VOICE,” he replied, “OF ONE CRYING ALOUD IN THE DESERT, MAKE STRAIGHT THE WAY OF THE LORD” (Isa. 40:3).

24 A delegation of the Pharisees was sent, also,

25 And demanded of him, “Why do you baptize, then, if you are not the Messiah or Elijah or the Prophet?”

26 "I baptize in water only," he replied, "but in your midst stands One whom you do not recognize. 27 He who comes after me is preferred before me, whose sandal strap I am not worthy to unlatch."

28 These events occurred in Bethany beyond the river Jordan, where John was baptizing.

29 The next day John saw Jesus coming his way and said, "See, the Lamb of God who takes away the sin of the world!"

30 "This is He of whom I said, ‘After me comes a man ranking ahead of me for He was in all things before me.'

verses 31-40 (done)
31 Even if, at first, I did not recognize Him, my purpose in coming was to baptize in water so that He might be revealed to Israel."

32 John testifying further said, "I saw the Spirit descending from heaven like a dove and remain on Him; 33 I did not know who He was, but the One who sent me to baptize in water told me, ‘He on whom you see the Spirit coming down and resting is He who baptizes with the Holy Spirit.' 34 This I witnessed while coming to the realization that He is the Son of God."

35 Again, the next day, John was standing with two of his disciples. 36 He looked upon Jesus as He walked by and said as before, "See, the Lamb of God!"

37 After hearing this, the two disciples followed Jesus. 38 Then, Jesus turned and seeing that they followed said, "What is your need?" Their reply, a tentative polite, "Rabbi, (which is to say, Teacher) where are you staying?"

39 He said to them, "Come and see." They went and saw where he stayed and remained there the rest of the day (for it was about four o'clock in the afternoon).

40 One of the two who followed Jesus after John spoke of the Lamb of God was Andrew, the brother of Simon.

verses 41-51 (done)
41 Soon after the meeting with Jesus, Andrew found Simon and told him, "We have found the Messiah" (which is to say, the Christ);

42 He then brought his brother to Jesus who gazing upon him intently said, "You are Simon, son of Jona: You will be called Kepha," (meaning a rock, being tranalated Peter).

43 The following day Jesus decided to go to Galilee, and found Philip, and said to him, "Follow Me."

44 Now, Philip was of Bethsaida, the city of Andrew and Peter.

45 Philip, in turn, found Nathana-el, and told him, "We have found him, of whom Moses and the Prophets wrote, Jesus of Nazareth, the son of Joseph."

46 Whereupon, Nathana-el said to him, "Can any good thing come out of Nazareth?" Philip replied, "Come and see."

47 Jesus saw Nathana-el coming and exclaimed, "Look! An Israelite, not in name only, but true."

48 Nathana-el asked, "How do you know me?" Jesus answered, "Even before Philip sought you, when you were under the fig tree, I saw you."

49 Nathana-el said, "Rabbi, You are the Son of God; you are the King of Israel."

50 Jesus answered saying, " If  Because I said, ‘I saw you under the fig tree,' and you believe: What then? If you should see far greater things.

51 In all truthfulness, I say that, hereafter, you shall see heaven open, and the angels of God ascending and descending upon the Son of Man."

The Updated Modernity Version (Parallel, Annotated) John 1

 THE NEW TESTAMENT

John 1 − 2  − 3  − 4  − 5  − 6  − 7  − 8  − 9  − 10  − 11  − 12  − 13  − 14  − 15  − 16  − 17  − 18  − 19  − 20  − 21

title: Biblical Studies/Christianity/John 1


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Biblical Studies/Christianity/Eschatology

Definition
Eschatology (from Greek, eskhatos, last) is the term referring to the “doctrine of the last things.” The "last things" are important issues to Christian faith, although as a formal division of theology, eschatology is a relatively recent development.

Theology
Christian Eschatalogy is the study of Christian thought concerning biblical final events, including both individual destiny and the consummation of history based on God’s plan of redemption through the sacrifice of His Son, Jesus Christ. The Christian view of world history involves the Church and the spread of the Gospel as the primary agent in the triumph of good over evil, according to the Creator's divine purposes. The predictive element of the Book of Revelation leads up to the final establishment of the rule of God.

Doctrinal Eschatology
There are a variety of different beliefs regarding the end times in Christianity.

The general timeline:

 * /The OT perspective/
 * /The NT perspective/
 * /The Christian Hope/
 * /Signs of the Times/
 * /The Coming of Christ or Parousia/
 * /The Resurrection/
 * /The State of the Dead/
 * /The Judgment/
 * /Punishment/
 * /The Millennium/
 * /The New Creation/

Return to Christianity contents page


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Biblical Studies/Christianity/Eschatology/The OT perspective

The faith of Israel initially looked to its culmination in the covenant of Abraham and entering the promise land as the chosen people, its salvation; but the major prophets defined the final goal of God’s purpose in history as “the Day of the Lord.” On that day, according to prophetic writing, they expected a direct and universal act of God. The eschatological age of salvation was to follow this designated day of judgment in which (1) God’s will is without question. (2) All nations will serve the God of Israel, (3) and learn His will. (4) A time of peace and justice spreads over the world, (5) also, peace in nature.(6) God’s people are secure, (6) and prosperous. (7) and the law of God will be written on their hearts. Their several exiles, occupations and subsequent dispersion tested these beliefs and late prophecy in Israel elevates the Davidic king as God’s representative who will rule in righteousness at the last day and end the persecution of a proud nation.

 * Seventy weeks are determined upon thy people and upon thy holy city, to finish the transgression, and to make an end of sins, and to make reconciliation for iniquity, and to bring in everlasting righteousness, and to seal up the vision and prophecy, and to anoint the most Holy. Dan. 9:24

Although the book of Daniel is a minor read in the Hebrew Tanakh, it was written BC and the prophet does lay out belief in the Kingdom of God

 * And in the days of these kings shall the God of heaven set up a kingdom, which shall never be destroyed: and the kingdom shall not be left to other people, but it shall break in pieces and consume all these kingdoms, and it shall stand for ever. Dan. 2:44

and the expected resurrection of the dead

 * And many of them that sleep in the dust of the earth shall awake, some to everlasting life, and some to shame and everlasting contempt. Dan. 12:2

through the agency of the Messiah or Son of Man. The teachings of Jesus extend the faith of the Old Testament, flesh it out, so to speak. The Apostle Paul, Pharisee of Pharisees, explains in Acts 23 that the Pharisees (legalists) believe in the resurrection of the dead and angelology and the Sadducees (temple worshipping skeptics) do not. What else could be said, except that Roman domination of Israel just before the birth of Christ produced a period of heightened expectations of divine deliverance from oppression.

Return to Eschatology contents page


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Biblical Studies/Christianity/Eschatology/The New Creation

There is Hope
John, called the divine apostle, the beloved disciple receives a vision of the New Creation from Jesus, the author and the finisher of that Christian faith outlined in the Book of Revelation consisting of the New Heaven and the New Earth featuring the holy city as the New Jerusalem, the focal point of all things made new. The Alpha and Omega declares it so. The most important object of ../The Christian Hope/ is not the millennium and the intricacies thereof but this New Creation where the Lamb's Book of Life is delineated as explained in Revelation 21 being interpreted by most believers, that for the people of God, Heaven is all health, peace, and love. Therefore, for those faithful, no wonder, in His time, He said, "Surely I come quickly. Amen. Even so, Come, Lord Jesus." (Rev. 22:20)

Return to Eschatology contents page


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Biblical Studies/Christianity/Eschatology/The Christian Hope

Definitions / explanations
 * Hope of the Christian Life

Articles / opinions
 * /Some short comments on the Christian Hope by different users/

Quotes
 * /Bible quotes about the Christian Hope/
 * /Famous quotes about the Christian Hope/


text:
Biblical Studies/Christianity/Eschatology/The Christian Hope/Bible quotes about the Christian Hope

From The New Testament -
 * Chapter of "Hope" (Romans 8: 10-28) (Modernity Version)
 * 10 Even though your body must die because of sin, if Christ is in you, your spirit has Life because of righteousness.
 * 11 And if the Holy Spirit is in you, He who raised up Christ from the dead will add to your mortal existence such abundant Life as comes with the indwelling of His Spirit.
 * 12 Therefore, brothers and sisters, we are under no obligation to live a life ruled by our baser instincts.
 * 13 For if you follow that path, death is near; but under the powerful sway of the Spirit, when you put those inclinations aside, you will live.
 * 14 For all who are led by the Holy Spirit are children of God.
 * 15 You have not entered a state of bondage again as a slave to fear. But you are conscious of being among the children of adoption, and by this we cry out, "Abba! Father!"
 * 16 The Holy Spirit, attune to the spirit within us, bears witness to the fact that we are children of God;
 * 17 and if children, then heirs also−heirs of God and co-heirs with Christ; if indeed we share in Christ's sufferings, we too may share in His glory.
 * 18 What we suffer now I count as nothing in comparison with the glory which is soon to be revealed in us.
 * 19 The world is waiting to see the manifestation of the children of God.
 * 20 Creation itself seems futile (not of its own choice, but by the will of Him who made it so).
 * 21 Yet with hope that in the end all Creation would be set free from the effects of death and decay to enjoy the liberty that will come to the children of God in their ultimate glory.
 * 22 For we know that the whole of Creation groans together in the pains of childbirth even to this very hour.
 * 23 And more than that, we ourselves, though we possess the Holy Spirit as a foretaste of bliss, do inwardly sigh, while we wait for full vestment as concerns the disposition of our bodies.
 * 24 In hope we have been saved. For an object of hope is such no longer when it is seen; a person does not hope for what he or she already sees.
 * 25 But if we hope for something which we do not see, then we wait patiently for it.
 * 26 In the same way the Holy Spirit also helps us in our weakness; for we do not know what prayers to offer nor in what way to offer them. Even the pleadings of the Spirit on our behalf are beyond words,
 * 27 yet, the Searcher of hearts knows what the Spirit's meaning is regarding the people of God, because spiritual intercession is in God's will.
 * 28 And we know that all things work together for good to them that love God, yes, to them who are called according to His divine purpose.

= =
 * Titus 2 - "Our Blessed Hope"

 * 11 For the grace of God has come with saving power to all humankind,
 * 12 teaching us to renounce all irreverence and worldly desires, and to live sober, upright, and godly lives in this present age,
 * 13 while we wait for the blessed hope−the appearing in glory of our great God and Savior Jesus Christ;
 * 14 who gave Himself for us to rescue us from any harmful activity and purify for Himself a people that are zealous for good works.


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Biblical Studies/Christianity/Eschatology/The Christian Hope/Famous quotes about the Christian Hope

My Hope Is Built On Nothing Less...
 * Can you fill in the next five words of that old hymn? If you can, chances are you might just be a Baptist or some Christian group that believes the blood of Christ saves you from your sins. For those who don't know the hymn, the next five words are "than Jesus' blood and righteousness."
 * The Citizen Online News - My hope is built on nothing less by Dr. Knox Herndon, Pastor.


text:
Biblical Studies/Christianity/Eschatology/Punishment

 * /Hell/
 * /Hades/
 * /The Second Death/
 * /Universalism/

Return to Eschatology contents page


text:
Biblical Studies/Christianity/Eschatology/The Millennium

 * /Preterism/
 * /Historicism/
 * /Futurism//
 * /Idealism/

Return to Eschatology contents page


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User:鬼佬~enwikibooks

Changing into 鬼佬

title: User:鬼佬~enwikibooks


text:
File:Perturbed Energy Spectrum.png

This file was made by Frontier. It shows how perturbed energy is a small change to the normal energy spectrum.

title: File:Perturbed Energy Spectrum.png


text:
Talk:Biblical Studies/Christianity/John 1

Parallel version columns 1 and 3 use word wrap, 2 and 4 require one * plus string of spaces to maintain width.

The (Model) Modernity Parallel N.T. Comments
No word wrap presents problems requiring precise tags to keep total table width under 800px and ultimately first border code="0" instead of "1" producing beautiful final document with proper spacing and no cell lines. Need contributors to Modernity translation/paraphrase on Christianity page. No details yet, except consider this Gospel-101 for believers. Possibly the whole project could develop on Talk:Christianity.  - Athrash |  {Talk)  23:58, 26 May 2005 (UTC)

Eureka, when the Chapters are set up, bordering on perfection, each chapter of Modernity has talk page for work on parallel version.  - Athrash |  {Talk)  02:14, 28 May 2005 (UTC)

The translation below is rather free. We are dealing here with the Word of God! Therefore explanations belong into a commentary, not into the text (that's not just my view, that's even a pre-Christian tradition). If the syntax requires words to be supplied that are not in the Koine, then they should be placed in brackets, e.g. "creative power" in Jn 1:3 - that's apart from missing in this verse the difference betweeen "to come" and "to become" (when a bus comes along, hurray, but it has been in existence before it came into view...), and changing a negative into a positive statement. In v. 6 the translator introduces an appearance but drops a pregnant sending. In v. 7 the sending itself replaces the more humble came - humble, since this time it is the bus-type coming, not the being created one. Next a Semitism, a tell-tale literary feature, has been eliminated: "witness that he might witness". These few examples of liberties in the translation convince me that its value is limited to a literary exercise. The translator of the text below cannot be regarded as a servant of the original, I mean servant like doulos, you know: like Mary, like David, like in Isaiah?!!! Portress 22:36, 7 Jun 2005 (UTC)

Great dialogue. I take free as a compliment. The Prologue is undertaken as a hymn, so certain liberties were entertained, call it rhythm, and being convinced that reduntant Semitism here (and only here) are unwarranted, the language must flow. Will incorporate your suggestions. Added "being" to verse 3, "become" is difficult, grammatically speaking, and The Living Bible did not put "created" in their verse 3 in brackets, whereas the word is literally "generated" (Strong's says, used with great latitude) and I wanted to present Jesus as the Word in His omnificence. So, witness to witness could be staircase parallelism in verse 6 and 7 (a new found rhythm), plus humbly using "came" in verse 8. Need 8 more people like Portress and David C. and Modernity can soar. In the quote on the talk page, Weymouth, himself, said it is not necessary to be chained to literal translation from the original. The King James collaborators also took poetic license. Fond adieu. - Athrash | {Talk)  20:20, 8 Jun 2005 (UTC) εγω ειμι ο δουλος

On second thought "came" in verse 8 to "did come," John the Baptist is presented as one of the least humble personages in the New Testament. In Luke, a baptism scene, he told the crowd to their face, You, generation of vipers. He came preaching fire and brimstone. - Athrash | {Talk)  00:47, 10 Jun 2005 (UTC)

Finalized
Findings: ευρεσις
 * Primacy of John here, adds the introductory name of Jesus (v. 12) dictated by an Aramism. Otherwise, He might be construed as conventionally surnamed (v. 17) Christ, rather than Yeshua bar-Yowceph.
 * The Law is prescriptive (v. 17), a prescription for daily living in the moral sense.
 * Logos is declared (v. 18, UKJV) and He is no more, referring to this visitation, of course.
 * Convention calls for the widely acceptable Jesus Christ, whereas all references to The Christ are rendered, the Messiah.
 * Omnificence is extra-biblical, but so is Shekinah. One must combine two phrases (v. 14) to achieve "tented glory."
 * Though, by acknowledging that implied glory, the Epistle of James becomes a relational sidebar equal to the most illustrious of apostles, Peter and John, who rise to the top in Chapter One.
 * Proposed, new order of N.T. canon: John, Matthew, Mark, Luke, Acts, James, Peter, John (letters), Hebrews, Paul (letters), Jude, Revelation. The thematic − Gospels (literary order) − Epistles (historic order or closeness to Jesus) − Apocalypse (Jude, Revelation). Why, even, if you save the best for last, then, Luke is the most beautiful story ever told and there is no Gospel without Paul. Αμην αμην
 * Astounding, Jesus may have been scripted, the two hour session (v. 39) could have outlined O.T. testimonia, which were written messianic anthologies, since some of Jesus' quotes do not match the older reference standards exactly.
 * Aramaic primacy is not pushed, but it stands to reason, being a simple and poetic language employed by simple people who met something divine. Here, the lingua franca is introduced as sometimes containing lack of coherence and redundancy. If the Word of God leaped over five language barriers, who wins in the end?
 * Guile (v. 47) is portrayed as a play on the name Jacob. The inspiration, well, nobody's perfect.   - Athrash |  {Talk)  00:25, 18 Jun 2005 (UTC)

Okay???
Can someone say on the page where you got the verses from? The Bible is a source on Wikisource. It should be noted that the verses are from the bible on Wikisource. Just a thought. Thanks!!! Tannersf 21:37, 12 March 2007 (UTC)

Sorry. I just realized that they were annotations. Tannersf 21:45, 12 March 2007 (UTC)

Creative power
The only constructive criticism offered so far was reference to (MOV) being a loose translation and the example cited here in discussion is that "creative power" was not in the original language and should be in brackets if included. This Modernity Version (MOV) was ahead of its time. The Passion Translation of 2017 reads "through his creative inspiration," but the footnote for verse 3 has: The Aramaic is “everything was in his hand (of power)" and adds reference to Ps. 33:6. So, the (MOV) use of "power" seems to be justified by its own footnote/margin comment which reads: The Omnificent Word. Also, about verse 42,TPT version states: It appears that the Greek text is admitting it is a translation from the Aramaic. - Athrash | T a l k 19:00, 16 May 2021 (UTC)

There is an old hymn pertinent to this discussion with the powerful words: By his own power were all things made; By him supported all things stand; He is the whole creation's head, And angels fly at his command. - Athrash | T a l k 22:47, 4 November 2022 (UTC)


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Biblical Studies/Christianity/John 2

Chapter 2

verses 1-4 (done)
1 Two days later there was a wedding at Cana in Galilee; and the mother of Jesus was there.

2 Jesus also was invited and His disciples were also invited , to the marriage. 3 And when they wanted wine, the mother of Jesus said to her son, "They have no wine."

4 Jesus said, "Dear woman, what is it to you or to me. My hour has not yet come."

verses 5-8 (done)
5 His mother instructed the servants, "Whatever He says, do it."

6 Six waterpots of stone were set out in the manner of Judean ceremonial washing, each about twenty gallons.

7 Jesus told the servants, "Fill the pots with water." And they filled them to the brim.

8 Then He said, "Now, take a portion to the table-master." And they did.

verses 9-12 (done)
9 When the master had tasted the water made wine without knowing the source, (albeit, the servants knew), he called the bridegroom:

10 and said, "The usual host at the very beginning serves good wine, and when the guests have drunk freely, then the inferior; but you saved the best until last."

11 Jesus performed this, the first of His [miraculous] signs, at Cana in Galilee; and as He revealed His glory, His disciples believed in Him.

12 After Cana He went down to Capernaum with His mother and brothers, and His disciples; and they spent a few days there.

verses 13-16 (done)
13 Just about this time, the yearly Judean Passover was approaching and Jesus went up to Jerusalem.

14 In the temple He found the sellers of oxen and sheep and doves: and the moneychangers were also sitting there.

15 And when He had plaited a whip of rushes, He drove those selling oxen and sheep out of the temple, and poured out the changers' money, and overturned the tables.

16 Then, He said to those who sold doves, "Take these things away. Do not make My Father's house, a house of merchandise."

verses 17-20 (done)
17 And His disciples remembered that it was written, “ZEAL FOR GOD'S HOUSE WILL CONSUME ME” (Ps. 69:9).

18 But the Judean hierarchy issued a challenge, "Give us a sign for doing such things."

19 Jesus said, "Destroy this temple, and in three days I will raise it up."

20 The hierarchs replied, "Forty-six years was this temple in building, and you will rebuild it in three days?"

verses 21-25 (done)
21 Though, here, He spoke of the temple of His body. 22 So when He had risen from the dead, His disciples remembered that He said this; and they believed the Scripture and the [prophetic] words of Jesus.

23 Now when He was in Jerusalem, at the Festival Feast of the Passover, many became believers in Him through watching witnessing the miracles He performed.

24 Yet, Jesus did not trust Himself to them, because He knew them all,

25 and did not need any one's testimony concerning a man the people, for He of Himself knew what was in the man human nature.

The Updated Modernity Version (Parallel, Annotated) John 2

 THE NEW TESTAMENT

John 1 − 2  − 3  − 4  − 5  − 6  − 7  − 8  − 9  − 10  − 11  − 12  − 13  − 14  − 15  − 16  − 17  − 18  − 19  − 20  − 21

title: Biblical Studies/Christianity/John 2


text:
User:Shdwninja8

Location: California, USA

=Wikibooks I contribute to:=
 * German
 * 3DS_MAX
 * Making_an_Island
 * Traditional_Principles_of_Animation
 * Piano

=Other wikibooks I read=
 * Lucid_Dreaming
 * Guitar
 * Programming:C_plus_plus
 * Japanese

title: User:Shdwninja8


text:
Voodoo

"Voodoo" is derived from Vodun, the indigenous African word, meaning spirit. Vodun is a way of life in which a number of spirits or deities are called upon and celebrated, including ancestors or elders in the spiritual world. Various forms of magic are used for the betterment of those who follow it. It works for those who believe it.

An Introduction to Voodooism
Voodoo differs from West African Vodun in that it integrates Catholicism, Christianity and Native American concepts. Voodoo was largely practiced by African and Indian slaves in the southern regions of the United States and the West Indies.

Vodun Around The World
The Gullah, African descendants living in South Carolina and Georgia, are prominent voodooists. Louisiana also retains a population of African, Creole and French descendants who practice voodoo. Marie Laveau was a renowned creole voodoo priest in New Orleans in the 17th century. Today, she still has mainly admirers and followers. Voodoo is the major religion of Haiti and very common in Jamaica, Brazil, Puerto Rico and less common but prevalent in Cuba. It remains common in its place of origin, Africa. From the western coast of Ghana across to Nigeria, Vodun and other religions synchronized with Vodun are prevalent.

Category
Theist Animist

Beliefs
Vodun recognises one God with many helpers called Orishas. A single divine Creator, called variously Mawu or Nana Buluku is an androgynous being who in one tradition bore seven children and gave each rule over a realm of nature - animals, earth, and sea - or else these children are inter-ethnic and related to natural phenomena or to historical or mythical individuals. The creator embodies a dual cosmogonic principle of which Mawu, the moon, and Lisa, the sun, are respectively the female and male aspects, often portrayed as the twin children of the Creator.

Vodouists believe in, Bondye (Creator). Bondye does not intercede in human affairs. Vodouists direct their worship toward spirits subservient to Bondye, called Orishas and Loa. Every Loa is responsible for a particular aspect of life. Each Loa reflects the many possibilities inherent to the aspects of life over which they preside. In order to navigate daily life, vodouists cultivate personal relationships with the Orishas and Loa through the presentation of offerings, the creation of personal altars and devotional objects, and participation in elaborate ceremonies of music, dance, and spirit possession.

Controversy
Vodou has often been associated in popular culture with Satanism, zombies and "voodoo dolls". Zombie creation has been referenced, but is not a part of Vodoo or Vodun. Such manifestations fall under the auspices of the bokor or sorcerer, rather than the priest of the Orishas and Loa. The practice of sticking pins in voodoo dolls has history in folk magic. "Voodoo dolls" are often associated with New Orleans Voodoo and Hoodoo as well the magical devices of the poppet and the nkisi or bocio of West and Central Africa.

The general fear of Vodou in the US can be traced back to the End of the Haitian Revolution (1791). The US, seeing the tremendous potential Vodou had for rallying its followers and inciting them to action, feared the events at Bois-Caiman could spill over onto American soil. Fearing an uprising in opposition to the US occupation of Haiti, political and religious elites, along with Hollywood and the film industry, sought to trivialize the practice of Vodou. The elites preferred to view it as folklore in an attempt to render it relatively harmless as a curiosity that might continue to inspire music and dance.”[34]

Hollywood often depicts Vodou as evil and having ties to Satanic practices in movies such as The Skeleton Key, "The Devil’s Advocate", The Blair Witch Project, The Serpent and the Rainbow, Child's Play, and Live and Let Die, and in children’s movies like The Princess and the Frog.

In 2010, following the 7.0 earthquake that devastated Haiti, negative attention to Vodou also followed. One of the more notable examples would be of televangelist Pat Robertson’s televised discourse on the subject. Robertson stated that the country had cursed itself after the events at Bois-Caiman because he claimed they had engaged in Satanic practices in the ceremony preceding the Haitian Revolution. "They were under the heel of the French, you know Napoleon the third and whatever. And they got together and swore a pact to the devil. They said 'We will serve you if you will get us free from the prince.' True story. And so the devil said, 'Ok it's a deal.' And they kicked the French out. The Haitians revolted and got something themselves free. But ever since they have been cursed by one thing after another"

Misconceptions
Voodoo has been widely misrepresented as a form of sorcery or witchcraft that can personally affect or inflict upon someone. Misconceptions of voodoo include sacrifices, conjuring, and even reanimation of the dead. While many believe these stories and practices, anthropologists have insisted that these bizarre voodoo practices can heal and help people from various illnesses or pains.

In Anthropology, religion is defined as the study of religion in relation to other social institutions, and the comparison of religious beliefs and practices across cultures similar to the cultures of the Caribbean and various other places that believe in Voodoo. "Voodoo is not some kind of dark mystical force, it is simply a legitimate religion," says anthropologist Wade Davis, a National Geographic Explorer-in-Residence who has studied voodoo extensively in the Caribbean nation of Haiti.

If Voodoo is to be considered a religion it must have a hearth area and with voodoo that is somewhat of a mystery. The origin of Voodoo is unknown but the general region that is thought to be the root of Voodoo is in the nation of Benin or Dahomey which means "spirit" in the local language of west Africa. Voodoo practices were passed down from generation to generation in small closed off groups. Practices including Ancestral worship, animism, and deeply ritualistic ceremonies which is used for prayer, healing, "sorcery", and cultural rituals.

Discipleship
Following of Vodun is chiefly found in West Africa, Brazil, Southern United States and the Caribbean, particularly in Haiti, Jamaica and the Dominican Republic. Smaller minorities exist in Cuba and around the world. It is noted that more than 30 million people follow Voodooism worldwide, however the exact number is unknown.

Voodooist Nations

 * 1) Benin; state religion, 7 million.
 * 2) Ghana
 * 3) Nigeria
 * 4) Uganda
 * 5) Congo
 * 6) Togo
 * 7) Haiti
 * 8) Jamaica
 * 9) Dominican Republic
 * 10) Puerto Rico
 * 11) Cuba
 * 12) Brazil
 * 13) Sects of Georgia, South Carolina and Louisiana

Chief Deities
Bondye; Creator god; Haiti and Africa

title: Voodoo


text:
Template talk:Data Structures/ChapNav

I'm slightly confused. Why is there an Arrays page and an Arrays_content page? Which is the primary page? Should the link in the template be changed? It seems that the content of Arrays is older, and Arrays_content is the primary... but I'm not positive. --Jonatin 15:13, 28 May 2005 (UTC)

 * The Data Structures/Arrays page merely "#includes" the Arrays_content page, like this:  . Other than that, the page is basically empty. The purpose is to provide a Printer Friendly page that "#includes" all chapters in a single page and to provide a Navigation friendly view where the chapter navigation bars appear. There is a chance that when you view the Arrays page that the information will appear out of date. MShonle 18:08, 28 May 2005 (UTC)

title: Template talk:Data Structures/ChapNav


text:
Cookbook:Beer Bread

Beer Bread is a bread flavored with beer. Baking powder is the primary leavening agent.

Procedure

 * 1) Preheat oven to 350°F (175°C).
 * 2) Grease a 9×5×3-inch loaf pan
 * 3) Mix flour, salt, and baking powder together well.
 * 4) Combine beer and honey, then add to the dry ingredients. Stir together until well mixed. Add more flour if necessary to make a good consistency.
 * 5) Spread batter in prepared pan.
 * 6) Bake 40–45 minutes until browned and a toothpick inserted in the center comes out clean.
 * 7) Serve warm.

Notes, tips, and variations

 * Beer with live yeast (bottle-conditioned) and carbonation will make the best rise.
 * This bread can have a very hard crust, making it somewhat difficult to slice. One thing that works well is to begin by dividing the loaf lengthwise, then turning each half loaf onto the newly formed flat side and cutting neat smaller (half-sized) slices.
 * Darker beers, such as porter and stout, will produce darker breads. Lighter beers, such as Pilsner and lager, will produce lighter breads.
 * If self-raising flour is used instead of all-purpose flour, the salt and baking powder may be omitted.

title: Cookbook:Beer Bread


text:
User talk:KW~enwikibooks

KW aka Kirt T C

I am interested very much in the Wiki Process and shared public knowledge bases, especially in the topic area of emergency medicine (EM).

Note 206.180.152.3 was me, inadvertently not signed in... another story there- later KW

I am joining Paris Lovett in the development of OCTEM, the Wikibook textbook of emergency medicine.

In particular, I am interested in breaking down the structure of the knowledge of emergency medicine into small chunks (factoids ?) with extensive hyperlinks and multiple schemes of organization of the factoids. I am interested in the ultimate user perspective to rapidly get to the exact piece of information desired in the format/organization desired.
 * Chunks

The structure of the wikibook must match an easily used, easily understood cognitive paradigm.

For example, current physical textbooks in EM typically have chapters of 20-50 pages, with several types of organization, controlled by a table of contents (TOC). The TOC may be presented in two levels of detail- first a one page summary with just chapter title, one or two lines and page number to get there. A second level of detail may go for 8 or 10 pages and show every section within the chapters and a page number (to get there). An index is in the back of the book, where words and phrases are given in alphabetic order with page numbers and maybe short identifiers of the entry.

These are logical structures to emulate and keep current automatically. Links are better than page numbers.

I believe there should be multiple Tables of Contents - super-structures to the OCTEM, using different organisational methods to point into the articles.

For example, one could start with diseses and break them down to groups and subgroups with treatments ultimately discussed.

Or one could organize a TOC of drugs, by large classes and sub classes and then by indications (diagnoses) and ultimately point to the many of the same terminal articles, ie leaf-pages in these two different logical trees.

A third tree might break cardinal symptoms into groups, subgroups of symptoms or micro-syndromes, and proceed to diseases and treatments. This perspective, of the same knowledge ultimately, starts from the pragmatic context of how we handle a particular patient, fitting his/her symptoms into patterns of possible diagnoses, deciding upon tests to further clarify, and then decide treatments.

A paper text book typically has chapters which may be organized in one or more of the above structures, but the text can only exist in one chapter and the user is left to the index to find related sections.

Super index pages may help "disambiguate" where the user really wants to go when looking up "chest pain" by giving a brief but helpful few words to give the context and content of eack link to the phrase chest pain, when there will be many.

I believe very thoughtful design by those of us who understand both database structure and emergency medicine knowledge should lay out a structure and maintain it as many authors fill in the blanks, in a form that is ultimately clear and useful to many readers.

I expect there to be hundreds of users for each real contributor/writers and a few designers to plan for the layout of the many writers.

The ultimate design should optimize the readers' experience first and the contributors second.

Ultimately, I believe a real textbook of medicine must be stabilized and controlled somehow. I, as a physician reader, cannot look up information that may have just been edited in error by a malicious or ignorant writer. I want the textbook to be a reliable source of details. Facts such as drug doses for various indications and patient circumstances therefore must be correct and will be correct when thay are viewed and corrected by many. As an emergency physician in practice, ( a reader-role) I want to be able to quickly type "magnesium seizures pregnancy" and land right in a context I can quickly verify is what I want and find doses and strategy to use and depend upon for a particular patient. There are many times this will be more reliable than my memory for situations which do not occur frequently in practice.

I believe we can evolve and design a process for allowing wide open contributions to the textbook and still also have an editor role, electronically-supported process where a small committee is assigned responsibility for selected articles. These editorial committees would typically include EM residency faculty members. Submissions from anyone would be approved or vetoed electronically by committee members individually, as an enhanced function analogous to WatchLists in standard Wiki use. There would be many committees linked to each juried article. Other sections may be visible or just visible within Talk or discussion areas, but clearly delineated and not certified by the above process.

I believe this can be done with simple extensions to the WIki registration and history-tracking system.

A mode may distinguish the editorially-controlled portions or tabs such as history and discussion tabs which might show changes not approved by editorial subcommittee yet or even those not approved for general inclusion.

I do believe the OCTEM will need to be extracted from the WIkibook.org system, using a separate server to modify the software and control the user registration somewhat. The software is open source and the current model is compatible with changing ultimately to a controlled system, as the content as well as the wiki software are open source and may be taken and enhanced as I have suggested.

KW

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:18, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:06, 19 April 2015 (UTC)

title: User talk:KW~enwikibooks


text:
User talk:Charles~enwikibooks

Mathematicsforsignalprocessing and related pages
I added these pages on the Votes for deletion page to be transwikied to the french wikibooks. RoceKiller 22:30, 28 May 2005 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:05, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 04:47, 19 April 2015 (UTC)

title: User talk:Charles~enwikibooks


text:
Talk:European History/Authors

Vandalism
I would like to personally apolgizie to all these others not including payam for the immature destruction of your hard work by pathetic woodbridge high school sophomores, may the students who defiled this study guide rot in hell and FAIL the ap exam
 * Eh, not really a problem. Saddening, but easy to revert pages back to their original states. ~ Booya 22:52, 28 May 2005 (UTC)

Name removal
I've taken off my name, as well as Sylvia's, as our school year is over and I severely doubt that either of us will touch this page again. I like having this page because it keeps record of who is currently working on the book (so one knows who to contact)... There probably should be a policy for removing names of people who we know will no longer update... ~ Booya 22:55, 28 May 2005 (UTC)

title: Talk:European History/Authors


text:
Piano

The piano

Contents

 * /Introduction/
 * /Types of Pianos/
 * /Why Play Piano?/
 * /Brief History of The Piano/
 * /The Basics/
 * /Reading Music/
 * /Rhythm/
 * /Fundamental Rhythm/
 * /Audio Examples/
 * /Rhythmic Notation/
 * /Melody/
 * /Single Notes/
 * /One Note per Clef/
 * /Harmony/
 * /Four Part Harmony/
 * /Figured Bass/
 * /Bach and Mozart/
 * /Leadsheets/
 * /Treble Clef and Bass Clef/
 * /Notes of the Staves/
 * /Ledger Lines/
 * /Fingering/
 * /Value/
 * /Rests/
 * /Measures/
 * /Time Signatures/
 * /Tied Notes/
 * /Accidentals/
 * /Key Signature/
 * /Intervals/
 * /Pickup Measures/
 * /Repetitions/
 * /Playing by Ear/
 * /Practicing Playing by Ear/
 * /Playing by Ear: Lesson 01/
 * /Playing by Ear: Lesson 02/
 * Other pages (Please either incorporate these into the text or mark them for deletion by typing on each page. Thanks.)
 * /Chords (and pop examples)/
 * /Climatization
 * /Scales/
 * /Piano Practice/
 * /Pedals/
 * /How Piano Works/
 * /Alternative Notation: Klavar/

เปียโน

title: Piano


text:
User:Alphax

Well, meta should be the central point of coordination, but it's pretty useless for content. Commons is a much better place to find me. And if you want my "home" project, try the english Wikipedia. Alphax 12:14, 29 October 2005 (UTC)
 * Note that I'm an admin at Commons. I may or may not come here to de-link images. Alphax 12:22, 17 September 2006 (UTC)

title: User:Alphax


text:
Category:Bread recipes

See WikiBooks's bread page for information on bread. This page simply shows all recipes that have been put in the category bread.

hy:Կատեգորիա:Հացեր is:Flokkur:Brauðuppskriftir it:Categoria:Pane e focacce ms:Kategori:Roti nl:Categorie:Broodrecept pl:Kategoria:Chleby

title: Category:Bread recipes


text:
Surgical Procedures/Mandibular Fractures

The mandible or the lower jaw bone behaves as a ring. As much as you try, it is almost impossible to break a glass bangle (a ring-like object) in a single place - it always breaks at the diametrically opposite segment. Similarly, the mandible tends to break in two places when injured. When it does not break in two places, injury similar to a fracture has been absorbed by the temporomandibular joint, which compromises the joint and its function significantly.

The weak points on the mandible are where the nerves enter and leave its substance: at the entrance of the inferior alveolar nerve, and at the exit of the mental nerve. When the fracture passes through a tooth root, it is likely to be "compound" in nature, meaning that it communicates with the mouth. Here, the risk of infection is very high, and untreated fractures not only malunite, but may never unite, and lead to life threatening neck space infections.

Mandibular fractures require individualised treatment, dependent on the age of the patient, the dentition, the oral hygiene, and the timing of surgery (how distant to the injury).

Most fractures can be reduced and fixed in place (titanium plates and screws are employed, so there is no risk of "rejection", and little risk of infection) from the inside of the mouth, avoiding any scars. However, those fractures that happen just below the head of the mandible(the subcondylar fractures) will require external approaches, as would certain other types of fractures.

Most patients will then be permitted soft, mushy food for 4 weeks, after which a fairly normal lifestyle may be resumed.

The defining factor of how well the procedure has been will be very obvious from the "occlusion" of the patient, which is the resting position of the jaws in relation to each other: the patient will be able to sens the return to normalcy soon after surgery.


text:
Ada Programming/Libraries/GUI

The following libraries can be used to make Graphical User Interfaces:
 * Ada_GUI : Jeff Carter's Ada_GUI based on GNOGA
 * CLAW : Commercial GUI toolkit for Windows. Introductory Edition is distributed under GMGPL.
 * GtkAda : Binding to the popular GTK+ toolkit.
 * GWindows : RAD GUI Development Framework for Windows.
 * JEWL : John English Windows Library
 * Qt4Ada : An Ada2005 binding to Qt4. Under CeCILL license V2.
 * QtAda : An Ada2005 binding to the Qt libraries and associated tools. Under GPL and GMGPL (commercially supported) licenses.
 * libAgar : Ada bindings for the libagar OpenGL GUI library (BSD license).
 * TASH : TclAdaSHell, An Ada binding to Tcl/Tk. GPL with "Linking Exception".

Wikibook

 * Ada Programming
 * Ada Programming/Libraries

title: Ada Programming/Libraries/GUI


text:
Blender 3D: HotKeys/old

Blender HotKeys – Relevant to Blender 2.37a * – Compiled from Blender Online Guides

Window HotKeys
Certain window managers also use the following hotkeys. So ALT-CTRL can be substituted for CTRL to perform the functions described below if a conflict arises.
 * CTRL-LEFTARROW. Go to the previous Screen.
 * CTRL-RIGHTARROW. Go to the next Screen.
 * CTRL-UPARROW or CTRL-DOWNARROW. Maximise the window or return to the previous window display size.
 * SHIFT-F4. Change the window to a Data View
 * SHIFT-F5. Change the window to a 3D Window
 * SHIFT-F6. Change the window to an IPO Window
 * SHIFT-F7. Change the window to a Buttons Window
 * SHIFT-F8. Change the window to a Sequence Window
 * SHIFT-F9. Change the window to an Outliner Window
 * SHIFT-F10. Change the window to an Image Window
 * SHIFT-F11. Change the window to a Text Window
 * SHIFT-F12. Change the window to an Action Window

Universal HotKeys
The following HotKeys work uniformly in all Blender Windows, if the Context allows:
 * CTRL-LMB. Lasso select: drag the mouse to form a freehand selection area.

 * ESC.
 * This key always cancels Blender functions without changes.
 * or: FileWindow, DataView and ImageSelect: back to the previous window type.
 * or: the RenderWindow is pushed to the background (or closed, that depends on the operating system).
 * SPACE. Open the Toolbox.
 * CTRL-SPACE. Opens menu with manipulator type choices. (Press 2, 3, 4, or 5 to change the widget type) *
 * ALT-SPACE. Opens menu with manipulator orientation choices. *
 * TAB. Start or quit EditMode.
 * F1. Loads a Blender file. Changes the window to a FileWindow.
 * SHIFT-F1. Appends parts from other files, or loads as Library-data. Changes the window to a FileWindow, making Blender files accessible as a directory.
 * F2. Writes a Blender file. Change the window to a FileWindow.
 * SHIFT-F2. Exports the scene as a DXF file
 * CTRL-F2. Exports the scene as a VRML1 file
 * F3. Writes a picture (if a picture has been rendered). The fileformat is as indicated in the DisplayButtons. The window becomes a File Select Window.
 * CTRL-F3 (ALT-CTRL-F3 on MacOSX). Saves a screendump of the active window. The fileformat is as indicated in the DisplayButtons. The window becomes a FileWindow.
 * SHIFT-CTRL-F3. Saves a screendump of the whole Blender screen. The fileformat is as indicated in the DisplayButtons. The window becomes a FileWindow.
 * F4. Displays the Logic Context (if a ButtonsWindow is available).
 * F5. Displays the Shading Context (if a Buttons Window is available), Light, Material or World Sub-contextes depends on active object.
 * F6. Displays the Shading Context and Texture Sub-context (if a ButtonsWindow is available).
 * F7. Displays the Object Context (if a ButtonsWindow is available).
 * F8. Displays the Shading Context and World Sub-context (if a ButtonsWindow is available).
 * F9. Displays the Editing Context (if a ButtonsWindow is available).
 * F10. Displays the Scene Context (if a ButtonsWindow is available).
 * F11. Hides or shows the render window.
 * F12. Starts the rendering from the active camera.
 * LEFTARROW. Go to the previous frame.
 * SHIFT-LEFTARROW. Go to the first frame.
 * RIGHTARROW. Go to the next frame.
 * SHIFT-LEFTARROW. Go to the last frame.
 * UPARROW. Go forward 10 frames.
 * DOWNARROW. Go back 10 frames.
 * ALT-A. Change the current Blender window to Animation Playback mode. The cursor changes to a counter.
 * ALT-SHIFT-A. The current window, plus all 3DWindows go into Animation Playback mode.
 * IKEY. Insert Key menu. This menu differs from window to window.
 * JKEY. Toggle the render buffers. Blender allows you to retain two different rendered pictures in memory.
 * CTRL-O. Opens the last saved file.
 * QKEY. OK? Quit Blender. This key closes Blender. Blender quit is displayed in the console if Blender is properly closed.
 * ALT-CTRL-T. TimerMenu. This menu offers access to information about drawing speed. The results are displayed in a pop-up.
 * CTRL-U. OK, Save User defaults. The current project (windows, objects, etc.), including UserMenu settings are written to the default file that will be loaded every time you start Blender or set it to defaults by pressing CTRL-X.
 * CTRL-W. Write file. This key combination allows you to write the Blender file without opening a FileWindow.
 * ALT-W. Write Videoscape file. Changes the window to a FileWindow.
 * CTRL-X. Erase All. Everything (except the render buffer) is erased and released. The default scene is reloaded.
 * CTRL-Y. Redo. Mac users may use CMD-Y.
 * CTRL-Z. Undo. Mac users may use CMD-Z.
 * SHIFT-CTRL-Z. Redo. Mac users may use SHIFT-CMD-Z

Object Mode HotKeys
These hotkeys are mainly bound to the 3D Viewport Window, but many work on Objects in most other windows, like IPOs and so on, hence they are summarized here.
 * HOME. All Objects in the visible layer are displayed completely, centered in the window.
 * PAGEUP. Select the next Object Key. If more than one Object Key is selected, the selection is shifted up cyclically. Only works if the AnimButtons->DrawKey is ON for the Object.
 * SHIFT-PAGEUP. Adds to selection the next Object Key.
 * PAGEDOWN. Select the previous Object Key. If more than one Object Key is selected, the selection is shifted up cyclically. Only works if the AnimButtons->DrawKey is ON for the Object.
 * SHIFT-PAGEDOWN. Adds to selection the previous Object Key.
 * ACCENT. (To the left of the 1KEY in US keyboard) Select all layers.
 * SHIFT-ACCENT. Revert to the previous layer setting.
 * TAB. Start/stop EditMode. Alternative hotkey: ALT-E.
 * AKEY. Selects/deselects all.
 * CTRL-A. Apply size and rotation. The rotation and dimensions of the Object are assigned to the ObData (Mesh, Curve, etc.). At first glance, it appears as if nothing has changed, but this can have considerable consequences for animations or texture mapping. This is best illustrated by also having the axis of a Mesh Object be drawn (EditButtons->Axis). Rotate the Object and activate Apply. The rotation and dimensions of the Object are 'erased'.
 * SHIFT-CTRL-A. If the active Object is automatically duplicated (see AnimButtons->DupliFrames or AnimButtons- >Dupliverts), a menu asks Make duplis real?. This option actually creates the Objects. If the active Mesh Object is deformed by a Lattice, a menu asks Apply Lattice deform?. Now the deformation of the Lattice is assigned to the vertices of the Mesh.
 * SHIFT-A. This is the AddMenu. In fact, it is the ToolBox that starts with the `ADD' option. When Objects are added, Blender starts EditMode immediately if possible.
 * BKEY. Border Select. Draw a rectangle with the LeftMouse; all Objects within this area are selected, but not made active. Draw a rectangle with the RightMouse to deselect Objects. In orthonormal ViewMode, the dimensions of the rectangle are displayed, expressed as global coordinates, as an extra feature in the lower left corner. In Camera ViewMode, the dimensions that are to be rendered according to the DisplayButtons are displayed in pixel units.
 * SHIFT-B. Render Border. This only works in Camera ViewMode. Draw a rectangle to render a smaller cut-out of the standard window frame. If the option DisplayButtons->Border is ON, a box is drawn with red and black lines.
 * CKEY. Centre View. The position of the 3DCursor becomes the new centre of the 3DWindow.

 * ALT-C. Convert Menu. Depending on the active Object, a PopupMenu is displayed. This enables you to convert certain types of ObData. It only converts in one direction, everything ultimately degrades to a Mesh! The options are:
 * Font -> Curve
 * MetaBall -> Mesh The original MetaBall remains unchanged.
 * Curve -> Mesh
 * Surface -> Mesh

 * CTRL-C. Copy Menu. This menu copies information from the active Object to (other) selected Objects.
 * Fixed components are:
 * Copy Loc: the X,Y,Z location of the Object. If a Child is involved, this location is the relative position in relation to the Parent.
 * Copy Rot: the X,Y,Z rotation of the Object.
 * Copy Size: the X,Y,Z dimension of the Object.
 * DrawType: copies Object Drawtype.
 * TimeOffs: copies Object time offset.
 * Dupli: all Duplicator data (Dupliframes, Dupliverts and so on)
 * Mass: Real time stuff.
 * Damping: Real time stuff.
 * Properties: Real time stuff.
 * Logic Bricks: Real time stuff.
 * Constraints: copies Object constraints.
 * If applicable:
 * Copy TexSpace: The texture space.
 * Copy Particle Settings: the complete particle system from the AnimButtons.
 * For Curve Objects:
 * Copy Bevel Settings: all bevelling data from the EditButtons.
 * Font Objects:
 * Copy Font Settings: font type, dimensions, spacing.
 * Copy Bevel Settings: all bevelling data from the EditButtons.
 * Camera Objects:
 * Copy Lens: the lens value.
 * SHIFT-C. CentreZero View. The 3DCursor is set to zero (0,0,0) and the view is changed so that all Objects, including the 3Dcursor, can be displayed. This is an alternative for HOME.
 * DKEY. Draw mode menu. Allows to select draw modes exactly as the corresponding menu in the 3D viewport header does.
 * SHIFT-D. Add Duplicate. The selected Objects are duplicated. Grab mode starts immediately thereafter.
 * ALT-D. Add Linked Duplicate. Of the selected Objects linked duplicates are created. Grab mode starts immediately thereafter.
 * CTRL-D. Draw the (texture) Image as wire. This option has a limited function. It can only be used for 2D compositing.
 * ALT-E. Start/stop EditMode. Alternative hotkey: TAB.
 * FKEY. If selected Object is a mesh Toggles Face selectMode on and off.
 * CTRL-F. Sort Faces. The faces of the active Mesh Object are sorted, based on the current view in the 3DWindow. The leftmost face first, the rightmost last. The sequence of faces is important for the Build Effect (AnimButtons).

 * GKEY. Grab Mode. Or: the translation mode. This works on selected Objects and vertices. Blender calculates the quantity and direction of the translation, so that they correspond exactly with the mouse movements, regardless of the ViewMode or view direction of the 3DWindow. Alternatives for starting this mode:
 * LMB to draw a straight line.
 * The following options are available in translation mode:
 * Limiters:
 * CTRL: in increments of 1 grid unit.
 * SHIFT: fine movements.
 * SHIFT-CTRL: in increments of 0.1 grid unit.
 * SHIFT-X: Locking the X axis in place. Moving along Y, Z axis only. *
 * SHIFT-Y: Locking the Y axis in place. Moving along X, Z axis only. *
 * SHIFT-Z: Locking the Z axis in place. Moving along X, Y axis only. *
 * MMB toggles: A short click restricts the current translation to the X,Y or Z axis. Blender calculates which axis to use, depending on the already initiated mouse movement. Click MiddleMouse again to return to unlimited translation.
 * XKEY, YKEY, ZKEY constrains movement to X, Y or Z axis of the global reference.
 * a second XKEY, YKEY, ZKEY constrains movement to X, Y or Z axis of the local reference.
 * a third XKEY, YKEY, ZKEY removes constraints.
 * NKEY enters numerical input, as well as any numeric
 * key directly. TAB will switch between values, ENTER finalizes, ESC exits.
 * ARROWS: These keys can be used to move the mouse cursor exactly 1 pixel.
 * Grabber can be terminated with:
 * LMB SPACE or ENTER: move to a new position.
 * RMB or ESC: everything goes back to the old position.
 * Switching mode:
 * GKEY: starts Grab mode again.
 * SKEY: switches to Size (Scale) mode.
 * RKEY: switches to Rotate mode.
 * ALT-G. Clears translations, given in Grab mode. The X,Y,Z locations of selected Objects are set to zero.
 * CTRL-ALT-G. Translation Manipulator. *

 * SHIFT-G. Group Selection
 * Children: Selects all selected Object's Children.
 * Immediate Children: Selects all selected Object's first level Children.
 * Parent: Selects selected Object's Parent.
 * Shared Layers: Selects all Object on the same Layer of active Object

 * IKEY. Insert Object Key. A keyposition is inserted in the current frame of all selected Objects. A PopupMenu asks what key position(s) must be added to the IpoCurves.
 * Loc: The XYZ location of the Object.
 * Rot: The XYZ rotation of the Object.
 * Size: The XYZ dimensions of the Object
 * LocRot: The XYZ location and XYZ rotation of the Object.
 * LocRotSize: The XYZ location, XYZ rotation and XYZ dimensions of the Object.
 * Layer: The layer of the Object.
 * Avail: A position is only added to all the current IpoCurves, that is curves which already exists.
 * Mesh, Lattice, Curve or Surface: depending on the type of Object, a VertexKey can be added
 * CTRL-J. Join Objects. All selected Objects of the same type are added to the active Object. What actually happens here is that the ObData blocks are combined and all the selected Objects (except for the active one) are deleted. This is a rather complex operation, which can lead to confusing results, particularly when working with a lot of linked data, animation curves and hierarchies.
 * KKEY. Show Keys. The DrawKey option is turned ON for all selected Objects. If all of them were already ON, they are all turned OFF.
 * SHIFT-K. A PopupMenu asks: OK? Show and select all keys. The DrawKey option is turned ON for all selected Objects, and all Object-keys are selected. This function is used to enable transformation of the entire animation system.
 * LKEY. Makes selected Object local. Makes library linked objects local for the current scene.

 * CTRL-L. Link selected. Links some of the Active Object data to all selected Objects, the following menu entry appears only if applicable.
 * To Scene: Creates a link of the Object to a scene.
 * Object IPOs: Links Active Object IPOs to selected ones.
 * Mesh data: Links Active Object Mesh data selected ones.
 * Lamp Data: Links Active Object Lamp data to selected ones.
 * Surf Data: Links Active Object Surf data selected ones.
 * Material: Links Active Object Material to selected ones.

 * SHIFT-L. Select Linked. Selects all Objects somehow linked to active Object.
 * Object IPO: Selects all Object(s) sharing active Object's IPOs.
 * Object Data: Selects all Object(s) sharing active Object's ObData.
 * Current Material: Selects all Object(s) sharing active Object's current Material.
 * Current Texture: Selects all Object(s) sharing active Object's current Texture.
 * MKEY. Moves selected Object(s) to another layer, a pop-up appears. Use LMB to move, use SHIFT-LMB to make the object belong to multiple layers. If the selected Objects have different layers, this is ORed in the menu display. Use ESC to exit the menu. Press the "OK" button or ENTER to change the layer seting. The hotkeys (ALT-)(1KEY, 2KEY, ... - 0KEY) work here as well (see 3DHeader).
 * CTRL-M. Mirror Menu. It is possible to mirror an Object along the X, Y or Z axis.
 * NKEY. Number Panel. The location, rotation and scaling of the active Object are displayed and can be modified.
 * ALT-O. Clear Origin. The `Origin' is erased for all Child Objects, which causes the Child Objects to move to the exact location of the Parent Objects.
 * SHIFT-O. If the selected Object is a Mesh toggles SubSurf onn/ off. CTRL-1 to CTRL-4 switches to the relative SubSurf level for display purpouses. Rendering SUbSurf level has no HotKey.

should not be created, should be created empty or created and populated.
 * CTRL-P. Make selected Object(s) the child(ren) of the active Object. If the Parent is a Curve then a popup offers two choices:
 * Normal Parent: Make a normal parent, the curve can be made a path later on.
 * Follow Path: Automatically creates a Follow Path constraint with the curve as target. If the Parent is an Armature, a popup offers three options:
 * Use Bone: One of the Bones becomes the parent. The Object will not be deformed. A popup permits to select the bone. This is the option if you are modeling a robot or machinery
 * Use Armature: The whole armature is used as parent for deformations. This is the choiche for organic beings.
 * Use Object: Standard parenting. In the second case further options asks if Vertex groups
 * ALT-P. Clears Parent relation, user is asked if he wishes to keep or clear parent-induced transforms.
 * Clear Parent: the selected Child Objects are unlinked from the Parent. since the transformation of the Parent disappears, this can appear as if the former Children themselves are transformed.
 * ... and keep transform: the Child Objects are unlinked from the Parent, and an attempt is made to assign the current transformation, which was determined in part by the Parent, to the (former Child) Objects.
 * Clear Parent inverse: The inverse matrix of the Parent of the selected Objects is erased. The Child Objects remain linked to the Objects. This gives the user complete control over the hierarchy.
 * SHIFT-P. Push/Pull Transformations. It is a bit like scaling, except that every element is moved the same distance toward or away from the center. The distance they move is controlled by moving the mouse toward you (pull away from center) or away from you (push toward center). *

 * RKEY. Rotate mode. Works on selected Object(s). In Blender, a rotation is by default a rotation perpendicular to the screen, regardless of the view direction or ViewMode. The degree of rotation is exactly linked to the mouse movement. Try moving around the rotation midpoint with the mouse. The rotation pivot point is determined by the state of the 3DWiewport Header buttons. Alternatives for starting this mode:
 * LMB to draw a C-shaped curve.
 * The following options are available in rotation mode:
 * Limiters:
 * CTRL: in increments of 5 degrees.
 * SHIFT: fine movements.
 * SHIFT-CTRL: in increments of 1 degree.
 * SHIFT-X: Locking the X axis in place. Rotating along Y, Z axis only. *
 * SHIFT-Y: Locking the Y axis in place. Rotating along X, Z axis only. *
 * SHIFT-Z: Locking the Z axis in place. Rotating along X, Y axis only. *
 * MMB toggles: A short click restricts the current rotation to the horizontal or vertical view axis.
 * XKEY, YKEY, ZKEY constrains rotation to X, Y or Z axis of the global reference.
 * a second XKEY, YKEY, ZKEY constrains rotation to X, Y or Z axis of the local reference.
 * a third XKEY, YKEY, ZKEY removes constraints.
 * NKEY enters numerical input, as well as any numeric key directly. ENTER finalizes, ESC exits.
 * ARROWS: These keys can be used to move the mouse cursor exactly 1 pixel.
 * Rotation can be terminated with:
 * LMB SPACE or ENTER: move to a new position.
 * RMB or ESC: everything goes back to the old position.
 * Switching mode:
 * GKEY: switches to Grab.
 * SKEY: switches to Size (Scale) mode.
 * RKEY: starts Rotate mode again.
 * ALT-R. Clears Rotation. The X,Y,Z rotations of selected Objects are set to zero.
 * CTRL-ALT-R. Rotation Manipulator. *

 * SKEY. Size mode or scaling mode. Works on selected Object(s). The degree of scaling is exactly linked to the mouse movement. Try to move from the (rotation) midpoint with the mouse. The pivot point is determined by the settings of the 3D Viewport header pivot Menu. Alternatives for starting scaling mode:
 * LMB to draw a V-shaped line.
 * The following options are available in scaling mode:
 * Limiters:
 * CTRL: in increments of 0.1.
 * SHIFT-CTRL: in increments of 0.01.
 * SHIFT-X: Locking the X axis in place. Scaling along Y, Z axis only. *
 * SHIFT-Y: Locking the Y axis in place. Scaling along X, Z axis only. *
 * SHIFT-Z: Locking the Z axis in place. Scaling along X, Y axis only. *
 * MMB toggles: A short click restricts the scaling to X, Y or Z axis. Blender calculates the appropriate axis based on the already initiated mouse movement. Click MMB again to return to free scaling.
 * XKEY, YKEY, ZKEY constrains scaling to X, Y or Z axis of the local reference.
 * a second XKEY, YKEY, ZKEY removes constraints.
 * NKEY enters numerical input, as well as any numeric key directly. ENTER finalizes, ESC exits.
 * ARROWS:These keys can be used to move the mouse cursor exactly 1 pixel.
 * Scaling can be terminated with:
 * LMB SPACE or ENTER: move to a new position.
 * RMB or ESC: everything goes back to the old dimension.
 * Switching mode:
 * GKEY: switches to Grab.
 * SKEY: starts Size mode again.
 * RKEY: switches to Rotation.
 * ALT-S. Clears Size. The X,Y,Z dimensions of selected Objects are set to 1.0.
 * CTRL-ALT-S. Scale Manipulator. *
 * CTRL-SHIFT-S. To Sphere Transformations. An interactive version of the To Sphere tool, working both in Edit Mode (on all data types) and in Object Mode. *

 * SHIFT-S. SnapMenu:
 * Sel->Grid: Moves Object to nearest grid point.
 * Sel->Curs: Moves Object to cursor.
 * Curs->Grid: Moves cursor to nearest grid point.
 * Curs->Sel: Moves cursor to selected Object(s).
 * Sel->Center: Moves Objects to their barycentrum.
 * TKEY. Texture space mode. The position and dimensions of the texture space for the selected Objects can be changed in the same manner as described above for Grab and Size mode. To make this visible, the drawingflag EditButtons->TexSpace is set ON. A PopupMenu asks you to select: "Grabber" or "Size".
 * CTRL-T. Makes selected Object(s) track the Active Object. Old track method was Blender default tracking before version 2.30. The new method is the Constrain Track, this creates a fully editable constraint on the selected object targeting the active Object.
 * ALT-T. Clears old style Track. Constraint track is removed as all constrains are.
 * UKEY. Makes Object Single User, the inverse operation of Link

 * (CTRL-L) a pop-up appears with choices.
 * Object: if other Scenes also have a link to this Object, the link is deleted and the Object is copied. The Object now only exists in the current Scene. The links from the Object remain unchanged.
 * Object & ObData: Similar to the previous command, but now the ObData blocks with multiple links are copied as well. All selected Objects are now present in the current Scene only, and each has a unique ObData (Mesh, Curve, etc.).
 * Object & ObData & Materials+Tex: Similar to the previous command, but now Materials and Textures with multiple links are also copied. All selected Objects are now unique. They have unique ObData and each has a unique Material and Texture block.
 * Materials+Tex: Only the Materials and Textures with multiple links are copied.
 * VKEY. Switches in/out of Vertex Paint Mode.
 * ALT-V. Object-Image Aspect. This hotkey sets the X and Y dimensions of the selected Objects in relation to the dimensions of the Image Texture they have. Use this hotkey when making 2D Image compositions and multi-plane designs to quickly place the Objects in the appropriate relationship with one another.
 * WKEY. Opens Object Booleans Menu.
 * XKEY. Erase Selected? Deletes selected objects.
 * ZKEY. Toggles Solid Mode on/off.
 * SHIFT-Z. Toggles Shaded Mode on/off.
 * ALT-Z. Toggles Textured Mode on/off.

Edit Mode - General
Again, Most of these hotkeys are useful in the 3D Viewport when in Edit Mode, but many works on other Blender Object, so they are summarized here. Many Object Mode keys works in Edit mode too, but on the selected vertices or control points; among these Grab, Rotate, Scale and so on. These hotkeys are not repeated here.
 * TAB or ALT-E. This button starts and stops Edit Mode.
 * CTRL-TAB. Switches between Vertex Select, Edge Select, and Face Select modes. Holding SHIFT while clicking on a mode will allow you to combine modes.
 * AKEY. Select/Unselect all.
 * BKEY-BKEY. Circle Select. If you press BKEY a second time after starting Border Select, Circle Select is invoked. It works as described above. Use NUM+ or NUM- or MW to adjust the circle size. Leave Circle Select with RMB or ESC.
 * CTRL-H. With vertices selected, this creates a "Hook" object. Once a hook is selected, CTRL-H brings up an options menu for it.
 * NKEY. Number Panel. Simpler than the Object Mode one, in Edit Mode works for Mesh, Curve, Surface: The location of the active vertex is displayed.
 * OKEY. Switch in/out of Proportional Editing.
 * SHIFT-O. Toggles between Smooth and Sharp Proportional Editing.
 * PKEY. SeParate. You can choose to make a new object with all selected vertices, edges, faces and curves or create a new object from each separate group of interconnected vertices from a popup. Note that for curves you cannot separate connected control vertices. This operation is the opposite of Join (CTRL-J).
 * CTRL-P. Make Vertex Parent. If one object (or more than one) is/are selected and the active Object is in Edit Mode with 1 or 3 vertices selected then the Object in Edit Mode becomes the Vertex Parent of the selected Object(s). If only 1 vertex is selected, only the location of this vertex determines the Parent transformation; the rotation and dimensions of the Parent do not play a role here. If three vertices are selected, it is a `normal' Parent relationship in which the 3 vertices determine the rotation and location of the Child together. This method produces interesting effects with Vertex Keys. In EditMode, other Objects can be selected with CTRL-RMB.
 * CTRL-S. Shear. In EditMode this operation enables you to make selected forms `slant'. This always works via the horizontal screen axis.
 * UKEY. Undo. When starting Edit Mode, the original ObData block is saved and can be returned to via UKEY. Mesh Objects have better Undo, see next section.
 * WKEY. Specials PopupMenu. A number of tools are included in this PopupMenu as an alternative to the Edit Buttons. This makes the buttons accessible as shortcuts, e.g. EditButtons-> Subdivide is also `WKEY, 1KEY'.
 * SHIFT-W. Warp. Selected vertices can be bent into curves with this option. It can be used to convert a plane into a tube or even a sphere. The centre of the circle is the 3DCursor. The mid-line of the circle is determined by the horizontal dimensions of the selected vertices. When you start, everything is already bent 90 degrees. Moving the mouse up or down increases or decreases the extent to which warping is done. By zooming in/out of the 3Dwindow, you can specify the maximum degree of warping. The CTRL limiter increments warping in steps of 5 degrees.

EditMode - Mesh
This section and the following highlight peculiar EditMode Hotkeys.
 * CTRL-NUM+. Adds to selection all vertices connected by an edge to an already selected vertex.
 * CTRL-NUM-. Removes from selection all vertices of the outer ring of selected vertices.
 * ALT-CTRL-RMB. Edge select.
 * CKEY. If using curve deformations, this toggles the curve Cyclic mode on/off.
 * EKEY. Extrude Selected. "Extrude" in EditMode transforms all the selected edges to faces. If possible, the selected faces are also duplicated. Grab mode is started directly after this command is executed.
 * SHIFT-EKEY. Crease Subsurf edge. With "Draw Creases" enabled, pressing this key will allow you to set the crease weight. Black edges have no weight, edge-select color have full weight.
 * CTRL-EKEY. Mark LSCM Seam. Marks a selected edge as a "seam" for unwrapping using the LSCM mode.
 * FKEY. Make Edge/Face. If 2 vertices are selected, an edge is created. If 3 or 4 vertices are selected, a face is created.
 * SHIFT-F. Fill selected. All selected vertices that are bound by edges and form a closed polygon are filled with triangular faces. Holes are automatically taken into account. This operation is 2D; various layers of polygons must be filled in succession.
 * ALT-F. Beauty Fill. The edges of all the selected triangular faces are switched in such a way that equally sized faces are formed. This operation is 2D; various layers of polygons must be filled in succession. The Beauty Fill can be performed immediately after a Fill.
 * CTRL-F. Flip faces, selected triangular faces are paired and common edge of each pair swapped.
 * HKEY. Hide Selected. All selected vertices and faces are temporarily hidden.
 * SHIFT-H. Hide Not Selected: All non-selected vertices and faces are temporarily hidden.
 * ALT-H. Reveal. All temporarily hidden vertices and faces are drawn again.
 * ALT-J. Join faces, selected triangular faces are joined in pairs and transformed to quads

 * KKEY. Knife tool Menu.
 * Face Loop Select: (SHIFT-R) Face loops are highlighted starting from edge under mouse pointer. LMB finalizes, ESC exits.
 * Face Loop Cut: (CTRL-R) Face loops are highlighted starting from edge under mouse pointer. LMB finalizes, ESC exits.
 * Knife (exact): (SHIFT-K) Mouse starts draw mode. Selected Edges are cut at intersections with mouse line. ENTER or RMB finalizes, ESC exits.
 * Knife (midpoints): (SHIFT-K) Mouse starts draw mode. Selected Edges intersecting with mouse line are cut in middle regardless of true intersection point. ENTER or RMB finalizes, ESC exits.
 * LKEY. Select Linked. If you start with an unselected vertex near the mouse cursor, this vertex is selected, together with all vertices that share an edge with it.
 * SHIFT-L. Deselect Linked. If you start with a selected vertex, this vertex is deselected, together with all vertices that share an edge with it.
 * CTRL-L. Select Linked Selected. Starting with all selected vertices, all vertices connected to them are selected too.
 * MKEY. Mirror. Opens a popup asking for the axis to mirror. 3 possible axis group are available, each of which contains three axes, for a total of nine choices. Axes can be Global (Blender Global Reference); Local (Current Object Local Reference) or View (Current View reference). Remember that mirroring, like scaling, happens with respect to the current pivot point.
 * ALT-M. Merges selected vertices at barycentrum or at cursor depending on selection made on pop-up.
 * CTRL-N. Calculate Normals Outside. All normals from selected faces are recalculated and consistently set in the same direction. An attempt is made to direct all normals `outward'.
 * SHIFT-CTRL-N. Calculate Normals Inside. All normals from selected faces are recalculated and consistently set in the same direction. An attempt is made to direct all normals `inward'.
 * ALT-S. Whereas SHIFT-S scales in Edit Mode as it does in Object Mode, for Edit Mode a further option exists, ALT-S moves each vertex in the direction of its local normal, hence effectively shrinking/fattening the mesh.
 * CTRL-T. Make Triangles. All selected faces are converted to triangles.
 * UKEY. Undo. When starting Edit Mode, the original ObData block is saved and all subsequent changes are saved on a stack. This option enables you to restore the previous situation, one after the other.
 * SHIFT-U. Redo. This let you re-apply any undone changes up to the moment in which Edit Mode was entered
 * ALT-U. Undo Menu. This let you choose the exact point to which you want to undo changes.

 * WKEY. Special Menu. A PopupMenu offers the following options:
 * Subdivide: all selected edges are split in two.
 * Subdivide Fractal: all selected edges are split in two and middle vertex displaced randomly.
 * Subdivide Smooth: all selected edges are split in two and middle vertex displaced along the normal.
 * Merge: as ALT-M.
 * Remove Doubles: All selected vertices closer to each other than a given threshold (See EditMode Button Window) are merged ALT-M.
 * Hide: as HKEY.
 * Reveal: as ALT-H.
 * Select Swap: Selected vertices become unselected and vice versa.
 * Flip Normals: Normals of selected faces are flipped.
 * Smooth: Vertices are moved closer one to each other, getting a smoother object.
 * Bevel: Faces are reduced in size and the space between edges is filled with a smoothly curving bevel of the desired order.

 * XKEY. Erase Selected. A PopupMenu offers the following options:
 * Vertices: all vertices are deleted. This includes the edges and faces they form.
 * Edges: all edges with both vertices selected are deleted. If this `releases' certain vertices, they are deleted as well. Faces that can no longer exist as a result of this action are also deleted.
 * Faces: all faces with all their vertices selected are deleted. If any vertices are `released' as a result of this action, they are deleted.
 * All: everything is deleted.
 * Edges and Faces: all selected edges and faces are deleted, but the vertices remain.
 * Only Faces: all selected faces are deleted, but the edges and vertices remain.
 * YKEY. Split. This command splits the selected part of a Mesh without deleting faces. The split parts are no longer bound by edges. Use this command to control smoothing. Since the split parts have vertices at the same position, selection with LKEY is recommended.

EditMode - Curve

 * CKEY. Set the selected curves to cyclic or turn cyclic off. An individual curve is selected if at least one of the vertices is selected.
 * EKEY. Extrude Curve. A vertex is added to the selected end of the curves. Grab mode is started immediately after this command is executed.
 * FKEY. Add segment. A segment is added between two selected vertices at the end of two curves. These two curves are combined into one curve.
 * HKEY. Toggle Handle align/free. Toggles the selected Bezier handles between free or aligned.
 * SHIFT-H. Set Handle auto. The selected Bezier handles are converted to auto type.
 * CTRL-H. Calculate Handles. The selected Bezier curves are calculated and all handles are assigned a type.
 * LKEY. Select Linked. If you start with an non-selected vertex near the mouse cursor, this vertex is selected together with all the vertices of the same curve.
 * SHIFT-L. Deselect Linked. If you start with a selected vertex, it is deselected together with all the vertices of the same curve.
 * MKEY. Mirror. Mirror selected control points exactly as for vertices in a Mesh.
 * TKEY. Tilt mode. Specify an extra axis rotation, i.e. the tilt, for each vertex in a 3D curve.
 * ALT-T. Clear Tilt. Set all axis rotations of the selected vertices to zero.
 * VKEY. Vector Handle. The selected Bezier handles are converted to vector type.

 * WKEY. The special menu for curves appears:
 * Subdivide. Subdivide the selected vertices.
 * Switch direction. The direction of the selected curves is reversed. This is mainly for Curves that are used as paths!

 * XKEY. Erase Selected. A PopupMenu offers the following options:
 * Selected: all selected vertices are deleted.
 * Segment: a curve segment is deleted. This only works for single segments. Curves can be split in two using this option. Or use this option to specify the cyclic position within a cyclic curve.
 * All: delete everything.

EditMode - Metaball

 * MKEY. Mirror. Mirror selected control points exactly as for vertices in a Mesh.

EditMode - Surface

 * CKEY. Toggle Cyclic menu. A PopupMenu asks if selected surfaces in the `U' or the `V' direction must be cyclic. If they were already cyclic, this mode is turned off.
 * EKEY. Extrude Selected. This makes surfaces of all the selected curves, if possible. Only the edges of surfaces or loose curves are candidates for this operation. Grab mode is started immediately after this command is completed.
 * FKEY. Add segment. A segment is added between two selected vertices at the ends of two curves. These two curves are combined into 1 curve.
 * LKEY. Select Linked. If you start with an non-selected vertex near the mouse cursor, this vertex is selected together with all the vertices of the same curve or surface.
 * SHIFT-L. Deselect Linked. If you start with a selected vertex, this vertex is deselected together with all vertices of the same curve or surface.
 * MKEY. Mirror. Mirror selected control points exactly as for vertices in a Mesh.
 * SHIFT-R. Select Row. Starting with the last selected vertex, a complete row of vertices is selected in the `U' or `V' direction. Selecting Select Row a second time with the same vertex switches the `U' or `V' selection.

 * WKEY. The special menu for surfaces appears:
 * Subdivide. Subdivide the selected vertices
 * Switch direction. This will switch the normals of the selected parts.
 * Mirror. Mirrors the selected vertices

 * XKEY. Erase Selected. A PopupMenu offers the following choices:
 * Selected: all selected vertices are deleted.
 * All: delete everything.

VertexPaint Hotkeys

 * SHIFT-K. All vertex colours are erased; they are changed to the current drawing colour.
 * UKEY. Undo. This undo is `real'. Pressing Undo twice redoes the undone.
 * WKEY. Shared Vertexcol: The colours of all faces that share vertices are blended.

EditMode - Font
In Text Edit Mode most hotkeys are disabled, to allow text entering.

 * RIGHTARROW. Move text cursor 1 position forward
 * SHIFT-RIGHTARROW. Move text cursor to the end of the line.
 * LEFTARROW. Move text cursor 1 position backwards.
 * SHIFT-LEFTARROW. Move text cursor to the start of the line
 * DOWNARROW. Move text cursor 1 line forward
 * SHIFT-DOWNARROW. Move text cursor to the end of the text.
 * UPARROW. Move text cursor 1 line back.
 * SHIFT-UPARROW. Move text cursor to the beginning of the text
 * ALT-U. Reload Original Data (undo). When EditMode is started, the original text is saved. You can restore this original text with this option.
 * ALT-V. Paste text. The text file /tmp/.cutbuffer is inserted at the cursor location.

UV Editor Hotkeys

 * EKEY. LSCM Unwrapping. Launches LSCM unwrapping on the faces visible in the UV editor.
 * PKEY. Pin selected vertices. Pinned vertices will stay in place on the UV editor when executing an LSCM unwrap.
 * ALT-PKEY. Un-Pin selected vertices. Pinned vertices will stay in place on the UV editor when executing an LSCM unwrap.

EdgeSelect Hotkeys

 * ALT-CLICK. Selects an Edge Loop.

FaceSelect Hotkeys

 * ALT-CLICK. Selects a Face Loop.
 * TAB. Switches to EditMode, selections made here will show up when switching back to FaceSelectMode with TAB.
 * FKEY. With multiple, co-planar faces selected, this key will merge them into one "FGon" so long as they remain co-planar (flat to each other).
 * LKEY. Select Linked UVs. To ease selection of face groups, Select Linked in UV Face Select Mode will now select all linked faces, if no seam divides them.
 * RKEY. Calls a menu allowing to rotate the UV coordinates or the VertexCol.

 * UKEY. Calls the UV Calculation menu. The following modes can the applied to the selected faces:
 * Cube: Cubical mapping, a number button asks for the cubemap size
 * Cylinder: Cylindrical mapping, calculated from the center of the selected faces
 * Sphere: Spherical mapping, calculated from the center of the selected faces
 * Bounds to x: UV coordinates are calculated from the actual view, then scaled to a boundbox of 64 or 128 pixels in square
 * Standard x: Each face gets default square UV coordinates
 * From Window: The UV coordinates are calculated using the projection as displayed in the 3DWindow

title: Blender 3D: HotKeys/old


text:
Talk:Blender 3D: HotKeys/old

Blender 2.36 HotKeys
Ok, I converted this Hotkeys from official Blender PDF file. Please use official Hotkeys names in your articles! --Popski 14:21, 3 May 2005 (UTC)

ideas for organization
I'd like to start a discussion about how this book should be organized. Perhaps the organization should be changed, or maybe it should stay the way it currently is. Here's an idea:

Create a page for each shortcut. The URL would be formatted very specifically; for example:

Blender 3D: Hotkeys/Edit Mode/EKEY

Blender 3D: Hotkeys/Vertex Paint Mode/VKEY

Blender 3D: Hotkeys/Object Mode/SHIFT-DKEY

This way there could be very detailed information about each of the shortcuts in the different modes.

Then on the Mode Pages, for example the Edit Mode page, the shortcuts could be listed by function....

Edit Mode

Mesh Modeling

A

 * AKEY - select all

E

 * EKEY - extrude

etc...

 * It's good idea to explain more detailed information about every HotKey, maybe even with examples or links to tutorial examples, but I think that is also good to have all HotKeys in one place (as it is) and from here links to more detailed explanations as you said Spiderworm. I would like to see here also keyboard drawing with color marked HotKeys large enough that can be printed and used on actual keyboard. --Popski 17:30, 18 May 2005 (UTC)

 * I just learned something using Template:whatever and, let me try it out, I think this will help. --Spiderworm 13:28, 19 May 2005 (UTC)

 * Check this out. Follow the subpages I've created and take a look at the way these  work.  We can then embed the same hotkey instructions on any Blender book page anywhere in wikibooks using the  .  Check it out: http://en.wikibooks.org/wiki/Blender_3D:_HotKeys/new

 * Cool! This looks nice and useful! --Popski 13:59, 22 May 2005 (UTC)

Blender 2.37a HotKeys Update
New HotKeys are marked with *. --Popski 13:21, 1 Jul 2005 (UTC)

title: Talk:Blender 3D: HotKeys/old


text:
Blender 3D Reference Guide

This is to be the ultimate Blender reference guide. For more Wikibooks on Blender, see Subject:Blender 3D.

Latest Stable Software Version
Download

Windows Reference

 * Scripts Window
 * File Browser
 * Image Browser
 * Buttons Window
 * Outliner
 * User Preferences
 * Text Editor
 * Audio Timeline
 * Video Sequence Editor
 * UV/Image Editor
 * NLA Editor
 * Action Editor
 * IPO Curve Editor
 * 3D View

Buttons Reference

 * Logic
 * Script
 * Shading
 * Lamp Buttons
 * Material Buttons
 * Texture Buttons
 * Radiosity Buttons
 * World Buttons
 * Object
 * Editing
 * Scene
 * Render Buttons
 * Anim/Playback Buttons
 * Sound Block Buttons

HotKeys Reference

 * List of default hotkeys

title: Blender 3D Reference Guide