text:
Music Theory/Counterpoint/Species Counterpoint/In Two Voices

Cantus Firmus
One contrapuntal line is always composed against another given line. This given voice is called the cantus firmus. This line may be taken from a book of chorales, as Fux suggests, may be provided by a teacher, may be composed by the student him/herself or may be taken from the work of a master.

Consonance
In writing counterpoint, it is important to note which consonances are being formed, for they produce what the ear hears as harmony. Fux lists five consonances, in two categories, to be used in the writing of counterpoint according to the rules he has laid down.

 * Perfect Consonances : Include the unison and octave, along with the fifth

 * Imperfect Consonances : Include the major/minor third, and the major/minor sixth

 * Dissonances : Include the major/minor second, the fourth, the augmented fourth, the diminished fifth, and the major/minor seventh

Motion
Motion in music is what creates interest. The establishment of tonal relationships is impossible without it, and the harmony created by the melodic motion of independent voices is what establishes these relationships. There are only three kinds of motion possible in one voice relative to another.

 * Direct Motion : The voices move in the same direction by stepping or skipping. Parallel Motion is a subset of Direct Motion wherein both voices move in the same direction by the same amount (the vertical interval between them does not change).

 * Contrary Motion : One voice moves up in pitch while the other moves down in pitch.

 * Oblique Motion : One voice moves up or down by step or skip while the other voice does not move.

 * Similar Motion : The voices move in a similar manner, i.e. one voice moves up a fifth while the other moves up a third.

Variety is important in music. This holds true for rhythm, harmony and melodic motion. Judicious use of the three types of motion creates variety and helps minimize the possibility of motivic stagnation.

General Rules
Fux's rules about contrapuntal motion under specific circumstances are four in number.

 * First Rule : Only proceed from perfect consonance to perfect consonance in contrary or oblique motion.

 * Second Rule : Any of the three motions is permitted if moving from a perfect consonance to an imperfect consonance.

 * Third Rule : Only proceed from imperfect consonance to perfect consonance in contrary or oblique motion.

 * Fourth Rule : Any of the three motions is permitted if moving from an imperfect consonance to an imperfect consonance.

Those who read closely may find that these four rules may be condensed into a single rule.

 * Rule : Any motion is allowed except for the direct motion into a perfect consonance.

Progressing into the subject of counterpoint, several other "general rules" exist. These usually regard perfect consonances in one way or another. However, direct motion into perfect consonances will always be forbidden in the Common Practice style.

First Species - Note Against Note
First Species counterpoint is note against note counterpoint. That is to say that for every note in the cantus firmus there is one note in the added harmony. Rules for species counterpoint are grouped hard and soft. Hard rules may not be broken whereas soft rules may be broken if it will avoid violating a hard rule, though the better solution is one that breaks no rules.

The hard rules:

1) For every note of the cantus firmus there is one note in the counterpoint

2) No accidentals may be used (except rule 5)

3) All harmonies must be consonant (a perfect fourth is considered a dissonance)

4) The first interval must be any perfect harmony and the last an octave or unison

5) The last interval must be approached by motion of a minor second upwards (note rule 7 may not be broken)

6) All perfect intervals must be approached by contrary motion

7) Motion can proceed by step or leap but steps and leaps of augmented and diminished intervals and leaps of any seventh are forbidden. Leaps greater than a sixth are forbidden except for leaps of an octave which should be rare

8) The counterpoint may not outline an interval of a tritone or seventh except for an augmented fourth that is fully, stepwise outlined and precedes an inwards step

The soft rules:

1) No note may be repeated successively more than three times

2) No two successive leaps in the same direction may total more than an octave

3) While ascending, in the case of two successive steps or leaps, the larger one should precede the smaller; while descending the smaller should precede the larger

4) No successive leaps in opposite directions; leaps should be followed by inward, stepwise motion

5) The same harmonic interval should not repeat more than three times

6) There should be no more than two successive leaps

7) The range of the counterpoint should be limited to a tenth and all notes in the chosen mode should appear in the counterpoint


text:
User:Mungomba

My name is Mungomba K. Mungomba. I hope to contribute some useful things to Wikibooks, in areas that are of interest to me. However, I might not be able to do so in one big rush, due to other commitments. I was especially encouraged by the Wikibook on Study Skills, which is a special area of interest that I hope to expand.

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

title: User:Mungomba


text:
Cookbook:Hard Cooked Eggs

| Breakfast

Hard-boiled or hard-cooked eggs are a preparation where whole eggs are cooked in the shell until both the yolk and the white are fully cooked. After cooking, the shell is typically cracked all over and removed.

Ingredients

 * Eggs

Boiling method

 * 1) Put the eggs in a pot.
 * 2) Fill pot with water. Make sure that the tops of the eggs are covered by at least 25 mm (1 inch).
 * 3) Bring to a rolling boil.
 * 4) Reduce heat to a low boil. Cook for 10–15 minutes, depending on the size and number of eggs.
 * 5) Drain the pot.
 * 6) Cool eggs immediately by running cold water over them or putting in ice water.
 * 7) Crack and peel the eggs under very cold running water, starting by cracking the large (air pocket) end, then taking off the largest pieces first.

Steaming method
Hard cooked eggs can be steamed rather than boiled. There are automatic kitchen appliances for steaming eggs, but it can be done with any kind of steamer.
 * 1) Put about 2 cm of water in a pot and bring to a fast boil.
 * 2) Put steamer basket in pot (no water should be in the basket itself—only under).
 * 3) Put eggs in basket.
 * 4) Place lid on pot. Steam for about 12–13 minutes—the heat can be lowered slightly, as long as there is steam.
 * 5) Cool eggs in iced water.
 * 6) Crack and peel eggs as above.

Notes, tips, and variations

 * Older eggs will be easier to peel, as the air space is larger.
 * If the peeling becomes tragic, you can always make egg salad or bird food!
 * Lowering the eggs' temperature and/or adding salt to the water keeps the shells from sticking, and prevents the greenish tinge sometimes seen on hard-boiled eggs. The greenish tinge doesn't affect taste or safety, and does not indicate decay or toxicity. Instead, it is due to the reaction between iron and sulphur from the egg white and yolk.
 * An alternate method for boiling is to turn off the heat after adding the eggs, cover the pot, and let stand 15–18 minutes.
 * Salt in the boiling water can help keep egg white from seeping out of a crack.
 * Multiple layers of eggs in the pot are more likely to crack: use only a single layer and do another batch.
 * Some people find steamed eggs easier to peel than boiled.

Warnings

 * Boiled or washed eggs will only keep about a week-the protective cover over the shell is gone.
 * Hard-boiled eggs left out too long should not be eaten. For example, Easter eggs should not be eaten unless the contents of the egg are blown out and cooked separately.

title: Cookbook:Hard Cooked Eggs


text: Template:User bold

title: Template:User bold


text:
User:Whiteknight/query.js

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title: User:Whiteknight/query.js


text:
User:Luís Felipe Braga

For more informations please see my user in the portuguese wikipedia.

pt:Usuário:Luís Felipe Braga

title: User:Luís Felipe Braga


text:
Blender 3D: Noob to Pro/Building a House

In this tutorial, you will learn how to make a simple toy-like house with a fence around it. You will learn how to use array modifiers to replicate the palings of the fence, saving you from duplicating them one by one.

This tutorial is based on Bart Veldhuizen's "Building a House" from Tutorial #01 published by NaN in 1999 which is also available in a PDF at http://download.blender.org/documentation/BlenderTutorialGuide1.tar.gz (a tar.gz containing BlenderTutorialGuide1.pdf) or http://download.blender.org/documentation/BlenderTutorialGuide1.zip (a ZIP file containing the same PDF).

Permission was asked to use it and Ton Roosendaal said "Be assured that everything that was produced by NaN now is open and free content for everyone to reuse, including the tutorial “Building a House”."

Setting the Scene

Start a new document. Split the view into four views as at right, by pressing. This gives you a standard set of views: top, front, side and camera, the first three orthographic and the last one in perspective. You can switch back to the single 3D view at any time by pressing again.

Leave the default cube, it will be the walls of the house.

Make the Roof

Ensure you are in object mode ( switches between object and edit mode)

Now, in the Front view window (lower left)

Press + to duplicate the cube, grab mode is automatically selected, press to restrict the move to the up-down axis and move the cube to rest on top of the original (pressing  while moving will snap it to the grid and make it easier to position accurately.) Press  when it is in place.

You can see how useful this four-paned window is; it shows you exactly what's going on.

Note: It helps to simply grab one of the arrows, press and then press 2 on the key pad, this will move the block 2 units in the z direction. the standard starting cube is 2 units tall.

The top cube is going to become the roof and needs to be given a triangular cross-section.

Select the top cube (if it is not already selected) by clicking on it

Press to go into Edit Mode (check the box in the middle of the 3D window header)

Press to deselect all the vertices.

In the top view, select the top four ( the first one and the rest). You can check in the other views that only those four are selected.

Note: another way to do this is to have "limit selection to visible" turned off, and then press the for, border select, and make a box around the top vertices. (it helps to view it from one of the sides, by pressing either the 1 or 3 keys)

Another Note: Or, with 'limit selection to visible" turned on, press  for circle select and turn the mouse key to make the circle large enough to enclose all four vertices before you press.

Make the Apex of the Roof

Now press for scaling and  to limit the scaling to the X-axis (left to right). You could try to move the mouse back and forth to bring the top vertices together, but you will have a hard time lining them up exactly, so it's best to just type in  (zero) followed by  to set scaling to zero.

Now it looks like there are only 2 vertices where there were 4, but in fact there are still 4, even though 2 of them are occupying exactly the same positions as the other 2. With these 4 still selected, bring up the vertex specials menu with and select “Remove Doubles”. You should see a message briefly flash up at the top right saying “Removed 2 vertices”. Now there really are only 2 vertices where there previously were 4.

Form the Eaves

The roof needs to project over the walls of the house to form the eaves. To do this, we will scale it, but only along the X- and Y-axes, not the Z, so it doesn’t become taller.

Select all the vertices in the roof object by pressing once or twice.

Press to scale, followed by  to scale uniformly along all axes except Z, and scale to about 1.1. Confirm the operation with or  in the usual way.

Naming the Roof and House Objects
In a complex project with lots of objects, it can be helpful to keep them straight by giving them names. This is less of an issue in a simple tutorial like this one, but for practice, let’s give names to your objects anyway.

Go to the Object context in the Properties window, and at the top you should see an editable field containing the name of the currently-selected object. The walls of the house should be called “Cube”, and the roof should be called “Cube.001” (note the automatic addition of a numeric suffix to keep the names unique). Try changing these to, say, “House” and “Roof” respectively.

Object Name Versus Mesh Name
If you look in the Mesh Data context, you will also see a name like “Cube” or “Cube.001”. This is a separate name for the object-type-specific data (the mesh data, in this case), quite independent of the object name. Don’t worry about this name for now; you will learn about its significance later.

Colouring the House
The roof now needs to be given a different colour to the default grey. Select the Materials Context in the Object Properties window. In the list at the top, you should see a single entry, called “Material” (the name of the initial default material). Below that is an editable field containing the name, and immediately to its right should be a small box with the number “2” in it. This number indicates that the same material is being used in two places—in this case, we know the other place is the object representing the walls of the house. Click on this “2”, and that will force a new copy of the material to be made (leaving the house walls with the original); the number will disappear, and the material name will change to “Material.001” to be different from the original.

Change this material name to “RoofRed”, to make it clearer what it is for. Next, find the panel “Diffuse” further down, showing a swatch of the diffuse (non-reflective) colour, which is initially white. Click on this to bring up a colour picker, and choose some suitable shade of red for the roof. (Notice that when using shades of red, the white to black slider on the right actually creates shades of brown from the red.) As you do this, the 3D view should instantly update to show your new colour being applied to the roof of the house. If you want to exit the colour picker and leave the colour unchanged, press ; otherwise, to confirm your choice, simply move the mouse outside the picker window, and it will close, leaving your last-chosen colour in effect.

Follow a similar procedure to choose the colour for the house walls: click the “House” object with in one of the 3D views, go to the Materials Context  in Object Properties, change the material name from “Material” to something more appropriate (here I’m choosing “HouseSandy” because I’m going to give the house walls a sandy-yellow colour), click on the colour swatch in the “Diffuse” panel and choose a suitable colour for this material. Noob Note: I have found it very useful, when I re-name anything, to type my new name in ALL CAPS. This makes it easier for me to pick out what I have done.

Your house should look like this now.

Make a Chimney

Go into Object mode, if you're not already in it. ( flips between object and edit mode.)

Go to the Front view (lower left window).

Click to position the 3D cursor on the right-hand side of the roof, this will select the spot where the chimney will be created.

Press to Add → Mesh → Cube from the popup menu — a bit large, isn't it?

Scale it along the X and Y to about 0.2.

Now grab it and move it into position looking at the front view (lower left window). (Feel free to use the mouse wheel to zoom in the view to make things easier to see.)

When this is correct, move it into position along the Y axis looking at the top view (upper left window).

You can check the side view (lower right window) and the camera view (upper right window) to see that it looks OK.

Name and Colour the Chimney
In the Object context in the Object Properties window, change the name of the chimney object to "Chimney".

Next in the Materials Context in the Object Properties window, you will notice there are no buttons, and there is an icon, and next to that a button with the word "New" in it. You can now choose to have the chimney a different colour to the roof or the house or reuse one of these colours.

If you want a new colour, the "New" button, and it will create a new material with a default name and settings. You can rename this and give it an appropriate colour.

If you want to reuse the same colour, you can click on the icon and select from the available materials, namely "RoofRed" and "HouseSandy".

Make the Window Frame

Be in Object mode.

Using the front and top views, click to place the 3D cursor where you want the window to go: use the top view to place it against the front wall, and the front view to place it a little to the left and up from the centre of the wall. (Of course, it’s easy enough to reposition the window after you’ve created it, so exact initial placement is not critical.)

In the front view (lower left) add a plane: Mesh → Plane). This will initially be laying flat, facing upwards instead of forwards; to fix this, just rotate it 90° about the X-axis:.

Scale it down to 0.4, and press

To give it a rectangular shape, scale the plane by about 0.8 along the X-axis.

Move it into position, using the top and front view, on the left hand side of the house a little higher than midway.

Be in the Side View window (lower right).

Move the plane along the Y-axis until it is just in front of the house. You may want to zoom in to see better.

Now, still in Side View,

Switch to Edit mode

Extrude the plane towards the house (, -0.07) until it is embedded in the wall.

Make the Window Sill
To make this box into a window frame will require a larger view: move the mouse into the Side View window and zoom in with the mouse wheel.

Deselect all and select the outer (leftmost in the right view) vertices using box select.

Press and immediately (without moving the mouse) press. This will extrude, but leave the newly-created vertices on top of the previous ones.

Scale the newly created vertices by 0.9.

Extrude again inwards to most of the depth of the box about -.03 to -.05 along the Y axis, depending on how you have your window into the wall(,, -.03, ).

This screenshot shows a side view in wireframe mode (use to switch wireframe mode on and off).

Name and Colour the Window Frame Object
Change the name of the window object, as you previously did for the rest of the house pieces. It will be initially called “Plane” (because that is the kind of mesh object you started with); change it to “WindowFrame”. Also give it a new material, and make it white. Change the material name to “WindowFrame”.

Make the Window Glass
The glass of the window has to have a different material from the frame. There are two ways to achieve this: make them separate objects, or make them the same object, with different materials assigned to different faces. We will do the latter.

Deselect all

Be in Edit mode.

Switch into Face select mode ( -> faces) select mode (you've been in Vertex select mode up to now)

on the face in the center of the window frame, to select it.

In the Materials Context, click the "+" button next to the list of materials, and where that was previously showing just the “WindowFrame” material, you should see a new blank item appear. The rest of the window will go blank, but the “New” button will appear; click this to create a new material. Give it a colour reminiscent of glass; I chose to colour it light blue (“87ceeb” SkyBlue).

Now to connect the new material to just that one face, press the Assign button just under the material list.

Note: If you do decide to make the windows with real glass material, as explained in previous lessons, make sure you use the materials on both faces in the front and back of the window. Also use loop cuts or knife to cut out a hole in the wall in place of the window. And add a point light inside the house.

Adding a Door
Add the door using the same method:

Be in Object mode

Deselect all,

Create a plane, rotating it to face forward as necessary to align it with the front wall of the house.

Scale the plane down by .7 and then again by .5 along the X axis.

Move it into position using Front view and then move it against the wall of the house in Side view.

Change the Object name to “Door”. Create a new material for it; change the material’s name to “Door” and choose an appropriate colour for it.

Building the Fence
The fence will consist of long sequences of identical palings. Creating them one by one would be a long, tedious process—which is something the computer, not a human, should do, right? In fact, even creating just one paling and making duplicate copies would be a long, tedious process. Which is where the magic of modifiers comes in.

Blender’s array modifier lets you make any number of copies of a single object, all neatly arranged in a row or in various other ways. Being a modifier, the copying only happens at render time, so there is still only a single object to edit while modelling: change that, and the change is automatically propagated to all the copies.

Make a Paling
Be in object mode, with nothing else selected.

Add a plane, orient it vertically ( 90 ), scaled to 0.4 and then 0.1 along the X axis in Front view.

Switch to edit mode. Ensure you are in vertex select mode (+ -> "vertex"), in case you were still in face-select mode from making the window (above).

To give it some thickness, go into Side view and extrude it to 0.05.

The pointed top is made by going back into Front view,

Selecting the top vertices and extruding them by 0.07 (along the Z axis is selected automatically),

Scaling them to 0 along the X axis and then removing the doubled vertices (, "Remove Doubles": it should say "Removed 2 vertices").

In Top view move the paling to the intersection of two grid lines at a suitable distance from the house.

In Front view again, check that the bottom of the paling is level with the bottom of the house.

Change the name of the object and the mesh to "Paling", create a new material for it called "Paling" and make the colour white.

Duplicate the Paling

Be in Front view, as the flat face of the paling is along the X axis and it is easier to create the front fence first.

Change to Object mode. Select the paling. Find the Modifiers Context in the Object Properties window. Click the “Add Modifier” button, and in the menu that pops up, select “Array”. You should see a second copy of the paling appear next to the first.

Look at the checkboxes: “Relative Offset” should be checked, “Constant Offset” and “Object Offset” should not be checked. Under “Relative Offset”, there are values for X, Y and Z; these are the distances between copies, relative to the dimensions of the object. Change the X value to something like -2 (the negative value causes the duplicated paling to appear on the other side, away from the gap we want to leave in front of the door). Now increase the number under the popup that says “Fixed Count”, and watch the line of duplicates lengthen until it reaches the point that you want to be the corner of the fence line—a count of about 12 did it for me.

Now type to make a duplicate of the row of palings, followed by  to constrain its movement to the X-axis (parallel to the row of palings). Move the duplicate row to the end of the existing row so it looks like a continuation of it. Now type  -90  to rotate it so it lies parallel to the side of the house. Increase the array count for this row to something like 24 so it extends all the way past the side of the house to a suitable corner point.

Again, type to duplicate this second row, this time followed by  to constrain its movement parallel to the side of the house. Move the duplicate so its looks like a continuation of the same row. Rotate it parallel to the back of the house by typing  -90. Adjust its array count as necessary to get the right length.

Once more, type to duplicate this third row, followed by  to constrain its movement parallel to the back of the house. Move the duplicate to the end of the row, and rotate it to be parallel to the side of the house with  -90. Give it the same count you did to the array on the other side, so its length will be the same.

One last time: to duplicate,  to ensure it only moves parallel to the side of the house, move to the end of the row, rotate into position with   -90. You’ll probably find it’s so long it runs into the original row of palings you started with on the other side of the front of the house; reduce its array count to something like 8 and you should end up with a nice gap in front of the door.

Noob Note: I encountered a problem when rendering the fence. It became grainy, and when I say grainy, there are random clusters of black all over every rendered post. Some had few of this 'grain' while others were almost black. I have environment lighting at 1 and it's still goofed up. Would this be due to hand-sizing them instead of putting in all of the above values?

Noob Answer: I don't think hand sizing would make any difference. The first thing I would do is go back into edit mode on the original paling and select all vertices. Then I would hit 'W' and click remove doubles. After that, recalculate the normals by holding 'Ctrl' and hitting 'N'. Those operations typically fix common rendering issues for me, hopefully it will work for you too.

Alternate Noob Solution: I encountered this problem and it turns out it is caused by having more than one copy of the fence in the exact same place. Try moving the affected fence pieces, to find the duplicate then delete it. Remove doubles did not work for my instance of the problem.

Make the Horizontal Bars (Left Side)
The fence needs horizontal bars to hold the palings in place: be in Front view

below the middle of the left-hand fence.

Create a plane, rotating it to the vertical as necessary ( 90 ) and scale it to the length of the fence.

Scale it again to 0.05 along the Z axis and move it into position. ( if you keep pressed while you move it, it will snap to the grid.)

Go into Edit mode In Side view move it so it is against the back of the fence and extrude it by -0.04 along the Y axis.

Go into Object mode. Give the horizontal bar the same material you previously created for the palings.

Duplicate it and move it (keeping  pressed) along the Z axis  to make the bottom bar.

Make the Horizontal Bars (Right Side)
To make the bars on the right-hand part of the fence: In Front view, select both the horizontal bars you just created: on one, then  on the other (you may need to zoom in to be able to select them without accidentally including the rest of the fence). Duplicate them with. Move your duplicates along the X-axis until they are horizontally centred around middle of the right-hand fence; now scale them horizontally   until they are the right size.

You could have done the bars one by one, but it’s quicker to do them both at once, don’t you think?

Put the Horizontal Bars Around The House
Select the two horizontal bars you created above for the front fence (make sure you don’t select anything else, like the palings). Press + to make a duplicate, then  to rotate the duplicate about the Z-axis, type 90 for the angle and press  to confirm the rotation. In the top view, move the duplicate you just made so it’s against the side fence. Keep scaling it along the Y-axis and/or moving it along the Y-axis  until it’s the right length and position.

Having done the side of the house, press + to make another duplicate of the horizontal bars, and  90  to rotate it into the right alignment for the back fence. In the top view, move it against the palings. Now keep scaling and moving it along the X-axis until it has the right length and position.

Having done the back of the house, do the other side: another duplicate of the bars, rotate 90° around the Z-axis, move against the palings, move and scale until they’re the proper length in the right position.

Again, another duplicate, rotate and move/scale into position against the palings on the other side of the front of the house.

Your house should now look like this.

Make the Ground
In Top view put the 3D cursor somewhere near the middle of the plot, (click )

Create a plane

Be in camera view (bottom right-hand window)

Scale it to extend just past the boundaries of what the camera sees (10.0 seems a good number).

Go back into Object mode and change its (object, mesh) name to "Ground",

create a new material for it, rename it "Grass" and select a suitable green from the colour selector ("00cd00" green3).

Check in Front view that it is level with the bottom of the house and fence and move it (along the Z axis) if necessary.

Make the Path
For the path: Go into Top view, create a plane.

Scale it to fit the gap in the front fence with some space on either side and position it just outside the fence.

Check, in Front view, that it lines up with the door and is level with the bottom of the house.

Scale it along the X axis to the same width as the door.

Be in Top view, Select the two vertices closest to the fence, and extrude away from the house  to make a suitable width for the footpath outside the fence.

Of those four vertices just outside the fence, select the left two and extrude a suitable distance to the left, and then the right two and extrude a suitable distance to the right, to make the path passing the house.

Give the Path Some Thickness
The path is still just a flat plane. Let’s give it some thickness, so it rises slightly above the ground.

Go to Object mode. Make sure the path is still selected. Go to the Modifiers Context, click Add Modifiers, and look for Solidify. The default thickness (the top-left editable field) is 0.01; change this to -0.01 so the path protrudes above the ground rather than into it.

Improve the Lighting
If you were to try to render now, you will probably find that most of your beautiful house is lost in gloomy shadow. To fix this, let’s add a bit more light to the scene.

In the top view, find the existing default Lamp object. Duplicate it a couple of times, and position your copies around the house to give it a more even lighting.

Check the Camera View
Before doing the render, check your camera is properly positioned to capture the beauty of your work. In the camera view (top-right quadrant of the split view), you should see something like this; note the passepartout (darkened area) outside the rectangle denoting the visible area of the scene that will be rendered. If you on the rectangle, you can reposition the camera from side to side or up and down with, or do     to move it closer to or further away from the scene.

Pro tip :  To adjust camera view, select camera view by, then +  to enter "Fly" mode. Then, use FPS control to move the camera (WASD keys to move around, mouse to change direction and or  to acsend or decsend.

Final Render
Now hit, and hopefully you should see something like this!


text:
Cookbook:Roasted Eggplant

| Cuisine of Romania

Ingredients

 * Eggplant
 * Oil
 * 1 medium onion, chopped
 * Salt

Equipment

 * Pan
 * Fork
 * Knife
 * Chopping board
 * Bowl

Procedure

 * 1) Rub the eggplant with vegetable oil, and prick the skin all over with a fork to make steam vents.
 * 2) Place eggplant in a pan, and broil or roast in a hot oven until the skin is blackened and the flesh is soft. Let cool.
 * 3) Cut the eggplant in half lengthwise. Keep the flesh and discard the burnt skin.
 * 4) Mince the eggplant flesh with a knife to get a purée, keeping the seeds whole. Use a stainless steel or wooden chopper.
 * 5) Transfer the eggplant to a bowl, and mix in ½–1 tbsp oil per whole eggplant used. Mix in the onion, and season to taste with salt.
 * 6) Chill in the fridge until serving.

Notes, tips, and variations

 * It is advisable to use a pan with elevated ridges so that eggplant won't be cooking in its own juices.

ספר מתכונים/חצילים קלויים

title: Cookbook:Roasted Eggplant


text:
Usenet Explorer User's Manual/User Interface/Icons

This chapter explains the meaning of the various icons used in Usenet Explorer.

See also Explaining icons on the Usenet Explorer website.

Background Colors

 * white background: single-part message
 * green background: multi-part message
 * yellow background: collection
 * blue (magenta) background: ?

 * grey upper half: incomplete multi-part message or incomplete collection
 * red upper half: incomplete multi-part message that cannot be previewed because the first part is missing

Dashes

 * lower part dashed: partly downloaded
 * entirely dashed: completely downloaded

Checkmark

 * checkmark: marked for download

Mini-Icons
Miniature icons in lower right corner of icons.

 * grey oval with black dot: par2 recovery file
 * grey "ear": par2 checksum file
 * red/magenta/blue flag: rar file
 * magenta rectangle with red corner: image file
 * music note: audio file
 * white rectangle with grey dot: pdf file

Servers tab

 * black computer: server with no newsgroups attached
 * green computer: server
 * envelope: ?
 * green dot: ?
 * grey book: ?
 * blue book with black asterix: ?
 * blue book with black asterix and green dot: ?
 * grey book with grey filter:


text:
User talk:68.224.254.93

Please stop adding nonsense to Wikibooks. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you.

Xania talk 21:45, 30 May 2007 (UTC)

title: User talk:68.224.254.93


text:
User talk:142.23.105.63

Please stop adding nonsense to Wikibooks. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you.

Xania talk 21:46, 30 May 2007 (UTC)

title: User talk:142.23.105.63


text: User:Whiteknight/Puppet

title: User:Whiteknight/Puppet


text:
Afrikaans/Print version

= Afrikaans =

=Main Contents=
 * Introduction
 * Pronunciation
 * Lessons
 * Lesson One: The Basics
 * Lesson Two: Descriptions
 * Lesson Three: Numbers
 * Appendix
 * External Links
 * Newspapers in Afrikaans
 * Contributors
 * GFDL

=Introduction=

=Pronunciation=

=Lesson One=

=Lesson Two=

=Lesson Three=

=External Links=

=Newspapers=

=Contributors=

=GNU FREE DOCUMENTATION LICENSE=

title: Afrikaans/Print version


text:
A-level Chemistry/OCR (Salters)/Benzene

Benzene is an aromatic hydrocarbon or arene.

Structure
The usual structural representation for benzene is a six carbon ring (represented by a hexagon) which includes three double bonds. Each of the carbons represented by a corner is also bonded to one other atom. In benzene itself, these atoms are hydrogens. The double bonds are separated by single bonds so we recognize the arrangement as involving conjugated double bonds. An alternative symbol uses a circle inside the hexagon to represent the six pi electrons.

Instead of having three short double bonds and three long single bonds (above, left), it has six medium-length bonds (above, right).

A double bond is really two bonds, with two electrons in each bond, so four electrons in total in a double bond. Two electrons from each double bond in benzene (if the double bonds really existed, which they don't) are smeared over all six carbon atoms.

Whenever electrons are not confined to a bond between just two atoms, they are called declocalised electrons.

Pic

Physical Properties

Boiling point: 80 °C

Melting point: 6 °C

Relative density (water = 1): 0.88

Solubility in water, g/100 ml at 25 °C: 0.18

Vapour pressure, kPa at 20 °C: 10

Relative vapour density (air = 1): 2.7

Relative density of the vapour/air-mixture at 20 °C (air = 1): 1.2

Flash point: -11 °C c.c.

Auto-ignition temperature: 498 °C

Explosive limits, vol% in air: 1.2-8.0

Octanol/water partition coefficient as log Pow: 2.13

title: A-level Chemistry/OCR (Salters)/Benzene


text:
A-level Chemistry/OCR (Salters)/Hydrocarbons

Hydrocarbons can be classified into four main categories:

 * Alkanes
 * Alkenes
 * Alkynes
 * Arenes


text: Template:Korean/Consonant jamo chart

title: Template:Korean/Consonant jamo chart


text: Template:Korean/Vowel jamo chart

title: Template:Korean/Vowel jamo chart


text:
User talk:Quadell

Could you explain what the "Calculation Routines" book is about? As of 5/28/07, it's an orphaned page, and I'd like to link to it somewhere. But I have no clue what it's about, besides math. Thanks. Hoogli 23:09, 30 May 2007 (UTC)

title: User talk:Quadell


text:
User:Siar8

we are not suposed to use our names for our user name.--Mashka 23:25, 30 May 2007 (UTC)

title: User:Siar8


text:
User talk:Camila PrincessXOXO

we are not aloud to use our names in our usernames. I think you shoud change it.Sory to disterb you. anyways how are you? --Mashka 23:37, 30 May 2007 (UTC)

title: User talk:Camila PrincessXOXO


text:
Talk:C++ Programming/Conventions/Archive 3

Bold Keywords
I suggest quoting all keywords/reserved words in code segment with ''' (three single quotations), so that they are easy to be seen. For example: int foo; return 0; etc...

- Ron Lau 18:07, 29 March 2007 (UTC)

 * I see not problem with that, but that shouldn't be enforced (an obligation to editors), so does it need to be adopted at a convention and we should consider the future (as that will take some time to be maintained), have you taken a look on the Ada book or the Java, they use other solutions I was thinking on implementing the Ada approach since the Java book seems very complex, there is also a possibility that Wikibooks can in a near future do some treatment to code, like colorization of keywords, comments etc... (check the staff lounge discussion for something on those lines, it has been discussed there). --Panic 18:52, 12 April 2007 (UTC)

Removal of TOC2 print version
Since TOC2 is never was a reflection of the C++ Programming book but an alternative presentation of of the book content and it is very out of date with the real content, it never gets updated. As with the previous navigation templated navigation scheme that existed I propose that we remove this most probably unused feature and check as a way to check if anyone object to the idea and what function it serves at the moment... Proposed: --Panic (talk) 02:13, 6 March 2008 (UTC)

 * I reformulate the proposal as it doesn't make sense to keep in the convention a very specific rule as this one, since I reformulate to  this can be applied in a more general sense (and across other books that share the conventions).
 * Proposed:--Panic (talk) 00:05, 10 April 2008 (UTC)

Removal of TOC2 completely
As no objection nor work was done to fix and address the previous proposal I extend the same rational to the removal of TOC2 from the work, lack of maintenance, breaks the work flow and really serves no real propose but creates several difficulties. I can't provide metrics (they are down) but last time I saw numbers, the access to the book most people do use was TOC1 and TOC2 existence creates the need to maintain several extra pages: 1,2,3, 4, 5 and 6 (many more would be made redundant) Proposed:--Panic (talk) 03:01, 13 March 2008 (UTC)

 * The same problem as the proposal above. I do reformulate the proposal to read 51%) to the cover page will be have to be the object of previous discussion resulting in acceptance without objections>, this is more or less the rule of tumb on edits but will put the cover page outside of the bebold rule, reducing not only chance of conflicts or in sporadic edits/changes to book structure, permitting a solid and agreed upon evolution of the work. Again this will be used across books.
 * Proposed: --Panic (talk) 00:19, 10 April 2008 (UTC)

 * By historical book index do you mean TOC1, so C%2B%2B_Programming/TOC1 will be moved to C%2B%2B_Programming? rawrawrer (talk) 20:57, 18 April 2008 (UTC)

 * Yes, this also doesn't affect selecting and using a cover or doing any major (consensual) changes to the main toc... --Panic (talk) 22:34, 18 April 2008 (UTC)
 * This can also be confusing, but it doesn't collide with One book with many faces that means that new ways of accessing the content or changing the layout can be created, but respecting the original structure and content (to what I gave the name historical book index or the main trunk of the book...), solving also the need for multiple print versions in the future. One could argue for several print version by chapter but the main version can be trimmed down as one print is (by selecting the needed pages). --Panic (talk) 22:39, 18 April 2008 (UTC)

 * Ok I finally contacted Darklama about the TOC2 page as I thought it should be done, the user didn't challenge the decission even if he seems to be unaware of the discussion the issue has been given (my post and his reply). I will proceed and request the restoration of the cover pages and history files in a few days.  --Panic (talk) 16:55, 19 July 2008 (UTC)

 * I will also archive any discussion related to the TOCs but not the the TOCs content (since that is as separated issue and is seems to be still needing resolution) with this discussion (even from pages that normally aren't archived like the main talk page of the book). We should probably put a notice there about that... --Panic (talk) 17:06, 19 July 2008 (UTC)

 * Based on the link you provided I think it's pretty clear that darklama disagrees with your decision. He also seems to think that no consensus has been reached, and from what I've been seeing, I might have to agree. Having two TOCs is not necessarily a bad thing, and a rush to delete one outright is not a smart thing for people to be doing right now. If it is important that this book have only one TOC, I suggest merging the two and taking the best ideas from each. Until I see evidence of multilateral consensus on this issue, I'm not going to delete, move, or unprotect anything. Of course, I cannot speak for all admins. --Whiteknight (Page) (Talk) 21:15, 22 July 2008 (UTC)

 * I read it another way, but if you think rehashing the problem is a positive move, it is your prerogative. Darklama clearly states that he doesn't care, the "page" in question was last edited in 2007, it doesn't index half of the book and I think it still provides links to duplicated content (some was already salvageable or moved to a new book with a narrower scope, but several pages still need cleanup), in any case the proposal was made and not objected. What Darklama seems to object is the lack of participation on the discussion, not much can be made to force participation in an issue that mostly deals only with 2 users opinions.
 * If you observe the two pages toc2 is subgrup of toc1 that already links and reflects the content, a merge would not generate any change, the only big difference is in the order, and toc1 isn't locked, people were always able to edit it.
 * In any case if you think that the issue needs to be more loudly stated the only recourse would be a VfD, if you don't see the previous discussion as valid (what would be hard to justify, as it always served its purpose). The only point I have against it is that we will bring people that are outside of the problem (non editors) into a discussion that does only have an impact on the book organization (content and organization are not factor at the moment).
 * I find it strange that you also raise the issue of multilateral consensus since the action that created the problem did not have a similar approach and resolution. --Panic (talk) 23:48, 22 July 2008 (UTC)

(*reset*) A VFD on the TOC2 page was initiated (27 July 2008) and then closed (30 July 2008) by Mike.lifeguard, if Wikibookians wish to express concerns about the speedy action they can use this page, I will contact James and ~VNinja~ to restate their points (or move that part of the discussion here). --Panic (talk) 21:04, 30 July 2008 (UTC)

Whiteknight as seen on the previous comment disagrees with my interpretation that darklama didn't object to the decission, and so refused to execute the speedy deletion. --Panic (talk) 23:15, 30 July 2008 (UTC)

darklama didn't participate on the discussion that was initiated in 13 March 2008 and ended in 18 April 2008 + 7 days by default with no stated objection (as seen above) and clearly stated no wish or care on the outcome when I took upon myself to verify if he was aware of it (my post above in 19 July 2008). (not the proceedings, he does indeed rant on how it was reached but historical it was always done in that way and he even participated in several, and implemented similar decisions, so the argument raised by Whiteknight is moot), --Panic (talk) 23:15, 30 July 2008 (UTC)

The reasons for the proposal are simple the page is stale since 7 October 2007 it only indexes less than 50% of the work and has very little use (considering the metrics available) C++ Programming is one of the most used works on the project and the situation the page created reduces its use less than 1/3 of the hits of the title page and the other and previously main toc, its continued existence undermines improvement and efforts in promotion of the book. --Panic (talk) 23:41, 30 July 2008 (UTC)

I was hoping James would clarify the position he took on the VFD in any case I would be the first to support an undeletion of the page, if James provides a rational for keeping it. I'm re-closing the proposal (9 days since it was re-addressed), it was approved without objections. Will move it into the approved conventions in a few hours. --Panic (talk) 17:02, 8 August 2008 (UTC) I'll live the convention with the previous adoption date (since it wasn't removed nor a discussion addressed the approval of the same). I'll re-tag the page and put a request in the administration forum for the rest. --Panic (talk) 06:11, 10 August 2008 (UTC)

The deletion request for the page was removed again (I supported the first re-addressing of the issue to clear the issue raised by WK) by user User:Mike.lifeguard and this time I strongly objected to that action -why-, the position of Darklama had already been confirmed and except for the new objection of James (that failed address the issue and consequently failed to be materialize by a restatement or a reply to my own post in the closed VFD). --Panic (talk) 06:29, 12 August 2008 (UTC)

I don't support it. Arlen22 (talk) 11:32, 9 August 2009 (UTC)
 * The proposal to delete the toc2 page was already dropped... --Panic (talk) 18:32, 9 August 2009 (UTC)

Language proposal
Since United States English is dominant on this work, for consistency's sake, it should be used whenever possible. I propose this to be made into a convention Proposed: --Panic (talk) 02:20, 31 July 2008 (UTC)

I will be closing this and the other proposal tomorrow. If anyone has some comment to make, counterproposal please do it now. --Panic (talk) 16:40, 7 August 2008 (UTC)

Closing the proposal as approved without objections. Will move it into the approved conventions in a few hours. --Panic (talk) 16:57, 8 August 2008 (UTC) Done. --Panic (talk) 06:12, 10 August 2008 (UTC)

Prefer hyphenation
I propose that hyphenation should be preferred (as in used if possible) on the book. Basically hyphens are meant to aid comprehension and defining this convention would provide standardization to the content. Did a search on google also "convention of hyphen of words technical": this one resumes my views on the issue, I also have been examining the C++ Standard and made a quick review on some of my favorite technical books and this seems to be a common practice on more technical books (the use of the hyphen). I understand that goes some what against a previous convention as (From Wikipedia:) British English tends towards hyphenation (pre-school) whereas American English tends towards omission of the hyphen (preschool). (English compound, Hyphen ). --Panic (talk) 19:11, 21 August 2009 (UTC)


text:
Scala

Scala is a general-purpose language designed to support clear, concise and type-safe programming as well as to scale from the smallest applications to the biggest. It does so by providing a sophisticated type system, a concise and flexible syntax supporting internal DSLs, and an integration of the functional and object-oriented paradigm together with many powerful abstractions. Furthermore, Scala is compatible with Java, and existing Java libraries can be called from Scala and vice versa. The consequences of this design are many:

 * The number of lines required for the same code is often much smaller in Scala than for other general-purpose languages such as C, C++, C# and Java, typically ranging from 2-3x to 10x. This is done while still having performance comparable to Java.
 * Many common tasks that normally require either verbose syntax, built-in syntax or external domain-specific languages (DSLs) such as actors, linear algebra, numerical computing, testing, parsing, etc. can instead be provided as libraries in Scala with concise syntax. Examples include the actor libraries such as Akka; numerical programming, linear algebra and more such as Breeze; testing such as ScalaTest or specs2; or parsing such as the parser combinator libraries.
 * Performance, safety and productivity are 3 areas that are difficult to obtain in one programming language. Scala provides all three to a high degree. Scala has the productivity commonly associated with scripting languages, while having performance comparable with Java. The static and sophisticated type system, the powerful abstractions and the support for referential transparency and immutability help increase the safety, clarity and reliability of programs written in Scala.
 * Considerable support for parallel and concurrent programming. Examples include actor libraries, immutable collections, parallel collections and STM (see Akka).
 * A gradual shift from Java to Scala is supported. Scala can be introduced step by step, for instance by writing new test modules in Scala.

As of 2012-07-05, the current implementation of the language is actively being developed for the Java Virtual Machine, and there are efforts underway to support the .NET framework.

Due to the depth of the language, the many powerful abstractions, and the sophisticated type system, Scala is sometimes seen as a language that is difficult to learn. While parts of Scala are definitely challenging for most programmers, the knowledge and skills required to be effective in Scala is much easier to attain. This book divides the different topics into layers of knowledge that are required for doing different things in Scala. The layers are not always indicative of difficulty. For instance, higher-order functions are seen by some to be difficult, but because they are extremely useful, they are described in the Basic part of the book.

If you are a Java programmer, there exists several guides, resources and books that are directly focused on Java programmers. See http://www.scala-lang.org/node/1305#Java for more information.

Overview
The book is split up into several parts: Basics, Intermediate and Advanced.

"Basics" describes how to setup Scala, and introduces basic syntax, expressions, functions, basic object-oriented programming, and basic functional programming. It also introduces List, case classes and pattern matching. The articles in Basic contains sufficient knowledge to write simple programs in Scala.

"Intermediate" expands upon the knowledge in Basics. This includes advanced functional and object-oriented programming, type-safe programming and an introduction to the collections library. The knowledge in Intermediate should be sufficient for using Scala effectively for many applications.

"Advanced" describes features that are useful for writing libraries, such as higher-kinded types and implicits.

The book should have short, motivating and easy to understand articles on the different subjects. The articles should not spend too much time explaining why features are the way they are, or describing every last detail. The reason is that the book is meant to be a learning resource, and covering every last detail that is not very important may hinder learning and waste the readers time. For readers that desire more comprehensive coverage and documentation, there exists several resources such as http://docs.scala-lang.org/, Programming Scala from O'Reilly, and Programming in Scala from Artima.

Basics
{| cellspacing="0" cellpadding="10" style="width:100%; margin:0.8em 0; vertical-align:top; border:1px solid MediumAquamarine; background:honeydew;"

 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

First steps

 * /Setup/
 * /Getting Started/
 * /Basic types/
 * /Functions/
 * /Expressions, Not Statements/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Object-oriented programming 1

 * /Classes/
 * /Objects/
 * /Packages/
 * /Import/
 * /Access modifiers/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Functional programming 1

 * /Tuples/
 * /Recursion/
 * /Higher-order functions 1/
 * /Function literals/
 * /Closures/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Lists, case classes and pattern matching

 * /Lists/
 * /Higher-order functions on Lists/
 * /Pattern matching on Lists/
 * /Case classes/
 * /Pattern matching on case classes/
 * }

Intermediate
{| cellspacing="0" cellpadding="10" style="width:100%; margin:0.8em 0; vertical-align:top; border:1px solid MediumAquamarine; background:honeydew;"
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

General

 * /Named and default parameters/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Object-oriented programming 2

 * /Subtyping/
 * /Traits/
 * /Package objects/
 * /Inheritance/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Functional programming 2

 * /Higher-order functions 2/
 * /Currying/
 * /Lazy values/
 * /Lazy collections/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Types 1

 * /Type-safe programming/
 * /Type parameters/
 * /Generic programming/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Collections

 * /Immutable and mutable collections/
 * /Seq/
 * /Set/
 * /Map/
 * /Parallel collections/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Optional

 * /Streams and infinite lists/
 * /XML/
 * }

Advanced
{| cellspacing="0" cellpadding="10" style="width:100%; margin:0.8em 0; vertical-align:top; border:1px solid MediumAquamarine; background:honeydew;"
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

General

 * /Implicits/
 * /Extractors/
 * /Concurrent programming/
 * style="vertical-align:top; border-right: 1px dashed MediumAquamarine; border-bottom: 1px dashed MediumAquamarine;"|

Types 2

 * /Variance annotations/
 * /Existential types/
 * /Structural Typing/
 * /Abstract types/
 * /Higher-kinded types/
 * }

Additional Resources

 * Scala homepage
 * Scala tutorials
 * Scala documentation
 * Programming in Scala, free online Scala book
 * German Scala Tutorial
 * Scala programming tutorial

Scala

title: Scala


text:
Radiation Oncology/Cervix/Early Stage Bulky

Surgery vs. RT

 * Milan, 1997 (1986-91) PMID 9284774 — "Randomised study of radical surgery versus radiotherapy for stage Ib-IIa cervical cancer." Landoni F et al. Lancet. 1997 Aug 23;350(9077):535-40.
 * Randomized. 343 patients. Stage IB-IIA (Ib1 61%, Ib2 27%, IIA 12%) Treated with radical hysterectomy (Class III) vs. radical RT. Median F/U 87 mo.
 * RT given: EBRT to median 47 Gy followed by LDR x1 for Point A median dose 76 Gy. Adjuvant RT allowed for pts who were surgical stage IIB or greater, <3mm of safe cervical stroma, positive margins, or positive LN (62/114 IB1, 46/55 IB2).
 * 63% of pts in surgery arm received RT.
 * 5-year outcome: no difference; Non-bulky: OS surgery 87% vs. RT 90% (NS), DFS surgery 80% vs. 82% (NS)
 * AdenoCA: significantly better outcomes with surgery; OS (70% vs. 59%), DFS (66% vs. 47%)
 * Complications (Grade 2-3): Surgery 28% vs RT 12% (SS). Severe leg edema surgery 0%, RT 1%, surgery + RT 9%
 * Conclusion: Primary surgery not a good option for bulky disease

Surgery +/- Post-op RT
25% of Stage IB pts may benefit from XRT because they have positive risk factors (from GOG 49). Sedlis criteria often simplified to needing 2 or more of these factors:
 * CLS (LVI) involvement
 * deep stromal invasion (middle or deep third); [i.e >1/3 stromal invasion]
 * Size > 4 cm

 * GOG 92 (1988-95)
 * 277 pts. Randomized. Stage IB, node negative, but with high estimated risk of recurrence (from GOG 49) s/p radical hysterectomy and lymphadenectomy randomized to +/- adjuvant pelvic XRT 50.4 Gy. Included pts with: 1) CLS involved, deep 1/3 stromal invasion, any size; 2) CLS involved, middle 1/3 invasion, size >= 2cm; 3) CLS involved, superficial 1/3 invasion, >= 5 cm; or 4) CLS not involved, deep or middle 1/3 invasion, >= 4 cm. These pts were estimated to have a 31% recurrence at 3 yrs.
 * 1999 PMID 10329031 — "A randomized trial of pelvic radiation therapy versus no further therapy in selected patients with stage IB carcinoma of the cervix after radical hysterectomy and pelvic lymphadenectomy: A Gynecologic Oncology Group Study." Sedlis A et al. Gynecol Oncol. 1999 May;73(2):177-83.
 * Recurrences in 15% (RT) vs 28% (no RT). 2-year recurrence free rate 88% vs 79%. Hazard ratio=0.53. Grade 3/4 adverse effects were 6% vs 2.1% Distant mets 2% (RT) vs 7% (no RT). Follow up too short for survival analysis.
 * 2006 PMID 16427212 — "A phase III randomized trial of postoperative pelvic irradiation in Stage IB cervical carcinoma with poor prognostic features: follow-up of a gynecologic oncology group study." Rotman M et al. Int J Radiat Oncol Biol Phys. 2006 May 1;65(1):169-76.
 * Decreased rate of recurrence by 46%; local recurrence 13.9% (RT) vs 20.7% (no RT), distant 2.9% vs 8.6%. Improved PFS by 42%. Decreased death rate by 30% (28.6% vs 19.7%) but not S.S. (p=0.07). RT has improved benefit for adenocarcinoma or adenosquamous histologies (8.8% vs 44% recurrence).

Surgery + Post-op RT vs. Post-op CRT
High risk features:
 * microscopic involvement of the parametrium (upstaged to IIB)
 * positive pelvic lymph nodes (upstaged to IIIB)
 * positive surgical margins

 * GOG 109 / Intergroup 0107 / SWOG 8797 / RTOG 9112 (1991-96) -- RT vs chemo+RT
 * Randomized, 268 patients. Post-operative clinical stage IA2, IB, and IIA, s/p radical hysterectomy and pelvic lymphadenectomy, with high risk features (positive pelvic lymph nodes, positive margins, or microscopic involvement of the parametrium). Randomized to RT vs RT+CT.  Chemotherapy consisted of cisplatin 70 mg/m^2 and a 96-hour infusion of fluorouracil 1,000 mg/m^2/d every 3 weeks x four cycles (1st and 2nd cycles concurrent with RT). RT 49.3 Gy in 29 fractions (1.7 Gy/fx). 45 Gy (1.5 Gy/fx) given to paraaortic area if positive common iliac LN.
 * 2000 - PMID 10764420 — "Concurrent chemotherapy and pelvic radiation therapy compared with pelvic radiation therapy alone as adjuvant therapy after radical surgery in high-risk early-stage cancer of the cervix." (Peters WA 3rd et al. J Clin Oncol. 2000 Apr;18(8):1606-13.)
 * 4-year OS 71% (RT) vs 81% (RT+CT), HR=2.01; 4-year PFS 63% vs 80%, HR=1.96
 * Conclusion: Addition of cisplatin based chemotherapy to RT significantly improves progression free survival and overall survival following surgery for high-risk, early stage patients
 * 2005 PMID 15721417 — "Rethinking the use of radiation and chemotherapy after radical hysterectomy: a clinical-pathologic analysis of a Gynecologic Oncology Group/Southwest Oncology Group/Radiation Therapy Oncology Group trial." Monk BJ et al. Gynecol Oncol. 2005 Mar;96(3):721-8.
 * Smaller benefit for chemo+RT when only 1 LN is positive.
 * Carbonic Anhydrase-IX; 2010 PMID 19913895 -- "Prognostic relevance of carbonic anhydrase-IX in high-risk, early-stage cervical cancer: a Gynecologic Oncology Group study." (Liao SY, Gynecol Oncol. 2010 Mar;116(3):452-8. Epub 2009 Nov 13.)
 * Retrospective. 166 patients, stained for CA-IX expression (high >80% staining).
 * Outcome: High CA-IX in 21%, associated with tumor size and depth of invasion. On MVA, independent prognostic factor for PFS (HR 2.1, SS), and OS (HR 2.4, SS)
 * Conclusion: Tumor hypoxia measured by CA-IX independent prognostic factor for PFS and OS

Primary RT vs. Pre-op RT + Surgery

 * GOG 71 / RTOG 84-12 (1984-91)
 * Randomized. 256 pts. "Suboptimal" or "bulky" stage IB, defined as: exophytic tumor >= 4 cm, a cervix expanded to >= 4 cm (and assumed to be tumor by the clinician), large or barrel-shaped tumors of >= 4 cm
 * Randomized to: RT alone vs RT followed by hysterectomy
 * EBRT to 40 Gy (RT alone) or 45 Gy (adjuvant hysterectomy). Followed in 1-2 weeks by brachy to 40 Gy (RT alone) or 30 Gy (hyst), for a total of 80 Gy vs 75 Gy to point A. Group 2 had extrafascial hysterectomy 2-6 wks after completing RT.
 * 2003 PMID 12798694 — "Radiation therapy with and without extrafascial hysterectomy for bulky stage IB cervical carcinoma: a randomized trial of the Gynecologic Oncology Group." Keys HM et al. Gynecol Oncol. 2003 Jun;89(3):343-53.
 * Median f/u 9.6 yrs. Lower incidence of local relapse with addition of hysterectomy (27% vs 14%). No difference in OS. Trend toward 5 year PFS 53% (RT) vs 62% (RT + surgery) (p=0.09). Disease progression in 46% (RT) vs 37% (RT + surgery) p=0.07. No difference in severe toxicity. Patients with 4-6 cm tumors may benefit from hysterectomy.

Pre-op RT vs. Pre-op CRT

 * GOG 123 (1992-97)
 * Randomized. 369 pts. Stage IB (at least 4 cm).
 * Randomized to: RT -> hysterectomy vs RT/chemo -> hysterectomy
 * 45 Gy EBRT followed by brachytherapy to total dose 75 Gy to point A. Cisplatin weekly at 40 mg/m2, maximum of 6 doses. Extrafascial hysterectomy 3-6 after RT.
 * 1999 PMID 10202166 — "Cisplatin, radiation, and adjuvant hysterectomy compared with radiation and adjuvant hysterectomy for bulky stage IB cervical carcinoma." Keys HM et al. N Engl J Med. 1999 Apr 15;340(15):1154-61.
 * Median f/u 36 mos. 3-yr OS 74% vs 83% (RT+chemo). RR=0.54. Recurrence rate 37% vs 21%, RR=0.51.
 * Conclusion: concomitant chemotherapy given with RT prior to hysterectomy improves survival.
 * Comment: authors felt that improved LC led to improved OS due to addition of cisplatin, and that adding hysterectomy did not impact OS
 * 2007 PMID 17980189 -- "Radiation therapy with or without weekly cisplatin for bulky stage 1B cervical carcinoma: follow-up of a Gynecologic Oncology Group trial." (Stehman FB, Am J Obstet Gynecol. 2007 Nov;197(5):503.e1-6.)
 * Median f/u 101 months (8.3 yr). Relative risk of progression 0.61; hazard ratio for death 0.63. 6-yr DFS 71% vs 60%; OS 78% vs 64%. Increased early hematologic and GI toxicity seen with RT+chemo. No difference in late effects.
 * Concurrent cisplatin improves long-term PFS and OS. Serious late effects were not increased. The inclusion of hysterectomy has been discontinued on the basis of another trial.

Surgery +/- Neoadjuvant chemotherapy

 * GOG 141
 * Study was closed prematurely due to slow accrual. Randomized. 288 patients with Stage IB2. Treated with exlap with radical hysterectomy and PPaLND +/- neoadjuvant vincristine-cisplatin x3 cycles
 * 2007 PMID 17493669 -- "Treatment of ("bulky") stage IB cervical cancer with or without neoadjuvant vincristine and cisplatin prior to radical hysterectomy and pelvic/para-aortic lymphadenectomy: a phase III trial of the gynecologic oncology group." (Eddy GL, Gynecol Oncol. 2007 Aug;106(2):362-9. Epub 2007 May 9.). Median F/U 5.2 years
 * Outcome: Comparable recurrence rate and death rate; post-op RT necessary in 52% vs. 45% (NS)
 * Conclusion: No benefit for neoadjuvant chemotherapy in IB2 prior to surgery; majority needed further radiation

(Surgery-RT or Primary RT) +/- Neoadjuvant chemotherapy

 * Argentina (1987-1992)
 * Randomized. 210 patients with IB (~50% bulky). Arm 1) Surgery + adjuvant pelvic RT 50 gy or if unresectable surgical staging + primary pelvic RT 60 Gy + LDR boost 25-35 Gy vs. Arm 2) Neoadjuvant chemo (VBP) with same treatment
 * 1997 PMID 9345358 -- "Long-term follow-up of the first randomized trial using neoadjuvant chemotherapy in stage Ib squamous carcinoma of the cervix: the final results." (Sardi JE, Gynecol Oncol. 1997 Oct;67(1):61-9.) Median F/U 5.6 years
 * Outcome: No difference in Ib1 (nonbulky). Benefit in IB2 (bulky) OS neoajduvant 80% vs. control 61% (SS)(due to increased operability 100% vs. 85%, SS).
 * Resectability: 7-year OS resectable 69% vs. unresectable 14% (SS)
 * Conclusion: Neoadjuvant chemo can improve OS because of improved resectability in Ib2 (bulky) patients

Neoadjuvant Chemotherapy + Surgery vs Definitive ChemoRT

 * EORTC-55994 (2002-2014)
 * Randomized. 626 with cervical cancer IB2-IIB. Arm 1) Neoadjuvant chemotherapy (investigator choice containing platinum) followed by surgery vs chemo-RT. Protocol treatment completed in 71% vs 82% of arms. Additional RT given in 48% of NACT-S arm. Additional surgery in 8% of CCRT arm
 * 2023 PMID 37656948 -- "Randomized Phase III Study Comparing Neoadjuvant Chemotherapy Followed by Surgery Versus Chemoradiation in Stage IB2-IIB Cervical Cancer: EORTC-55994" (Kenter GG, J Clin Oncol. 2023 Nov 10;41(32):5035-5043. doi: 10.1200/JCO.22.02852. Epub 2023 Sep 1.). Median F/U 8.7 years
 * Outcome: 5-year OS NACT-S 72% vs CCRT 76% (NS)
 * Toxicity: Short term grade 3+ NACT-S 41% vs CCRT 23%; long term 15% vs 21%
 * Conclusion: No superiority of NACT-S over CCRT, acceptable morbidity and QOL in both arms

 * Tata Memorial Center; 2018 (2003-2015) PMD 29432076 -- "Neoadjuvant Chemotherapy Followed by Radical Surgery Versus Concomitant Chemotherapy and Radiotherapy in Patients With Stage IB2, IIA, or IIB Squamous Cervical Cancer: A Randomized Controlled Trial." (Gupta S, J Clin Oncol. 2018 Jun 1;36(16):1548-1555. doi: 10.1200/JCO.2017.75.9985. Epub 2018 Feb 12.)
 * Randomized. 635 patients with Stage IB2, IIA, or IIB squamous cell cervical cancer. Arm 1) Neoadjuvant paclitaxel/carboplatin x 3 cycles followed by radical hysterectomy; postop RT or chemoRT as indicated (21% crossed over into Arm 2) vs Arm 2) Definitive radiation with concurrent weekly cisplatin. Median F/U 5 years
 * Outcome: 5-year DFS NACT+S 69% vs CRT 77% (SS). 5-year OS 75% vs 75% (NS).
 * Toxicity: Rectal NACT+S 2.2% vs CRT 3.5%, bladder 1.6% vs 3.5%, vaginal 12% vs 26%
 * Conclusion: Superior DFS from chemoradiation compared with NACT followed by surgery; survival comparable. Concomitant chemoRT should remain the standard of care

PA Nodes

 * Gustave Roussy; 2008 (2004-2006) PMID 18487573 -- "Histologic results of para-aortic lymphadenectomy in patients treated for stage IB2/II cervical cancer with negative [18F]fluorodeoxyglucose positron emission tomography scans in the para-aortic area." (Boughanim M, J Clin Oncol. 2008 May 20;26(15):2558-61.)
 * Retrospective. 38 patients with cervix IB2/II with negative PET in PA LNs. Treated with Chemo-RT (cisplatin 40 mg/m2/wk + EBRT 45/25) + LDR BT >=15 Gy. Then PALND
 * Outcome: 3/38 (8%) had pathologically positive PA LN
 * Conclusion: 8% of patients with negative PA by PET have disease after chemo-RT therapy


text:
Korean/Conversation lessons plan/Glossary

 * See also: Korean/Conversation lessons plan

Glossary
This glossary lists all vocabulary items taught or eligible to be taught in the conversation lessons. The terms are arranged alphabetically.

ㄱ

 * 가다: Korean/Lesson I1
 * 갑니다: Korean/Lesson I1
 * 가십시요: Korean/Lesson I1
 * 계십시요
 * 네 ("yes"): Korean/Lesson I1
 * 과
 * 공부하다: Korean/Lesson I2
 * 구: Korean/Lesson I3
 * 九: Korean/Lesson I3

ㄴ

 * 넷: Korean/Lesson I3
 * 는: Korean/Lesson I1
 * 님: Korean/Lesson I2

ㄷ

 * 다섯: Korean/Lesson I3
 * 둘: Korean/Lesson I3

ㄹ

 * 로: Korean/Lesson I2

ㅁ

 * 마흔: Korean/Lesson I3
 * 만: Korean/Lesson I3
 * 萬: Korean/Lesson I3
 * 만나다: Korean/Lesson I2
 * 만나서: Korean/Lesson I1
 * 먹다: Korean/Lesson I1
 * 문법: Korean/Lesson I1

ㅂ

 * 반갑습니다: Korean/Lesson I1
 * 백: Korean/Lesson I3
 * 百: Korean/Lesson I3
 * 백만: Korean/Lesson I3
 * 百萬: Korean/Lesson I3

ㅅ

 * 사: Korean/Lesson I3
 * 四: Korean/Lesson I3
 * 삼: Korean/Lesson I3
 * 三: Korean/Lesson I3
 * 서른: Korean/Lesson I3
 * 선생: Korean/Lesson I2
 * 셋: Korean/Lesson I3
 * 스물: Korean/Lesson I3
 * 숙제: Korean/Lesson I2
 * 쉰: Korean/Lesson I3
 * 시작할까요: Korean/Lesson I1
 * 씨 ("sir"): Korean/Lesson I1
 * 십: Korean/Lesson I3
 * 十: Korean/Lesson I3
 * 십만: Korean/Lesson I3
 * 十萬: Korean/Lesson I3

ㅇ

 * 아니오: Korean/Lesson I1
 * 아흔: Korean/Lesson I3
 * 아흔 아홉: Korean/Lesson I3
 * 아홉: Korean/Lesson I3
 * 안녕하십니까?: Korean/Lesson I1
 * 안녕히 가십시요: Korean/Lesson I1
 * 안녕히 계십시요: Korean/Lesson I1
 * 앗: Korean/Lesson I2
 * 어휘
 * 억: Korean/Lesson I3
 * 億: Korean/Lesson I3
 * 여덟: Korean/Lesson I3
 * 여섯: Korean/Lesson I3
 * 여든: Korean/Lesson I3
 * 연습: Korean/Lesson I1
 * 열: Korean/Lesson I3
 * 에: Korean/Lesson I1
 * 예순: Korean/Lesson I3
 * 오: Korean/Lesson I3
 * 五: Korean/Lesson I3
 * 오늘: Korean/Lesson I2
 * 오래간만 입니다: Korean/Lesson I2
 * 오랜만
 * 요즈음
 * 육: Korean/Lesson I3
 * 六: Korean/Lesson I3
 * 은: Korean/Lesson I1
 * 이: Korean/Lesson I3
 * 二: Korean/Lesson I3
 * 인
 * 일: Korean/Lesson I3
 * 一: Korean/Lesson I3
 * 일곱: Korean/Lesson I3
 * 일흔: Korean/Lesson I3

ㅈ

 * 저: Korean/Lesson I1
 * 저도요 ("me, too"): Korean/Lesson I1
 * 제 (ordinal prefix)
 * 조새프 ("Joseph", an American): Korean/Lesson I1
 * 지금: Korean/Lesson I2
 * 집: Korean/Lesson I1

ㅊ

 * 찬호 ("Chanho", a native Korean): Korean/Lesson I1
 * 천: Korean/Lesson I3
 * 千: Korean/Lesson I3
 * 천만: Korean/Lesson I3
 * 千萬: Korean/Lesson I3
 * 칠: Korean/Lesson I3
 * 七: Korean/Lesson I3

ㅍ

 * 팔: Korean/Lesson I3
 * 八: Korean/Lesson I3

ㅎ

 * 하다: Korean/Lesson I2
 * 학교: Korean/Lesson I1
 * 하나: Korean/Lesson I3


text:
User talk:68.98.110.130

Regarding edits made during May 31 2007
Welcome to Wikibooks. We invite everyone to contribute constructively to our collection. Take a look at the welcome page if you would like to learn more about contributing. However, unconstructive edits are considered vandalism, and if you continue in this manner you may be blocked from editing without further warning. Please stop, and consider improving rather than damaging the hard work of others. Thanks. If this is an IP address, and it is shared by multiple users, ignore this warning if you did not make any unconstructive edits. Az1568(Talk) 05:46, 31 May 2007 (UTC)

title: User talk:68.98.110.130


text:
OpenOffice.org/Base

OpenOffice User's Manual: OpenOffice.org Base OpenOffice.org Base, is a relational database management system, a competitor to Microsoft Access and even suitable for beginners to databases. Much documentation and books for Microsoft Access will apply similarly (but not necessarily identically) for OpenOffice.org Base. It is a member of the OpenOffice.org suite of applications. OpenOffice.org users can choose to connect to external full-featured SQL database such as MySQL, PostgreSQL and even Oracle through ODBC or JDBC drivers. OpenOffice.org Base can hence act as a GUI frontend for SQL views, table design and query. In addition, OpenOffice.org has its own Form wizard to create dialog windows for form filling and updates.

Base may not be included with your operating system, but you should be able to get it relatively easily, as it is free software. You will also need Java installed (and not disabled in OpenOffice.org) in order for Base to run.

Data
A database is a structured collection of records or data that is stored in a computer system. The structure is achieved by organizing the data according to a database model. The model in most common use today is the relational model.

A database management system (DBMS) is computer software that manages databases. DBMSes may use any of a variety of database models, such as the network model or relational model. In large systems, a DBMS allows users and other software to store and retrieve data in a structured way.

Connecting to Databases
If you have an existing database already created, you can connect to it either with the first screen you see in OpenOffice.org Base or by clicking File, New, Database then Connect to existing Database. There is limited support for Microsoft Access databases.

Relations
Imagine you want to record the products that customers order from your company. You could use a spreadsheet with one customer per row, but one customer might order many products. You could use a spreadsheet with one order per row, but you may have to type in customer name and address repetitively for many orders. In situations such as this, you are better off using a database rather than a spreadsheet.

The difference between databases and spreadsheets is that while spreadsheets can contain records (often a row in a spreadsheet) and data fields (which is just a particular type of data - often a column header in a spreadsheet), databases can also contain relationships between records. These can be one-to-many relationships or many-to-many relationships.

When you specify the relationships between tables you can also specify referential integrity so that data can't be entered which contradicts related data in another table.

Wizards
Wizards are simply a way of describing a step-by-step approach in making software easier for the user, usually choosing an option and clicking Next. On launching Base you are presented with a Database Wizard which offers you the choice of creating a database, opening or connecting to an existing one. Choose Create a Database to begin with and click Next. Choose to register the database, don't worry this is only done locally and can help other modules of OpenOffice.org (such as Calc) work with your database. Don't choose the Table wizard just yet and save (and name) your database in a convenient location. For now, use OpenDocument Database format, though this will probably be already automatically selected as the default. Why save it already? Because data such as records will be saved automatically as it is being entered into a database.

Databases do not use files in the normal sense, however a good database can output its content structured with SQL (Structured Query Language) – an ANSI/ISO standard. It is also important that it supports ODBC (Open Data Base Connectivity)

You should now be presented with the main interface. On the left is the Database column which contains four options (sometimes called modules); Tables, Queries, Forms and Reports.

Tables
A table will be the closest aspect of database to resemble an ordinary spreadsheet. Click on tables (it may already be selected) and you will be presented with a choice of Tasks (in the upper part); Create Table in Design View, Use Wizard to Create Table and Create View.... Choose Use Wizard to Create Table. There are four steps Select fields, Set types and formats, Set primary key and Create table. Choose a category Business or Personal then choose a Sample table then click the double arrows >> which will copy all the fields into Selected fields on the right. Click next and you can adjust the field characteristics. Click next and make sure Create a primary key is checked and Automatically add a primary key. Click next and the table name should read whatever Sample table you chose. Ensure Insert data immediately is checked and click Finish. Congratulations, you have created your first table. You should now be able to see it looks rather like a spreadsheet. There is not yet any data in it, it is usually better to add data using Forms so close it for now. You will notice that although you have not yet clicked to save it, the table has now automatically been saved. You can see it when you return to the main window and even if you close and reopen the database.

Design View
Creating a table in design view is a more specific way of creating a table. Click on it and you will see a spreadsheet-like layout but this might be deceptive (don't confuse it with the table view). The left column is for the Field name which you choose (you can choose anything, this will be for your reference). The second column is for Field Type and contains a drop-down menu for the type of data that will be stored in this field. For example a name would be Text [VARCHAR], a date would be Date [DATE] and so on. When the Field type is selected, you will see a window at the bottom which is the Field Properties where can you specify things like whether you require data to be entered into that field type when logging records, the permitted character length of the data and decimal places. You can specify validation here which checks that data entered is among the permitted data. Unlike in the Table wizard you will need to save any changes in Design view that you want to keep, before closing it to return to the main window.

Forms
Forms are used to enter data easily and quickly. Click on Forms on the left hand side of the screen (in Database column) and Use Wizard to Create Form... (Writer may briefly pop up but also the Form Wizard should be on top). Click on the double arrow >> to add all fields to the right hand column called Fields in the form, and then, (unless you want to change the layout and colors) just click Finish. To build a query for the data, first close the Form in the Writer window.

Controls are aspects of forms to configure each fields particular properties. The form is edited in a Writer window and the Form controls are accessed in the same way as in Writer, View, Toolbars then Form Controls.

Basic switchboards (as in Microsoft Access) can only be created in OpenOffice.org using Forms.

Queries
Queries are a way of querying your data according to certain conditions or criteria. Complex calculations can be performed with queries.

Note: There are two modes of queries they can run in: Native and normal. In normal mode the query is processed by the gui that rewrites it for the specific SQL engine you use. In Native mode it does not. In Native mode you can use server-specific commands, in normal mode you can't.

Reports
Reports are like queries but offer more layout options for outputting your query results. In the Report Wizard, you are offered to group your results, then you are offered to sort the results. You can change the formatting and set page breaks too.

General Database Documentation

 * About Databases: Microsoft Access, SQL Server, Oracle and More!
 * Downloadable Microsoft Access Database Examples and Samples | Database Solutions for Microsoft Access | databasedev.co.uk
 * Creating and Working with Databases and Objects – Access – Microsoft Office Online
 * Working with Data – Access – Microsoft Office Online
 * Database objects – Access – Microsoft Office Online
 * Sample Access databases that you can download and adapt – Access – Microsoft Office Online
 * Database Software – How To Information | eHow.com

OpenOffice.org/Trabajando en Bases de Datos

title: OpenOffice.org/Base


text:
OpenOffice.org/Draw

"DRAW - from a quick sketch to a complex plan, DRAW gives you the tools to communicate with graphics and diagrams." --Draw Website

Draw is a vector-based graphic program, similar to Inkscape. It can be used to insert graphics into the other OOo programs.

OpenOffice.org/Draw

title: OpenOffice.org/Draw


text:
Circuit Idea/How to Contribute

<<< discussion - philosophy - page stage >>>

How to Contribute to Circuit Idea

(Local Manual of Style)

Content
You can help this project by editing and adding new content to the existing materials or by creating completely new pages. If you want to do something more than just "cosmetic" editing, you have to have something new and original to say. Do not repeat and reproduce classic trite circuit explanations that do not explain anything. Just present your viewpoint at the circuit discussed, your own philosophy about circuits and phenomena behind them.

If you are a teacher, student, inventor, designer, etc. who has encountered an interesting circuit solution, write your teacher's, student's, inventor's, designer's, etc. circuit story.

Tools
Do not use complex formulas to explain circuits; they cannot reveal circuit ideas. Mathematical models hide circuit structure and causality in circuit operation that we need to reveal, in order to understand circuits. Use rather qualitative than quantitative analyzing tools; treat readers as human beings, not as computers.

Different view points
Avoid removing a content from the existing pages; instead, add new content to them. Express your different viewpoint at the subject in a parallel section or in a separate page; it is wonderful, if there are a few different viewpoints at the same circuit. Leave the curious reader to choose the favorite viewpoint.

Tone
Remember, this is not a classic electronics book; it relies on human imagination, intuition and emotions of creative thinking readers. So, you have to motivate, inspire and induce creativity in these people. For this purpose, use more informal style of writing than usual for technical books; let it sounds more like the way people really talk. We want the book we write to read like an actual person wrote it. Apply various devices of style to make circuit stories interesting and captivating.

Language
Do not use a formal, stuffy language; instead use a direct, informal language. Still more, use an imaginative, figurative, catchy and colorful language to plot pictures in reader's mind. You may do that by applying various techniques: personification (give human traits to circuits), simile (compare two different things), metaphors (show the resemblance between two things by implied comparison), humor, jokes, etc. Generally speaking, use rather fiction than technical book style. Do not use passive voice; whenever it is possible, use active and the first person voice (feel free to say "we", Wikibooks is not Wikipedia).

Images
Do not forget that "a picture is worth a thousand words"; so, insert as much as possible images into the text.

Do not draw classical black-and-white circuit diagrams. Although they look pretty (thanks to perfect graphic editors), actually they are dull, formal and low informative. In many cases, conventional circuit diagrams do not give something more than a well written imaginary and fanciful text. They look as static photos that do not render circuit operation.

As a rule, classical circuit diagrams do not show input sources, loads and power supplies. As a result, readers do not know where currents flow. Also, they do not show what are the magnitudes and polarities of the voltages in the important circuit points.

Instead, draw informative, colored circuit diagrams enriched with little men, voltage bars and diagrams, current loops and other means visualizing the invisible electrical attributes. Use different colors to mark the various electrical attributes (voltage - red, current - green, resistance - black, etc.) Circle the circuit components that form well-known simpler circuit building blocks by a different light color (yellow, purple, blue, etc.) Write explanatory texts over the circuit diagrams. Use the same color for the texts and the according enclosing loops to associate them. Feel free to place the text inside explanatory balloons (likewise comics).

Try to express the movement (the change) into the circuit operation (e.g., by superimposing different phases of the operation). If it is possible, your diagrams have to look rather as dynamic movies than as static photos.

Handmade (freehand) circuit diagrams are completely acceptable and even advisable. The only problem is that it is difficult to edit them. If you decide to redraw them by using a vector graphics editor, please do not truncate the images.

Contributor list
Anyone can contribute to this book. Only, we would like that contributors are creative people that have their own philosophy about circuits and phenomena behind them. If you have an interesting story about clever circuit or an idea how to edit the existing stories, enter your user name in the contributor list below and begin writing.

Circuit-fantasist - an originator of the book

Students from Faculty of Computer Systems, Technical University of Sofia: Vsj 67gr Jordan Slavov Lora Kirilova

title: Circuit Idea/How to Contribute