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User talk:Dark ixion~enwikibooks

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Good luck!

You might also like to read our Cookbook policy page, and talk to other Cookbook editors. Webaware talk 10:32, 2 May 2007 (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 Dark ixion. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Dark ixion~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 23:08, 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) 04:51, 19 April 2015 (UTC)

title: User talk:Dark ixion~enwikibooks


text:
Talk:Horticulture/Helianthus

Species list from wikipedia

Species

 * Helianthis agrestis : Southeastern Sunflower
 * Helianthus angustifolius : Swamp Sunflower
 * Helianthus annuus : Sunflower, Mirasol
 * Helianthus anomalus : Western Sunflower
 * Helianthus argophyllus : Silverleaf Sunflower
 * Helianthus arizonensis : Arizona Sunflower
 * Helianthus atrorubens
 * Helianthus bolanderi : Serpentine Sunflower
 * Helianthus californicus : California Sunflower
 * Helianthus carnosus : Lakeside Sunflower
 * Helianthus ciliaris : Texas Blueweed
 * Helianthus cinereus
 * Helianthus cusickii : Cusick's Sunflower
 * Helianthus debilis : Cucumberleaf Sunflower
 * Helianthus debilis ssp. cucumerifolius : Cucumberleaf Sunflower
 * Helianthus debelis ssp. debilis : Cucumberleaf Sunflower
 * Helianthus debilis ssp. silvestris : Cucumberleaf Sunflower
 * Helianthus debilis ssp. tardiflorus : Cucumberleaf Sunflower
 * Helianthus debilis ssp. vestitus : Cucumberleaf Sunflower
 * Helianthus decapetalus : Thinleaf Sunflower
 * Helianthus divaricatus
 * Helianthus eggertii : Eggert's Sunflower
 * Helianthus floridanus : Florida Sunflower
 * Helianthus giganteus
 * Helianthus glaucophyllus : Whiteleaf Sunflower
 * Helianthus gracilentus : Slender Sunflower
 * Helianthus grosseserratus
 * Helianthus heterophyllus : Variableleaf Sunflower
 * Helianthus hirsutus
 * Helianthus laciniatus : Alkali Sunflower
 * Helianthus laetiflorus
 * Helianthus laevigatus : Smooth Sunflower
 * Helianthus longifolius : Longleaf Sunflower
 * Helianthus maximiliani : Maximillian Sunflower
 * Helianthus microcephalus : Small Woodland Sunflower
 * Helianthus mollis
 * Helianthus multiflorus
 * Helianthus neglectus : Neglected Sunflower
 * Helianthus niveus
 * Helianthus niveus ssp. canescens : Showy Sunflower
 * Helianthus niveus ssp. tephrodes : Algodones Sunflower
 * Helianthus nuttallii
 * Helianthus nuttallii ssp. nuttallii : Nuttall's Sunflower
 * Helianthus nuttallii ssp. parishii : Parish's Sunflower
 * Helianthus nuttallii ssp. Rydbergii : Rydberg's Sunflower
 * Helianthus occidentalis : Fewleaf Sunflower
 * Helianthus occidentalis ssp. occidentalis : Fewleaf Sunflower
 * Helianthus occidentalis ssp. plantagineus : Fewleaf Sunflower
 * Helianthus paradoxus : Paradox Sunflower
 * Helianthus pauciflorus
 * Helianthus pauciflorus ssp. pauciflorus : Stiff Sunflower
 * Helianthus pauciflorus ssp. subrhomboideus : Stiff Sunflower
 * Helianthus petiolaris
 * Helianthus petiolaris ssp. fallax : Prairie Sunflower
 * Helianthus petiolaris ss. petiolaris : Prairie Sunflower
 * Helianthus porteri : Porter's Sunflower
 * Helianthus praecox
 * Helianthus praecox ssp. hirtus : Texas Sunflower
 * Helianthus praecox ssp. praecox : Texas Sunflower
 * Helianthus praecox ssp. runyonii : Runyon's Sunflower
 * Helianthus praetermissus : New Mexico Sunflower
 * Helianthus pumilus : Little Sunflower
 * Helianthus radula : Rayless Sunflower
 * Helianthus resinosus : Resindot Sunflower
 * Helianthus salicifolius : Willowleaf Sunflower
 * Helianthus schweinitzii : Schweinitz's Sunflower
 *  Helianthus silphioides : Rosinweed Sunflower
 * Helianthus simulans : Muck Sunflower
 * Helianthus smithii : Smith's Sunflower
 * Helianthus strumosus : Paleleaf Woodland Sunflower
 * Helianthus tuberosus (Jerusalem Artichoke)

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

title: Talk:Horticulture/Helianthus


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User talk:124.177.90.240

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. -- Herby talk thyme 11:47, 2 May 2007 (UTC)

title: User talk:124.177.90.240


text:
Beekeeping/Kenya Top Bar Hives

The Kenyan top bar hive is a trough-shaped hive that originated in  Kenya under the direction of Canadian bee researcher Dr.Maurice V. Smith, sponsored by the Canadian International Development Agency under an initial four year project begun in 1971. The Kenyan TBH is differentiated from the other common design, the Tanzania Top Bar Hive, by having sloped sides (intended to minimize attachment of the comb). Reports vary as to how well this end is achieved in practice, but it is worth noting that this design appears to be preferred among top bar hive builders and designers in the USA and Europe, including Les Crowder, Marty Hardiman, Michael Bush and Phil Chandler and Wyatt A Mangum. The degree of slope varies, but 30 to 40 degrees from the vertical seems to be most common.

Because of its sloping sides, the Kenyan hive conforms more closely than the Tanzanian in its trapezoidal cross section to the shape that bees will build their comb in an unrestricted space, i.e. a catenary curve. This, it is claimed, makes for better use of space and more efficient warming of air in winter than is the case with a rectangular cross section.

Entrances may be arranged at the ends (Hardiman, Bush, Mangum) or the sides (Crowder, Chandler). Like all things in beekeeping, there are and always will be arguments for and against, but bees are adaptable and will make use of whatever is provided.

Top bars are wooden, usually 1 3/8" (35mm) wide and anything from about 15" to as much as 24" long, although the average is 17" - 19". Some form of guide is usually provided to encourage bees to build straight combs - a big help to the beekeeper, but not necessarily the first choice of the bees. This can be a simple groove cut in the underside of the bar and filled with wax, or a thin strip of wood fixed to the bar. Some beekeepers incorporate vertical guides to help support comb, although this is more common in the Tanzanian pattern, where a wide, rectangular slab of comb would otherwise be unstable. Mangum cuts a groove in the top bar and glues with beeswax a 1.5 inch strip of foundation as a guide or uses some old comb

Sloped Side
Left to their own devices, bees tend to build comb in a series of catenary curves, similar to the shape made by a heavy rope or chain, which is suspended by its ends. Because of this, the 'V' shape of the Kenyan hive is a better approximation to the shape of natural comb than a simple, vertical-sided box. Hence the Kenyan hive enables bees to build in a way that is close to their natural preference and reduces their need to build 'spurs' to attach the comb to the sides of the box.

There exist several arguments for differing angles of the slope that the side of the hive follows.

30° Slope
The argument for 30° follows that in a perfectly formed hive, the comb cells will be built parallel to the bottoms of the Top Bars. It can be observed that each side following build out of the top bar would be 30°. More specifically, a two dimensional 360° geometric object is divided into 6 equal angles (360° / 6sides = 60°), because a flat surface of the cell is parallel to the top bar, by dividing that angle equally for each side of the comb would dictate 30° on either side of the buildup. Therefore if the walls are built at 30° (or slightly less), when the bees are building comb, the bees will tend to keep the edge of cell walls straight and not attach them to the sides of the hive.

90° Slope
A slope of 90° would actually be a Tanzania Top Bar Hive.

Other Angles
Some beekeepers who use Top Bar Hives claim that they see no real difference in the functionality of the angle of the side walls of the hive. All that is important is that the opening of the top bar hive in relation to the trough is not convex.

Further Sources of Information

 * Michael Bush
 * Wyatt A Mangum

title: Beekeeping/Kenya Top Bar Hives


text:
A-level Physics/Edexcel (Salters Horners)

This Wikibook is about A-level Physics, designed to follow the Edexcel (Salters Horners) syllabus, but is not endorsed by Edexcel. It will hopefully be useful as a revision guide or for alternative explanations to the ones in your textbook or from your tutor.

PSA1: Physics at work, rest and play (6751)

 * Higher, Faster, Stronger (HFS)
 * Good Enough to Eat (EAT)
 * Spare Part Surgery (SUR)

PSA2: Physics for life (6752)

 * Digging Up the Past (DIG)
 * Technology in Space (SPC)
 * Sound of Music (MUS)

PSA3: Coursework (6753)

 * Experimental skills
 * Visit

PSA4: Physics on the Move (6754)

 * Transport on Track (TRA)
 * The Medium is the Message (MDM)
 * Probing the Heart of Matter (PRO)

PSA5i: Coursework (6755/01)

 * Practical project

PSA5ii: Physics from creation to collapse (6755/02)

 * Build or Bust? (BLD)
 * Reach for the Stars (STA)


text:
User talk:86.125.243.112

Please do not use Wikibooks for advertising -- Herby talk thyme 13:22, 2 May 2007 (UTC)

title: User talk:86.125.243.112


text:
User talk:Lwan98

Welcome
Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally.

Basic Rescue
Hi Lwan98,

Nice finishing touch on Basic Rescue. I marked it as complete. It's been waiting for those illustrations for almost two years.

BTW, tomorrow (Oct 8) is AYHAB's 3-year anniversary. In that time, we have finished 211 out of 354 honors. If we continue at this pace, we should finish in about two more years.

--Jomegat (talk) 23:15, 7 October 2008 (UTC)

Flower, leaves & filler
Yeah, yeah, go ahead and laugh at my flower drawing. ~Lester 17:14, 8 October 2008 (UTC)

New Honors
Hi Lester,

Nice job finding the requirements to the new honors. Thanks! --Jomegat (talk) 04:17, 16 October 2008 (UTC)
 * Just can't find those last two. Grrr! ~Lester 04:20, 16 October 2008 (UTC)
 * I have a feeling that there is no Plastic Canvas Advanced. I could be wrong though.  --Jomegat (talk) 04:41, 16 October 2008 (UTC)

Balloon
Hi Lester,

Nice to see you back again, and nice job on the balloon panel diagram. I think this honor could use even more diagrams, as I can't figure out where to cut flaps. I often have difficulty with that sort of thing until I try it. With the pieces laid out in front of me, it's usually possible to figure this sort of thing out. --Jomegat (talk) 02:22, 12 May 2009 (UTC)

title: User talk:Lwan98


text:
Cookbook talk:Indian Pudding

Type of pan?
Anyone know what type (shape, dimensions) of pan this is meant to be cooked in? The recipe doesn't specify, and using the wrong sort could completely screw up the end product. Jessicapierce 14:27, 2 May 2007 (UTC)

title: Cookbook talk:Indian Pudding


text:
Cookbook:Meat Masala

| Spices

Meat masala is a spice mix used in Keralan cuisine, typically as a marinade for various types of meat, especially mutton.

Meat masala can either be rubbed onto pieces of meat as a dry powder mix, or combined with oil to make a paste that more easily coats the meat. Once coated, the meat should be left to marinate for at least 20 minutes, but preferably up to 2 hours, before cooking.

Ingredients

 * 50 g whole dried chillies
 * 100 g coriander seed
 * 2 tbsp black peppercorn
 * 1 tsp cumin seed
 * 1 tsp mustard seed
 * 1 tsp turmeric powder
 * 12 cloves
 * ¼ tsp cardamom seed
 * 2 short pieces of cinnamon

Procedure

 * 1) Toast the chillies, coriander, peppercorn, cumin, and mustard in a frying pan.
 * 2) Grind all ingredients to a powder.
 * 3) Store in a glass jar with a tight-fitting lid.

title: Cookbook:Meat Masala


text:
User talk:Ravanan

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Hello, and welcome to Wikibooks!

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Good luck!

Please do not add inappropriate external links to Wikibooks. Wikibooks is intended to be read without the need for external reference and requires content rather than external links particularly those which are for advertising or promotion. Inappropriate links may include (but are not limited to) links to personal web sites, links to web sites with which you are affiliated, and links that exist to attract visitors to a web site or promote a product. If you feel the link should be added to the article, then please discuss it on the article's talk page rather than re-adding it. See the welcome page to learn more about Wikibooks. Thank you. Webaware talk 15:48, 2 May 2007 (UTC)

title: User talk:Ravanan


text:
Social and Cultural Foundations of American Education/Foreword

This is a textbook created and edited as part of an education course, ECI 301, at Old Dominion University in Norfolk, VA. The book's primary contributors have been undergraduate, pre-service teachers.

Our goals for this project are manifold, but I would like to take a minute to highlight some of those that we consider most important. First, we want to prove that a student-authored textbook can be of a quality equal to that of a traditional textbook. After all, it seems counter-intuitive to imagine that students could learn from a textbook that is too sophisticated for them to have written themselves. Furthermore, this text should serve as proof that, due to the vast availability of information via the Internet, traditional textbooks written by intellectual elites are no longer necessary to the same degree they were before the Information Age. Next, the process of creating this text will serve to empower pre-service teachers with knowledge of technology and other skills such as effective communication and self-/peer-editing that will serve them well when they enter the classroom later, as teachers.

If you have stumbled onto this book by mistake, we encourage you to take a few minutes and read a chapter or two. After reading, feel free to click the blue rating buttons at the bottom of each page. This will help us identify the highest- and lowest-quality sections.

Each section of each chapter of this book was researched and developed by the students. Several versions of the articles were developed by different individuals, both within the same class and over several semesters. The students evaluated their peers' articles to determine which ones were the most useful and those versions are the ones seen linked from the contents page of each chapter.


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Template:RightHalf

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title: Template:LeftHalf


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User talk:85.120.249.153

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You should sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * If you're a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI to bring the material over in compliance with the GFDL.
 * If you're an instructor and plan on using wikibooks for a class project, see Guidelines for class projects
 * Please say hello at the Staff Lounge with any questions or ideas.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Please take a look at Naming policy before starting a new book.
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page. For site news, see the Bulletin board. It might be an idea if you add this page to your "watchlist" so that you can see when any new information is posted there.

One note about your work in the Muggle's Guide, specifically on Albus Dumbledore and the questions. Questions are meant to be left unanswered, to inspire thought in the reader. Providing answers is fine, but if so, it's best to do so as part of the Greater Picture section. In some cases, also, it's best to present answers as opinions, because there will be people who read or work on this book who have other opinions as well.

Good luck! Chazz (talk) 17:31, 2 May 2007 (UTC)

title: User talk:85.120.249.153


text:
The Grand Inquisitor/History

The Brothers Karamazov was intended to be the first part of a trilogy of books, but Dostoevsky died shortly after the first installment was published. The three chapters described here, The Grand Inquisitor, Rebellion, and The Devil have also been published as a stand-alone reader.

title: The Grand Inquisitor/History


text:
The Grand Inquisitor/Fyodor Dostoevsky

...a short biography of the author

title: The Grand Inquisitor/Fyodor Dostoevsky


text:
The Grand Inquisitor/The Brothers Karamazov

Here we are going to briefly explain some of the plot of this book. Parts that bear no strong influence on the three chapters we will be annotating will be omitted.

History
Fyodor Karamazov, the father of the house, is a crude character. He is married twice and pays little in the way of love or respect to either wife. From his first marriage, he has a child named Dimitri. From his second wife, he has two children, Ivan (the older), and Alyosha (the younger).

Fyodor pays little attention to any of his children. After his wives die, the children are brought up by the servant Grigory and his wife Marfa. The children are then separated and sent out to live with relatives of their respective mothers.

Fyodor, on a bet, makes love to a mentally challenged girl in town, named Stinking Lizaveta. Lizaveta bears a child named Smerdyakov, and dies during the birth. Smerdyakov is also raised by Grigory, and eventually grows up to become a servant of Fyodor. It is assumed by many that Smerdyakov is the biological son of Fyodor, but this fact is never proven. As with his other children, Fyodor largely ignores Smerdyakov, and does not treat him like a son.

Through a series of events, all three brothers return to the house of their father. Dimitri and Fyodor have been quarreling over Dimitri's inheritance (of which Fyodor claims there is none left).

Religion
Alyosha is a monk in training at the local monastery, while Ivan is a well-educated and influential atheist. Despite their strong differences in the area of religion, the two brothers seem to get along fine and respect each other. The two brothers have not seen each other much before arriving at Fyodor's house, so they spend time talking at a local bar. Their conversation, which inevitably turns to the topic of religion, is recounted in the chapter on Rebellion. After this conversation, Ivan relates to Alyosha a "poem" he has been working on, known as The Grand Inquisitor.

Love
Dimitri, a military service man, has captured the heart of a young woman, Katerina Ivanova, the daughter of a military commander. Katerina feels some amount of love and loyalty to Dimitri, but Dimitri does not return the feelings. While on duty in the military, Dimitri learns that Katerina's father is in debt and is at risk of losing his rank and doing time in jail for it. Dimitri gives the money to Katerina, and asks nothing from Katerina in return. It is because of this event that Katerina feels bound to Dimitri, and constantly refers to herself as being in his debt.

While Katarina feels hopelessly bound to Dimitri, who does not return her affections, Ivan has fallen for Katerina. Katerina has fallen for Ivan as well, but because of her debt to Dimitri she does not allow a relationship to form between them. The conflict between his love for Katerina and his loyalty to his brother is a major stressor for Ivan.

Dimitri is not in love with Katerina primarily because he is in love with another woman, Grushenka. Fyodor also has a romantic interest in Grushenka so father and son begin competing for her attention. Combined with the financial problems between them, the fight over Grushenka is a a major source of contention.

Murder
Ivan, upset about his own relationship with his father, and also upset about his relationship with Katerina, decides to leave town for Moscow. Smerdyakov says a few surprising things that catch Ivan off guard. First Smerdyakov says that without Ivan around, there were no strong men in the house to protect the father from Dimitri. Smerdyakov has told Dimitri the secret code of knocks that will cause Fyodor to open the lock on his bedroom door at night. Also, Smerdyakov mentions that he is planning to "have a seizure" the following night when Ivan is absent, thus leaving the entire house empty, except for Fyodor.

Ivan, not understanding the correlation between all these facts, or making some conscious effort to ignore them, leaves for Moscow the next morning. Predictably, things go the way Smerdyakov had anticipated: He had a seizure the following night, Dimitri used the secret signal to gain entry to Fyodor's bedroom, and Fyodor is found murdered the next day. Ivan, having been summoned to attend the funeral and the trial, questions Smerdyakov about the strange things he said in their last conversation. Smerdyakov admits to killing Fyodor, and framing Dimitri for the crime. More troubling then this, is the fact that Smerdyakov blames Ivan for the whole event. Smerdyakov told Ivan the plan, albeit in a circuitous way, and made it clear that if Ivan leaves for Moscow, Fyodor will get murdered. Ivan did go to Moscow, and therefore Smerdyakov took this as permission to murder Fyodor.

Ivan, upset about this new revelation, and desperate to save Dimitri from being wrongly punished for the murder develops a brain fever and begins having hallucinations.


text:
The Grand Inquisitor/Characters

Grushenka
The problems between Dimitri and Fyodor escalate when they both fall in love with the same woman: Grushenka. The quarrel becomes physical, and Dimitri storms out of the house. Ivan asks to meet Alyosha at a local bar to talk. They talk briefly about Dimitri (which is what Alyosha is concerned about), but then Ivan recites the "poem" that he has written, "The Grand Inquisitor".

Smerdyakov and Ivan
Ivan is a respected intellectual, but Smerdyakov is revealed to be highly intellegent in his own right. Smerdyakov has a high amount of respect for Ivan, although that respect is rarely returned. Smerdyakov is an epileptic, and is prone to occasional, debilitating seizures which can last for long periods of time. He also hints occasionally that he is capable of pretending to have such a seizure, and is very convincing at it.

title: The Grand Inquisitor/Characters


text:
The Grand Inquisitor/Rebellion

Rebellion
In this chapter, Ivan relates several news stories that he has collected over the years. Each story is about a child that has been abused, or murdered, or otherwise made to suffer. Ivan claims that if God allows these children to suffer, Ivan will not accept any invitation into God's kingdom. After this, Alyosha says "That's rebellion!".

Part 1
Ivan here is referring to a passage from the book of Matthew, 22:35:

 * Then one of them, which was a lawyer, asked him a question, tempting him, and saying, Master, which is the great commandment in the law? Jesus said unto him, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind.  This is the first and great commandment.  And the second is like unto it, Thou shalt love thy neighbour as thyself. On these two commandments hang all the law and the prophets.

Jesus claimed that "love thy neighbor" was the second most important law of god. It is by claiming to not be able to follow this law (and providing some justification against it) that Ivan starts this discussion.

Father Zossima is Alyosha's mentor at the monestary, and a well-respected local figure.

Part 2
When Ivan says "Christ-like love" he is referring to unconditional love towards your neightbors and your enemies. Ivan here is claiming that people in general are incapable of this kind of love by their nature, and are therefore incapable of following the laws of Jesus.

This is an important point in the narrative. Here, Ivan turns the focus of the conversation squarely onto the issue of children, and not on man-kind in general. He does this for two reasons: he says that restricting his conversation to children will limit his argument, but also because people are compassionate towards children.

"the apple" here refers to the fruit from the tree of knowledge of good and evil, from the garden of eden. When Adam and Eve ate the fruit (which later came to be identified with an apple) they committed what is now known as "original sin". Saint Augustine first wrote about the concept of original sin, a fallen state of humanity that is inherited by children from their parents.

Ivan starts by saying that it is "incomprehensible" that children should be made to suffer because of their original sin. If an innocent person should not suffer for the sins of another person, then children should not suffer for the sins of their ancestors.

Ivan goes on to talk about how even the most cruel and evil people still love children. He justifies this by saying that children are so small in stature that they are essentially different creatures from regular adult humans. When Ivan is talking about the affection or love that adults generally feel towards children, he is talking about a patronly love, not a sexual or romantic kind.

Part 2
Here Ivan mentions, almost without explanation stories he has heard of cruelties commited by the Turks against the Bulgarians. He uses these stories to illustrate the fact that men can be much more cruel then any animal can be, thus eliminating a possible model for the devil. If the devil was an invention, he must have been based off other men, and not off some cruel animal.

Part 3
Driving to the heart of the matter, Ivan says that man has created the Devil "in his own image and likeness." Alyosha immediately likens this to the theory that man has created God in a similar fashion.

It's at this point that Ivan first mentions his "collection" of stories. These stories, as we shall see, have a particular focus that has Ivan very troubled.

This passage is a little bit obscure, and it is difficult to understand all of Ivan's context-sensitive references. However, the point of this passage is quite clear: every society has manners of harming other people. Also, the ways that one society hurt people may seem to be barbaric to other societies, but all the methods are essentially equivalent.

Here Ivan recounts the story of a man named Richard, who was raised as an animal, and grew up to become a thief and a murderer. In prison, awaiting death, Richard is converted into a christian and educated in reading and writing. On the day of his execution, Richard is actually celebrating his own death as a holy act.

Here, Ivan discusses the story of a master and a horse. The horse is tired from pulling "too heavy a load", and stops pulling. The master, in a rage, lashes the horse and beats it repeatedly and for some time. Finally, having no untouched skin left to beat, the master lashes the horse on it's eyes. This finally motivated the horse to pull the load.

Ivan uses this story as an example that people experience satisfaction from inflicting pain, thus reinforcing his thesis that the Devil was created in the image of evil men.

In the same vein of the previous story, Ivan recounts now the story of a man and his wife beat their seven-year-old daughter with a birch rod. The beating lasted for more then 10 minutes, and grew harder and more savage as time went on.

When brought to court, instead of being punished for abusing their daughter, the couple is praised for properly correcting their child. As we shall see later, Ivan has a special place in his heart for abused children, and the stories he relates later focus more on them.

title: The Grand Inquisitor/Rebellion


text:
The Grand Inquisitor/The Grand Inquisitor

The Grand Inquisitor
The Grand Inquisitor is Ivan's "poem", which he recites after Rebellion. In part, the discussion from Rebellion is Ivan's way of judging whether Alyosha is ready to hear the poem. Ivan determines that Alyosha is ready to hear it, and so tells the story, with occasional questions from Alyosha to break the narrative. It is important to note that while Ivan refers to it as a "poem", that the tale itself is prose.

In the story, Jesus (referred to by Ivan only as "He", or "Him", with a capital H) returns to earth during the Spanish Inquisition. He brings a dead girl back to life, and performs other miracles among the wounded, sick, and dying people in town. The Grand Inquisitor, riding through town with his procession, sees Him, and has Him arrested. The remainder of the story involves the "conversation" that the Grand Inquisitor has with Jesus. The word "conversation" in the previous sentence is a bit of a misnomer, because throughout the rest of the story, The Grand Inquisitor speaks to Him, and He listens silently.

He never speaks, but his silence is applauded by the Inquisitor, who says "Thou hast no right to add anything to what Thou hadst said of old." Aloysha asks whether He is completely silent throughout the conversation, to which Ivan replies:

 * "That's inevitable in any case, the old man has told Him He hasn't the right to add anything to what He has said of old. One may say it is the most fundamental feature of Roman Catholicism, in my opinion at least. 'All has been given by The to the Pope,' they say, 'and all, therefore, is still in the Pope's hands, and there is no need for Thee to come now at all."

Another point that the Inquisitor makes frequently is that He has given humanity a certain amount of freedom, and that any additional messages from Him would encroach upon that freedom. Also, continues the Inquisitor, that freedom that was given to humanity by Jesus' original message was actually a penalty, and that the church has needed to remove those freedoms from the people.

Part 5
The "temptations" the Inquisitor is referring to here are the three temptations of Jesus, described in Matthew chapter 4 in the Bible:

''And when the tempter came to him, he said, If thou be the Son of God, command that these stones be made bread. But he answered and said, It is written, Man shall not live by bread alone, but by every word that proceedeth out of the mouth of God. Then the devil taketh him up into the holy city, and setteth him on a pinnacle of the temple, And saith unto him, If thou be the Son of God, cast thyself down: for it is written, He shall give his angels charge concerning thee: and in their hands they shall bear thee up, lest at any time thou dash thy foot against a stone. Jesus said unto him, It is written again, Thou shalt not tempt the Lord thy God. Again, the devil taketh him up into an exceeding high mountain, and sheweth him all the kingdoms of the world, and the glory of them; And saith unto him, All these things will I give thee, if thou wilt fall down and worship me. Then saith Jesus unto him, Get thee hence, Satan: for it is written, Thou shalt worship the Lord thy God, and him only shalt thou serve. Then the devil leaveth him, and, behold, angels came and ministered unto him.''

The same passage is described in Luke chapter 4:

''And the devil said unto him, If thou be the Son of God, command this stone that it be made bread. And Jesus answered him, saying, It is written, That man shall not live by bread alone, but by every word of God. And the devil, taking him up into an high mountain, shewed unto him all the kingdoms of the world in a moment of time. And the devil said unto him, All this power will I give thee, and the glory of them: for that is delivered unto me; and to whomsoever I will I give it. If thou therefore wilt worship me, all shall be thine. And Jesus answered and said unto him, Get thee behind me, Satan: for it is written, Thou shalt worship the Lord thy God, and him only shalt thou serve. And he brought him to Jerusalem, and set him on a pinnacle of the temple, and said unto him, If thou be the Son of God, cast thyself down from hence: For it is written, He shall give his angels charge over thee, to keep thee: And in their hands they shall bear thee up, lest at any time thou dash thy foot against a stone. And Jesus answering said unto him, It is said, Thou shalt not tempt the Lord thy God. And when the devil had ended all the temptation, he departed from him for a season.''

Even though the two accounts differ in the ordering, the same three temptations are given by the devil to Jesus:
 * 1) Turn stones to bread.
 * 2) Worship the Devil in exchange for worldly power.
 * 3) Attempt to hurt yourself, to prove that you are protected by God.

The Inquisitor goes on to say that these three temptations are profound, which he will describe later.


text:
The Grand Inquisitor/The Devil

Part 1: Ivan's Condition
The person narrating the story is a man from the town who speaks of all the events from The Brothers Karamazov with a certain amount of omniscience. For instance, the narrator is able to recount this story although it is obvious that Ivan is alone. However in other situations, the narrator does not know everything, especially concerning the murder of Fyodor Karamazov. the opening line of this chapter is illustrative of this point:

 * I AM NOT a doctor, but yet I feel that the moment has come when I must inevitably give the reader some account of the nature of Ivan's illness.

The narrator admits a certain shortcoming in his literary omniscience, but yet he is able to speak frankly about events that he did not witness.

Part 2: Ivan's Guest
While sitting and staring at the far wall, a person simply "appeared to be sitting there". Notice that the narrator does not claim the stranger appeared from thin air, but almost says that the person had been there all along, unnoticed. Notice again the absurdity of the narrator: he can recount the events of this night, although even he seems to be somewhat confused by the presence of this new man in the room. Ivan also does not appear to be alarmed or startled by this person. He never inquires where the visitor came from, and does not greet him the way a proper gentleman would have greeted a new visitor.

The passage starts out with the words And so he was sitting almost conscious himself of his delirium, again pointing out that Ivan was somehow expecting to have a problem with "brain fever". Multiple stresses had been piling up: the murder of his father, the imprisonment of his brother, and the fact that he has been pursuing Katerina Ivanova, who was desperately in love with Dimitri (love only strengthened because Dimitri was wrongfully accused and in jail).

The stranger in the room is described in a particular way, as a Russian gentlemen who was reasonably fashionable although dated. His clothing is described as being nice but old and generally "shabby". The first line of the second paragraph pushes the idea home, that the man had every appearance of gentility on straitened means. At the time of writing The Brothers Karamazov, Russia had only recently abolished serfdom, and it is in the terms of the feudal system that the visitor is described. Notice the following descriptions, specifically:

 * He had unmistakably been, at some time, in good and fashionable society, had once had good connections, had possibly preserved them indeed, but, after a gay youth, becoming gradually impoverished on the abolition of serfdom, he had sunk into the position of a poor relation of the best class, wandering from one good old friend to another and received by them for his companionable and accommodating disposition and as being, after all, a gentleman who could be asked to sit down with anyone, though, of course, not in a place of honour

Look at this description as a metaphore for the devil: The rise of atheism or agnosticism among the educated creates a poorness for supernatural beings, where the dark ages only years before had been a boon. He is also being described as having "good connections" which have been preserved, and that he could sit down with anybody. The devil, representative of sin, certainly is nobody's stranger.

Part 3: Truth
The visitor is now described in terms of being a personal relation, where previously he was described as being everybody's acquaintance.

Ivan had gone to Smerdyakov's house to inquire about Katerina Ivanova. However the two talked about Fyodor almost exclusively, and forgot entirely about Katerina. This passage, presented two chapters before The Devil explains the situation:

 * When, after his conversation with Alyosha, Ivan suddenly decided with his hand on the bell of his lodging to go to Smerdyakov, he obeyed a sudden and peculiar impulse of indignation. He suddenly remembered how Katerina Ivanovna had only just cried out to him in Alyosha's presence: "It was you, you, persuaded me of his" (that is, Mitya's) "guilt!" Ivan was thunderstruck when he recalled it. He had never once tried to persuade her that Mitya was the murderer; on the contrary, he had suspected himself in her presence, that time when he came back from Smerdyakov. It was she, she, who had produced that "document" and proved his brother's guilt. And now she suddenly exclaimed: "I've been at Smerdyakov's myself!" When had she been there? Ivan had known nothing of it. So she was not at all so sure of Mitya's guilt! And what could Smerdyakov have told her? What, what, had he said to her? His heart burned with violent anger. He could not understand how he could, half an hour before, have let those words pass and not have cried out at the moment. He let go of the bell and rushed off to Smerdyakov. "I shall kill him, perhaps, this time," he thought on the way.

Katerina claims that she has been convinced by Ivan that Dimitri is guilty of the crime. However, Katerina also went to see Smerdyakov about the issue, which indicated to Ivan that perhaps Katerina was not convinced about Dimitri at all. Ivan went to Smerdyakov's apartment to ask about why Katerina had gone to see Smerdyakov, and what she had said to him. However, during the meeting, Smerdyakov admitted to killing Fyodor, with the statement:

 * "Aren't you tired of it? Here we are face to face; what's the use of going on keeping up a farce to each other? Are you still trying to throw it all on me, to my face? You murdered him; you are the real murderer, I was only your instrument, your faithful servant, and it was following your words I did it."

Notice how even though Smerdyakov admits to killing Fyodor, he still blames Ivan for the murder. Smerdyakov claims he was only acting as Ivan's "instrument". The guilt that he had convinced Katerina against Dimitri, and the guilt that somehow he had persuaded Smerdyakov to murder Fyodor are weighing on Ivan, and it is because of this weight that he could not remember about Katerina. However, there was the persistant feeling that he had forgotten something, that even though he had gone to see Smerdyakov, and did get answers to some of his questions, he still hadn't concluded all his business.

It is the man across the room who reminds Ivan about the contents of his subconscious. This man knows that Ivan is trying to remember what precisely he was forgetting, and he also knows precisely what was forgot. And when he brings it up, Ivan has a most unusual response:

 * "Ah, yes." broke from Ivan and his face grew gloomy with uneasiness. "Yes, I'd forgotten... but it doesn't matter now, never mind, till to-morrow," he muttered to himself, "and you," he added, addressing his visitor, "I should have remembered that myself in a minute, for that was just what was tormenting me! Why do you interfere, as if I should believe that you prompted me, and that I didn't remember it of myself?"

There is almost some measure of familiarity between Ivan and his guest, which prompts the question whether Ivan has seen this man before, and if not, was Ivan expecting him.

Part 4: Ivan's Realization
Ivan is aware of his own delirium, and also seems to be aware that the person in the room is a figment. Ivan also refers to "last time", when the stranger put Ivan into a "fury". This is clearly not Ivan's first encounter with this stranger, which helps to explain the ease with which Ivan speaks to him.

Part 5: Aloysha
The stranger is referring to a conversation several chapters previously, where Alyosha confronts Ivan in the street at night. With Aloysha speaking first:

 * "No, Ivan. You've told yourself several times that you are the murderer."
 * "When did I say so? I was in Moscow.... When have I said so?" Ivan faltered helplessly.
 * "You've said so to yourself many times, when you've been alone during these two dreadful months," Alyosha went on softly and distinctly as before.

Ivan has been blaming himself, although he does not quite know why. There has only been one time when Ivan ever mentioned it out loud, and refers to that incident next:

 * "You've been in my room!" he whispered hoarsely. "You've been there at night, when he came.... Confess... have you seen him, have you seen him?"
 * "Whom do you mean- Mitya?" Alyosha asked, bewildered.
 * "Not him, damn the monster!" Ivan shouted, in a frenzy, "Do you know that he visits me? How did you find out? Speak!"
 * "Who is he? I don't know whom you are talking about," Alyosha faltered, beginning to be alarmed.
 * "Yes, you do know. or how could you- ? It's impossible that you don't know."

Ivan is talking about previous meetings with this stranger, and assumes that Alyosha must be aware of it because Alyosha is a monk in training, a holy man.

When the stranger mentions Alyosha again, Ivan becomes petulant. It's interesting to note how Ivan is both aware that this stranger is a delusion, but also treats him as a separate entity. His insults, referring to the visitor as a "flunky", are self-deprecating because this visitor his really Ivan.

title: The Grand Inquisitor/The Devil


text:
Mathematical Proof/Appendix/Answer Key/Mathematical Proof/Methods of Proof/Constructive Proof

Problem 1
First, we wish to show that $$A\cup(B\cap C) \subset (A\cup B)\cap(A\cup C)$$. Let $$x \in A\cup(B\cap C)$$. Then $$x \in A$$ or $$x \in B\cap C$$.

Case 1: $$x \in A$$

$$x \in A \subset A\cup B$$ so that $$x \in A\cup B$$ $$x \in A \subset A\cup C$$ so that $$x \in A\cup C$$ $$x \in A\cup B$$ and $$x \in A\cup C$$ so that $$x \in (A\cup B)\cap (A\cup C)$$

Case 2: $$x \in B\cap C$$

$$x \in B$$ and $$x \in C$$ $$x \in B \subset A\cup B$$so that $$x \in A\cup B$$ $$x \in C \subset A\cup C$$ so that $$x \in A\cup C$$ $$x \in A\cup B$$ and $$x \in A\cup C$$ so that $$x \in (A\cup B)\cap (A\cup C)$$

Since in both cases, $$x \in (A\cup B)\cap (A\cup C)$$, we know that $$A\cup(B\cap C) \subset (A\cup B)\cap(A\cup C)$$ Now we wish to show that $$(A\cup B)\cap(A\cup C) \subset A\cup(B\cap C)$$. Let $$x \in (A\cup B)\cap (A\cup C)$$. Then $$x \in A\cup B$$ and $$x \in A\cup C$$.

Case 1a: $$x \in A$$

$$x \in A \subset A\cup(B\cap C)$$, so $$x \in A\cup(B\cap C)$$

Case 1b: $$x \in B$$

We can't actually conclude anything we want with just this, so we have to also to consider the case $$x \in A\cup C$$.

Case 2a: $$x \in A$$ : [see Case 1a]

Case 2b: $$x \in C$$

We now have $$x \in B$$ and $$x \in C$$ so that $$x \in B\cap C$$ Of course, since $$x \in B\cap C \subset A\cup(B\cap C)$$, it follows that $$x \in A\cup(B\cap C)$$. Since both cases 2a and 2b yield $$x \in A\cup(B\cap C)$$, we know that it follows from 1b.

Since in both cases 1a and 1b, $$x \in A\cup(B\cap C)$$, we know that $$(A\cup B)\cap(A\cup C) \subset A\cup(B\cap C)$$.

Since both $$A\cup(B\cap C) \subset (A\cup B)\cap(A\cup C)$$ and $$(A\cup B)\cap(A\cup C) \subset A\cup(B\cap C)$$, it follows (finally) that $$A\cup(B\cap C) = (A\cup B)\cap(A\cup C)$$.

--will continue later, feel free to refine it if you feel it can be--

Problem 3
  Because the question asks about the square of a number, you can substitute the definition of an odd number $2n + 1$ into the number to be squared. So, say x is that number, then $$x^2 = (2n+1)^2 = (2n+1)(2n+1)$$   Multiply both factors together $$(2n+1)(2n+1) = 4n^2 + 4n + 1$$   Factor out a two for the first two terms $$4n^2 + 4n + 1 = 2(2n^2 + 2n) + 1$$   The factor $$2n^2 + 2n$$ will always be a natural number. As such, it fits the definition of an odd number, $2n + 1$
 * Problem solved!


text:
User:Msmithma/Units and Equations

A Common Format for Units and Equations
Equations and units are an integral part of teaching most technical subjects. To help general readability there are common editorial guidelines in technical literature. The goal of a textbook is to introduce a student to a new topic and allow him or her to engage in intelligent discourse and part of intelligent discourse is written communication.

title: User:Msmithma/Units and Equations


text:
A-level Mathematics/AQA

This Wikibook is about A-level Mathematics, designed to follow the AQA syllabus, but is not endorsed by AQA.

title: A-level Mathematics/AQA


text:
A-level Mathematics/AQA/MPC2

Notation
$$ u_n \,\!$$ — the general term of a sequence; the nth term

$$ a \,\!$$ — the first term of a sequence

$$ l \,\!$$ — the last term of a sequence

$$ d \,\!$$ — the common difference of an arithmetic progression

$$ r \,\!$$ — the common ratio of a geometric progression

$$ S_n \,\!$$ — the sum to n terms: $$ S_n = u_1 + u_2 + u_3 + \ldots + u_n \,\!$$

$$ \sum \,\!$$ — the sum of

$$ \infty \,\!$$ — infinity (which is a concept, not a number)

$$ n \rightarrow \infty \,\!$$ — n tends towards infinity (n gets bigger and bigger)

$$ |x| \,\!$$ — the modulus of x (the value of x, ignoring any minus signs)

Convergent sequences
A sequence is convergent if its nth term gets closer to a finite number, L, as n approaches infinity. L is called the limit of the sequence:

$$ \mbox{As } n \to \infty \mbox{, } u_n \to L \,\!$$

Another way of denoting the same thing is:

$$ \lim_{n \to \infty}u_n = L \,\!$$

Definition of the limit of a convergent sequence
Generally, the limit $$ L \,\!$$ of a sequence defined by $$ u_{n+1} = f(u_n) \,\!$$ is given by $$ L = f(L) \,\!$$

Divergent sequences
Sequences that do not tend to a limit as $$n$$ increases are described as divergent. eg: 1, 2, 4, 8, 16, ...

Periodic sequences
Sequences that move through a regular cycle (oscillate) are described as periodic.

Series
A series is the sum of the terms of a sequence. Those series with a countable number of terms are called finite series and those with an infinite number of terms are called infinite series.

Arithmetic progressions
An arithmetic progression, or AP, is a sequence in which the difference between any two consecutive terms is a constant called the common difference. To get from one term to the next, you simply add the common difference:

$$ u_{n+1} = u_n + d \,\!$$

Expression for the nth term of an AP
$$ u_n = a + (n-1)d \,\!$$

Formulae for the sum of the first n terms of an AP
The sum of an arithmetic progression is called an arithmetic series.

$$ S_n = \frac{n}{2} \left \lbrack 2a + (n-1)d \right \rbrack \,\!$$

$$ S_n = \frac{n}{2} (a+l) \,\!$$

Formulae for the sum of the first n natural numbers
The natural numbers are the positive integers, i.e. 1, 2, 3…

$$ S_n = \frac{n}{2} (n+1) \,\!$$

Geometric progressions
An geometric progression, or GP, is a sequence in which the ratio between any two consecutive terms is a constant called the common ratio. To get from one term to the next, you simply multiply by the common ratio:

$$ u_{n+1} = ru_n \,\!$$

Expression for the nth term of an GP
$$ u_n = ar^{n-1} \,\!$$

Formula for the sum of the first n terms of a GP
$$ S_n = a \left ( \frac{1-r^n}{1-r} \right ) \,\!$$

$$ S_n = a \left ( \frac{r^n-1}{r-1} \right ) \,\!$$

Formula for the sum to infinity of a GP
$$ S_\infty = \sum_{n=1}^\infty ar^{n-1} = \frac{a}{1-r} \qquad \mbox{where } -1 < r < 1 \,\!$$

Binomial theorem
The binomial theorem is a formula that provides a quick and effective method for expanding powers of sums, which have the general form $$(a+b)^n$$.

Binomial coefficients
The general expression for the coefficient of the $$(r+1)^{th}$$ term in the expansion of $$(1+x)^n$$ is:

$${}^n\!C_r = \binom{n}{r} = \frac{n!}{r!(n-r)!}$$

where $$n! = 1 \times 2 \times 3 \times \ldots \times n$$

$$n!$$ is called n factorial. By definition, $$0!=1$$.

Binomial expansion of (1+x)n
$$(1+x)^n=1+\binom{n}{1}x+\binom{n}{2}x^2+\binom{n}{3}x^3+\ldots+x^n$$

$$(1+x)^n=1+nx+\frac{n(n-1)}{2!}+\frac{n(n-1)(n-2)}{3!}+\ldots+x^n$$

$$(1+x)^n=\sum_{r=0}^n\binom{n}{r}x^r$$

Arc length
$$l = r \theta \,\!$$

Sector area
$$A = \tfrac{1}{2} r^2 \theta$$

Trigonometric identities
$$\tan{\theta} \equiv \frac{\sin{\theta}}{\cos{\theta}}$$

$$\sin^2{\theta} + \cos^2{\theta} \equiv 1 \,\!$$

Laws of indices
$$ x^m \times x^n = x^{m+n} \,\!$$

$$ x^m \div x^n = x^{m-n} \,\!$$

$$ \left ( x^m \right )^n = x^{mn} \,\!$$

$$ x^0 = 1 \,\!$$ (for x ≠ 0)

$$ x^{-m} = \frac{1}{x^m} \,\!$$

$$ x^{\frac{1}{n}} = \sqrt[n]{x} \,\!$$

$$ x^{\frac{m}{n}} = \sqrt[n]{x^m} \,\!$$

Logarithms
$$10^2 = 100 \Leftrightarrow \log_{10}{100} = 2 $$

$$10^3 = 1000 \Leftrightarrow \log_{10}{1000} = 3 $$

$$2^5 = 32 \Leftrightarrow \log_{2}{32} = 5 $$

$$\log_a{b} = c \Leftrightarrow a^c = b $$

Laws of logarithms
The sum of the logs is the log of the product.

$$\log{x} + \log{y} = \log{xy} \,\!$$

The difference of the logs is the log of the quotient.

$$\log{x} - \log{y} = \log{\left ( \frac{x}{y} \right )}$$

The index comes out of the log of the power.

$$k\log{x} = \log{\left ( x^k \right )}$$

Differentiating the sum or difference of two functions
$$ y = f(x) \pm g(x) \quad \therefore \quad \frac{dy}{dx} = f'(x) \pm g'(x)$$

Integrating axn
$$ \int ax^n \, dx = \frac{ ax^{n+1} }{ n+1 } + c \qquad \mbox{ for } n \neq -1 \,\!$$

Area under a curve
The area under the curve $$ y = f(x) $$ between the limits $$ x = a $$ and $$ x = b $$ is given by

$$ A = \int_a^b y \, dx $$

title: A-level Mathematics/AQA/MPC2


text:
User talk:75.176.134.253

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks.

Xania talk 21:00, 2 May 2007 (UTC)

title: User talk:75.176.134.253


text:
Advanced Interactive Media/Other Topics/A New Hope for Those with Sensory Handicaps

With the explosion of multisensory multimedia, one cannot help but consider the obstacles faced by those with sensory handicaps. Imagine not being able to see the cinematography in your favorite film. Imagine not being able hear the music created by your favorite artist. Many people do not have to imagine, for this is their reality. This is quite a disposition to be in considering the current trends in technology. Now imagine a world where you can see with your tongue. To many this sounds like a work of science fiction created by a bunch of aged hippies having a recurring acid trip.

Researchers across the globe are exploring new means of interfacing technology with the human brain to create a sensory experience. The human brain is so complex that even cutting edge neuroscience does not come close to explaining its inner workings. So how can the power of modern technology be harnessed to empower the blind with sight? Unlike Geordi La Forge in Star Trek, the problem that is encountered is enabling the brain to process the signal that is received from the technology. Although advanced technologies may exist that emulate existing senses, it is just not possible to “plug” these devices directly into the brain. The workaround is to encode the signal and use an existing channel to get to the brain. The brain is a very flexible organ and can adapt extremely well. Blind people are known for having acute senses of hearing. A prime example is the experiment by Austrian researcher, Ivo Kohler, where people wore goggles with prisms that flipped the images upside down before they reached the eyes. Within several weeks the brain adjusted to the difference and the images were seen right side up. When the goggles were removed the images were then upside down until the brain corrected itself again.

There are several researchers experimenting with sensory prosthetics, and one experiment aims at prosthetics for people with damaged inner ears. The inner ear is the part of the body responsible for controlling balance, so one can understand its importance. The success of those experiments led the researchers to trying to use the tongue as an input channel for visual information. In the prototype the user wears a pair of blacked-out glasses with a camera mounted on them. The camera is connected to a laptop, which is connected to a mouthpiece that the user wears. The mouthpiece applies voltage to the tongue.

This is such a hard concept to grasp that it is best understand by hearing it explained from someone who has experienced it firsthand.

I could see it. Feel it. Whatever — I could tell where the foam was. With Arnold Ussen behind me carrying the laptop, I walked around the Wicab offices. I managed to avoid most walls and desks, scanning my head from side to side slowly to give myself a wider field of view, like radar. Thinking back on it, I don't remember the feeling of the electrodes on my tongue at all during my walkabout. What I remember are pictures: high-contrast images of cubicle walls and office doors, as though I'd seen them with my eyes.” With all the advancements occurring at such a rapid pace, sensory prosthetics are sure to become a reality of the near future.

Wired: Mixed Feelings


text:
User talk:71.225.238.132

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. -- Jomegat 22:19, 2 May 2007 (UTC)

title: User talk:71.225.238.132


text:
Spanish/Answers/¿Dónde vas a ir?

Dialogue

 * Raúl: Hi Sofía. Next week, I'm going to go to Italy.
 * Sofía: How are you going to get there? By train?
 * Raúl: No. I hate trains; they're very noisy.
 * Sofía: Of course. I prefer airplanes, too.
 * Raúl: Usually I go to Ireland, but I have a ticket for Italy.
 * Sofía: So, are you going to buy another ticket?
 * Raúl: No, Italy is good too. I can sunbathe and experience the native culture.
 * Sofía: How much time are you going to spend there?
 * Raúl: Two weeks. I'd like to spend a month, but I can't take myself a month off work.
 * Sofía: I understand. See you later!

The Simple Future tense

 * 1) Voy a comer a las seis.
 * 2) Van a jugar al fútbol.
 * 3) Va a almorzar a las seis.
 * 4) Voy a peinarme a las tres.
 * 5) Vamos a vivir en un piso en Inglaterra.
 * 6) Va a llamarse Miguel.
 * 7) ¿Vas a dormir a la una?
 * 8) Vais a ser de Escocia.
 * 9) Voy a tener doce años.

In the future...

 * 1) Mañana por la mañana
 * 2) Mañana por la noche
 * 3) Pasado mañana
 * 4) La semana que viene
 * 5) El mes que viene
 * 6) El año próximo
 * 7) En el futuro

Holidays

 * 1) que
 * a
 * a
 * 1) pasar
 * me
 * un
 * 1) viven
 * 2) los
 * 3) por
 * 4) mucho
 * el
 * 1) por
 * 2) irnos
 * me
 * 1) son
 * 2) voy
 * el
 * 1) voy
 * el
 * el

Stem-Changing Verbs
Comnjugate the following verbs in the present tense.
 * 1) Pensar
 * 2) Pienso
 * 3) Piensas
 * 4) Piensa
 * 5) Pensamos
 * 6) Pensáis
 * 7) Piensan
 * 8) Tener
 * 9) Tengo
 * 10) Tienes
 * 11) Tiene
 * 12) Tenemos
 * 13) Tenéis
 * 14) Tienen
 * 15) The following are all verbs you have learnt. Say if they are stem-changing, or not, and say if they're E=>IE or O/U=>UE.
 * 16) U=>UE stem changing verb
 * 17) Regular verb
 * 18) O=>UE stem changing verb
 * 19) E=>IE stem changing verb
 * 20) Regular verb
 * 21) Regular verb
 * 22) E=>IE stem changing verb
 * 23) O=>UE stem changing verb

title: Spanish/Answers/¿Dónde vas a ir?


text:
User talk:Celerystick009~enwikibooks

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You might also be interested to read our Cookbook policy page, and talk to other Cookbook editors. Webaware talk 23:52, 2 May 2007 (UTC)

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Hello,

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title: User talk:Celerystick009~enwikibooks


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User talk:68.148.115.188

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. -- Jomegat 00:27, 3 May 2007 (UTC)

title: User talk:68.148.115.188


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User:Wikijunior12

Headline text
friends

friends are the most wonderful things you could have in this world! they are people who care about you and want you to succeed in life. so be there for them and they will be there for you!

title: User:Wikijunior12


text:
Template:Small Periodic table

1Actinides and lanthanides are collectively known as "Rare Earth Metals." 2Alkali metals, alkaline Earth metals, transition metals, actinides, and lanthanides are all collectively known as "Metals." 3Halogens and noble gases are also non-metals.

State at standard temperature and pressure
 * those with atomic number in blue are not known at STP
 * those with atomic number in red are gases at (STP)
 * those with atomic number in green are liquids at STP
 * those with atomic number in black are solid at STP

Natural occurrence /Templates
 * those with solid borders have isotopes that are older than the Earth
 * those with dashed borders naturally arise from decay of other chemical elements and have no isotopes older than the earth
 * those with dotted borders are made artificially

Unknown properties
 * those with a cyan background have unknown chemical properties.

title: Template:Small Periodic table


text:
Adventist Youth Honors Answer Book/Arts and Crafts/Digital Photography

a. The principles of digital camera construction and how a digital camera works.
Cameras work with the light of the visible spectrum. A camera generally consists of some kind of enclosed hollow, with an opening or aperture at one end for light to enter, and a recording or viewing surface for capturing the light at the other end. Most cameras have a lens positioned in front of the camera's opening to gather the incoming light and to focus the image (or part of the image), on the recording surface. The diameter of the aperture is often controlled by a diaphragm mechanism, but some cameras have a fixed-size aperture.

Digital cameras use electronics, usually a charge coupled device (CCD) or sometimes a Complementary Metal–Oxide–Semiconductor (CMOS) sensor to capture images which can be transferred or stored in computer memory inside the camera for later playback or processing.

Here are more technical details on how the image is captured.

b. The effect of light on an image sensor.
Also look at: http://en.wikipedia.org/wiki/Image_sensor

An image sensor is a device that converts a visual image to an electric signal. It is used in digital cameras (as well as other imaging devices). It is usually an array of charge-coupled devices (CCD) or CMOS sensors such as active pixel sensors.

There are several main types of color image sensors, differing by the means of the color separation mechanism:

 * Bayer sensor, low-cost and most common, using a Bayer filter that passes red, green, or blue light to selected pixels, forming interlaced grids sensitive to red, green, and blue. The image is then interpolated using a demosaicing algorithm.
 * Foveon X3 sensor, using an array of layered sensors where every pixel contains three stacked sensors sensitive to the individual colors.
 * 3CCD, using three discrete image sensors, with the color separation done by a dichroic prism. Considered the best quality, and generally more expensive than single-CCD sensors.

Bayer Filter
A Bayer filter mosaic is a color filter array (CFA) for arranging RGB color filters on a square grid of photosensors. The word comes from the name of its inventor, Dr. Bryce E. Bayer of Eastman Kodak, and describes an arrangement of color filters used in most single-chip digital image sensors used in digital cameras, camcorders, and scanners to create a color image. The filter pattern is 50% green, 25% red and 25% blue, and is also called RGBG or GRGB.

Bryce Bayer's patent called the green photosensors luminance-sensitive elements and the red and blue ones chrominance-sensitive elements. He used twice as many green elements as red or blue to mimic the human eye's greater resolving power with green light. These elements are referred to as sensor elements, pixel sensors, or simply pixels.

The raw output of Bayer-filter cameras is referred to as a Bayer pattern image. Since each pixel is filtered to record only one of three colors, two-thirds of the color data is missing from each. To obtain a full-color image, the red, green, and blue values are combined for each point.

Different algorithms for combining the three colors require various amounts of computing power and result in varying-quality final images. This can be done in-camera, producing a JPEG or TIFF image, or outside the camera using the raw data directly from the sensor.

c. How color images are created from the BW image the sensor captures.
To reconstruct a color image from the data collected by the color filtering array, you need to fill in the blanks. The mathematics here is subject to individual implementation, and is called demosaicing. If you have a RAW image, you can use different demosaicing than what is built into the camera, often yielding higher quality.

A digital camera has certain circuits to reconstruct the whole image using above information. It takes these:

Camera Lens
A camera lens usually has an aperture adjustment mechanism to control the amount of light that may pass. It also has a shutter, to control the length of time during which light may pass through the lens.

Focal Length
The focal length is a measure of how strongly it converges (focuses) or diverges light. A shorter focal length has greater optical power than one with a long focal length.

In the photos below, the camera did not move, but the camera lens was changed as noted.

 * When a lens with a shorter focal length is used, there is a wider angle of view.
 * When a lens with a longer focal length is used, there is a narrower angle of view.

 * Wikipedia on focal length.
 * Wikipedia on photographic lens - see section on Aperture and focal length

2. How are lens aperture and depth of field related?
The aperture stop is an extremely important element in most optical designs. Its most obvious feature is that it limits the amount of light that can reach the image plane. This can either be undesired, as in a telescope where one wants to collect as much light as possible; or deliberate, to prevent saturation of a detector or overexposure of film. In both cases, the size of the aperture stop is constrained by things other than the amount of light admitted, however:
 * The size of the stop is one factor that affects depth of field. Smaller stops produce a longer depth of field, allowing objects at a wide range of distances to all be in focus at the same time.

3. Describe pixels, image resolution, and image size.

A pixel is generally thought of as the smallest complete sample of an image. The definition is highly context sensitive; for example, we can speak of printed pixels in a page, or pixels carried by electronic signals, or represented by digital values, or pixels on a display device, or pixels in a digital camera (photosensor elements). This list is not exhaustive, and depending on context there are several synonyms that are accurate in particular contexts, e.g. pel, sample, byte, bit, dot, spot, etc. We can also speak of pixels in the abstract, or as a unit of measure, in particular when using pixels as a measure of resolution, e.g. 2400 pixels per inch, 640 pixels per line, or spaced 10 pixels apart.

The measures dots per inch (dpi) and pixels per inch (ppi) are sometimes used interchangeably, but have distinct meanings especially in the printer field, where dpi is a measure of the printer's resolution of dot printing (e.g. ink droplet density). For example, a high-quality inkjet image may be printed with 200 ppi on a 720 dpi printer.

The more pixels used to represent an image, the closer the result can resemble the original. The number of pixels in an image is sometimes called the resolution, though resolution has a more specific definition. Pixel counts can be expressed as a single number, as in a "three-megapixel" digital camera, which has a nominal three million pixels, or as a pair of numbers, as in a "640 by 480 display", which has 640 pixels from side to side and 480 from top to bottom (as in a VGA display), and therefore has a total number of 640 × 480 = 307,200 pixels or 0.3 megapixels.

The pixels, or color samples, that form a digitized image (such as a JPEG file used on a web page) may or may not be in one-to-one correspondence with screen pixels, depending on how a computer displays an image.

In computing, an image composed of pixels is known as a bitmapped image or a raster image. The word raster originates from halftone printing technology, and has been widely used to describe television scanning patterns.

4. What are the two types of image compression?
There are many image compression algorithms, but they can all be neatly divided into one of two types: lossless and lossy.

Lossless Compression
In lossless compression, when the image is restored from the compressed format, it is an exact binary match to the original. Every bit is exactly the same as in the original. Examples of lossless image compression file formats include:

 * ABO - Adaptive Binary Optimization
 * GIF - (lossless, but contains a very limited number color range)
 * JBIG2 - (lossless or lossy compression of B&W images)
 * JPEG-LS - (lossless/near-lossless compression standard)
 * JPEG 2000 - (includes lossless compression method, as proven by Sunil Kumar, Prof San Diego State University)
 * PNG - Portable Network Graphics
 * TIFF - Tagged Image File Format
 * WMPhoto - (includes lossless compression method)

Lossy Compression
With lossy compression, the uncompressed image is not exactly the same, but it can be very difficult to tell the difference with the naked eye. By permanently throwing away some of the information in the image, the file can be made much smaller.

 * Fractal compression
 * JPEG J oint P hotographics E xpert G roup
 * JPEG 2000, JPEG's successor format that uses wavelets.
 * Wavelet compression
 * JBIG2
 * Cartesian Perceptual Compression: Also known as CPC
 * DjVu
 * ICER, used by the Mars Rovers: related to JPEG 2000 in its use of wavelets
 * HAM, hardware compression of color information used in Amiga computers

Major graphic file formats
There are many graphic file formats, if we include the proprietary types. The PNG, JPEG, and GIF formats are most often used to display images on the Internet. These graphic formats are listed and briefly described below, separated into the two main families of graphics: raster and vector.

Raster formats
For a description of the technology aside from the format, see Raster graphics.

JPEG
The JPEG (Joint Photographic Experts Group) image files are a lossy format. The DOS filename extension is JPG, although other operating systems may use JPEG. Nearly all digital cameras have the option to save images in JPEG format. The JPEG format supports 8-bit per color - red, green, and blue, for 24-bit total - and produces relatively small file sizes. Fortunately, the compression in most cases does not detract noticeably from the image. But JPEG files do suffer generational degradation when repeatedly edited and saved. Photographic images are best stored in a lossless non-JPEG format if they will be re-edited in future, or if the presence of small "artifacts" (blemishes), due to the nature of the JPEG compression algorithm, is unacceptable. JPEG is also used as the image compression algorithm in many Adobe PDF files.

TIFF
The TIFF (Tagged Image File Format) is a flexible image format that normally saves 16-bit per color - red, green and blue for a total of 48-bits - or 8-bit per color - red, green and blue for a total of 24-bits - and uses a filename extension of TIFF or TIF. TIFF's flexibility is both a feature and a curse, with no single reader capable of handling all the different varieties of TIFF files. TIFF can be lossy or lossless. Some types of TIFF offer relatively good lossless compression for bi-level (black and white, no grey) images. Some high-end digital cameras have the option to save images in the TIFF format, using the LZW compression algorithm for lossless storage. The TIFF image format is not widely supported by web browsers, and should not be used on the World Wide Web. TIFF is still widely accepted as a photograph file standard in the printing industry. TIFF is capable of handling device-specific color spaces, such as the CMYK defined by a particular set of printing press inks.

RAW
The RAW image format is a file option available on some digital cameras. It usually uses a lossless compression and produces file sizes much smaller than the TIFF format. Unfortunately, the RAW format is not standard among all camera manufacturers and some graphic programs and image editors may not accept the RAW format. The better graphic editors can read some manufacturer's RAW formats, and some (mostly higher-end) digital cameras also support saving images in the TIFF format directly. Adobe's Digital Negative Specification is a recent (September 2004) attempt at standardizing the various "raw" file formats used by digital cameras.

PNG
The PNG (Portable Network Graphics) file format is regarded, and was made as, the free and open-source successor to the GIF file format. The PNG file format supports true color (16 million colors) whereas the GIF file format only allows 256 colors. PNG excels when the image has large areas of uniform color. The lossless PNG format is best suited for editing pictures, and the lossy formats like JPG are best for final distribution of photographic-type images because of smaller file size. Many older browsers do not yet support the PNG file format, however with the release of Internet Explorer 7 all popular modern browsers fully support PNG. The Adam7-interlacing allows an early preview even when only a small percentage of the data of the image has been transmitted.

GIF
GIF (Graphic Interchange Format)  is limited to an 8-bit palette, or 256 colors. This makes the GIF format suitable for storing graphics with relatively few colors such as simple diagrams, shapes and cartoon style images. The GIF format supports animation and is still widely used to provide image animation effects. It also uses a lossless compression that is more effective when large areas have a single color, and ineffective for detailed images or dithered images.

BMP
The BMP (bit mapped) format is used internally in the Microsoft Windows operating system to handle graphics images. These files are typically not compressed resulting in large files. The main advantage of BMP files is their wide acceptance, simplicity, and use in Windows programs. However, they may pose problems for users of other operating systems. Commonly, BMP files are used for Microsoft's Paint program. Since most BMP files are uncompressed, and BMP's RLE compression has serious limits, the large size of BMP files makes them unsuitable for file transfer. However, Bit Map images are suitable for background images and wallpapers. This is especially true for screen shots. In addition, images from scanners are usually stored in BMP files.

HDP
The HDP format (formally known as WDP) is the newly introduced image format by Microsoft for media print quality, lossless image compression. This image standard has a specific applicability to mostly print media due to its size although it is rumored to be the standard for Microsoft Office 2007 and the brand new Windows Vista operating system. This format is very similar to the TIFF format, but can handle a much larger range of image types and qualities such as 8, 16, and 32 bits per channel processing, N-Channel support, and embedded tiling.

XPM
The XPM format is the default X Window System picture format (very popular in the Linux world). Its structure is based on the string format of the C programming language. Because XPM was designed to be human-readable, and is stored as uncompressed plain-text, the file size of these pictures can be more than twice as large as uncompressed binary bitmap files (such as BMP, uncompressed TIFF, MacOS-PICT, or Irix-RGB formats). This format is unsupported by most non-Unix software and operating systems (though many web-browsers retain display support for the XBM subset, which was the minimal image format in the early days of the WWW).

MrSID
The MrSID (Multiresolution Seamless Image Database) format is a wavelet compression format used mostly by Geographic Information Systems to store massive satellite imagery for map software.

Vector formats
As opposed to the raster image formats above (where the data describes the characteristics of each individual pixel), vector image formats contain a geometric description which can be rendered smoothly at any desired display size.

Vector file formats can contain bitmap data as well. 3D graphic file formats are technically vector formats with pixel data texture mapping on the surface of a vector virtual object, warped to match the angle of the viewing perspective.

At some point, all vector graphics must be rasterized in order to be displayed on digital monitors. However vector images can be displayed with analog CRT technology such as that used in some electronic test equipment, medical monitors, radar displays, laser shows and early video games. Plotters are printers that use vector data rather than pixel data to draw graphics.

SVG
SVG (Scalable Vector Graphics) is an open standard created and developed by the World Wide Web Consortium to address the need (and attempts of several corporations) for a versatile, scriptable and all-purpose vector format for the web and otherwise. The SVG format does not have a compression scheme of its own, but due to the textual nature of XML, an SVG graphic can be compressed using a program such as gzip. Because of its scripting potential, SVG is a key component in web applications: interactive web pages that look and act like applications.

6. Give the principal uses of photography
Photography is used primarily for the following purposes: Recording events—whether a campout, a family picnic, or other event, photography allows us to record the people and events involved. Later, we can "remember" by viewing the images/pictures.

Art appreciation—Landscape, macro (close-up) photography, and other artistic photography allows a photographer to share their impressions of the world with friends and associates

The definition of Photography is as follows: Photography  [fә'tɑgrәfi:],[foʊ'tɑgrәfi:] is the process of recording pictures by means of capturing light on a light-sensitive medium, such as a film or sensor. Light patterns reflected or emitted from objects expose a sensitive chemical or electronic medium during a timed exposure, usually through a photographic lens in a device known as a camera that also stores the resulting information chemically or electronically.

The word comes from the Greek words φως phos ("light"), and γραφίς graphis ("stylus", "paintbrush") or γραφή graphê ("representation by means of lines" or "drawing"), together meaning "drawing with light." Traditionally, the product of photography has been called a photograph, commonly shortened to photo.

Photography gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements, such as Eadweard Muybridge's study of human and animal locomotion in 1887. Artists are equally interested by these aspects but also try to explore avenues other than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police and security forces use photography for surveillance, recognition and data storage. Photography is used to preserve memories of favorites and as a source of entertainment.

7. Take pictures illustrating at least eight of the following techniques. Use comparison pictures for illustration
(some of these details are copied from the Photography honor)

a. Framing.
When we use our eyes, we see the world in three dimensions. The biggest reason for this is because we have two eyes about 1 1/2" apart that give us "two photos" that our brain then interprets as being three-dimensional—big objects are closer than small objects.

However, cameras only have one "eye" the lens, so we have to intentionally take pictures that are "extra" 3-dimensional. One way we can do this by Framing.

Framing uses some element in the photograph to act as a foreground or middle-distance frame which overlaps or highlights the main subject of your photo.

For example, if you're taking a picture of rolling hills, give your picture "depth" by putting a tree or fence post that is closer to you on the right or left hand side of the photograph.

Other examples of Frames include: a tree branch, rocks on a seashore, a friend or an archway.

b. Camera Steadiness.

Have you ever gotten pictures developed and all you see is a "blur" that was supposed to be a family member? Maybe you've taken a picture through the window of a car while its been moving. This is called camera blur and is most often caused when you're using a "fancy" SLR camera where the exposure setting is 1/125th of a second or slower. However, it can also happen when you don't practice good "camera posture" when composing your photograph.

When you're taking pictures, is very important that the camera doesn't wiggle as you take the picture! Some helpful hints for keeping this from happening are:
 * Use both hands to steady the camera. One-handed picture taking is hazardous to your photographic health!
 * If you're using a fancy SLR camera, be sure your exposure time is set equal to or greater than your film speed (ex. If you're using 200 speed film, have it set to 1/250, 1/500, or 1/1000). Otherwise use a table, wall or something else steady to steady yourself as you take the photo.
 * Most point-and-shoot cameras have this film/exposure time ratio "built-in" to their cameras.
 * The best way to hold a camera in a comfortable position but rigidly is to form an imaginary tripod with the camera pressed against your forehead and your elbows against your body. Take a breath, partially exhale, and gently press the shutter button.
 * Be careful not to get any of your fingers or the camera cord in front of the flash or the lens!!

c. Direction of lighting - front, side, or backlighting.
Direction of lighting, Quality of Lighting, & Rule of Thirds Quiz question (not really. . .) Should the sun be behind the subject you're photographing, beside the subject, or shining on the subject? People used to think that you could only take good pictures if the sun was behind the photographer (YOU!) shining on the subject they were taking a picture. But that's not true.

For instance, if you want to take a sunset picture and want your framing subject (such as a person walking down the beach) to be a silhouette, the sun should be behind him, shining toward you (back lighting).

Lighting:

Front lighting is best when you want to see the details, like if you're taking a close-up of someone's face. A downfall is, that if the lights too bright, such as in the middle of the day, there might be "glare" in your subject.

Side lighting is great for bringing out shapes and textures, such as a rocky mountain cliff or tree bark.

Back lighting is lighting from behind the subject, tends to hide the subject, forming a silhouette. Some good places to use back lighting are a camporee flagpole at sunset, a cow/horse grazing at sunset, or a playground after everyone has gone home for the evening.

d. Quality of light - shade, sunlight, and time of day.

 * The best light conditions are 1 1/2 hours before sunset or the first hour after sunrise. The reason is that the light isn't SO BRIGHT that it washes out the colors in your picture, but at the same time the shadows are long (which makes side lighting pictures look extra special). Also, the sunset or sunrise gives off a kind of "pink" or "orange" light, which makes many nature pictures look very friendly & special. If you want to know when sunrise and sunset are going to be, check out www.adventist.org's sunset calendar!
 * Be careful of evening shadows when photographing people. long shadows on faces hide features and expressions!
 * Pictures taken during the middle of the day will be "stark" with hard lines and minimal shadows. Buildings & some landscapes such as mountains look especially regal or majestic during the middle of the day. Just remember that if you take a picture during the middle of the day, shade the top of the lens of your camera by placing one of your hands or a piece of paper horizontal about 2" above the lens to form a "shade for the lens. This will keep pink & blue "sparks" from showing up on your photos.
 * When there is no sunshine (on a rainy day) don't give up on taking pictures! Zoom in close on flowers and other colorful objects. The color will be extra deep since its not being "washed out" by the sun. Fog which often accompanies soft rain also makes a very nice soft hazy look. Just be sure to protect you lens from specks of rain!

e. Rule of thirds.
A Picture looks best when you imagine a tic-tac-toe board on top of your picture you're going to take. Remember that we're wanting a photo to look 3 dimensional! Part of that is arranging it in combination with "Framing" and "Leading Lines" techniques, but putting objects in "3rds" on the photo. For example: In a mountain scene the landscape in the bottom screen—maybe even a tree or rock to help it look "more 3-D"—the mountains in the middle 3rd, and the sky in the top third.

Another Illustration: If you're taking a picture of a landscape with puffy clouds, take one picture where 2/3 of the picture is composed of the clouds and the landscape fills the bottom 1/3. Then try with 1/3 clouds and 2/3 landscape. Notice how different this same landscape looks with the "3rds" changed from top to bottom!

f. Angle - eye level, high, and low level.
Subjects look different depending on where you are in relation to them when you take the picture.

You'll need three photos for this requirement, though they don't have to be of the same object. A High-angle, Mid-angle, and Low-angle photograph.

High angle means: looking down on your subject

Mid-angle means: looking at your subject straight on.

Low-angle means: looking up at your subject

For this requirement, take a subject, such as some tall straight trees, and take a picture looking straight at them, then another one by laying on the ground looking up through the trees. Did the angle make a difference?

h. Distance from subject - fill the frame.
Have you ever taken a picture of a beautiful flower or some animals but when the photo came back, you had to explain to friends "that dot is a pretty rose," and "that dot over there is a buffalo."?

Filling the frame is all about making your subject (what you're taking a picture of) fill up most of the picture frame. This means standing closer to the subject than you're ordinarily used to doing and making sure there's not a lot of "green space" around your subject.

Some ideas for Pathfinders:
 * Take a picture of your whole youth group. Be sure there are some standing and some standing/sitting in front of them. Then, get close enough so that there is almost NO "background green space" around them. You'll be impressed with how nice it is to have a photo that shows the expressions on everybody's face.
 * Take a picture of your best friend while they're eating at a campout or lockin. Don't try to take a picture of the whole room, but zoom in on their upper body and the top of the table with the plate of food. You'll both laugh when you see the photo that shows how shocked your friend was at your "surprise" picture.

i. Use of leading lines.
Leading lines are anything in a photograph that will help lead your eyes towards the main subject. For example, do you want people eyes to travel "down the road into the sunset, just like the bus is doing? Or, do you want people to see the big cafeteria on the hill where you and your fellow pathfinders ate all weekend?

Leading Lines also help your photograph's "depth." If your eyes are able to wander into the picture, then your brain will think the picture looks more real, like the real 3-D world we live in.

Ideas for Pathfinders:

 * Roads: take a picture of a windy road that leads to nowwhere; The road that leads to camporee or the road into the campsite you're staying at this weekend may also be a good leading line.
 * Trails
 * Fence Posts / Fence lines
 * Tall buildings or tall trees. Take pictures straight up, and use those tall lines to guide your eyes to a Mountain peak, or to the sun / moon shining overhead.

k. Use of flash - proper distance and reflective objects.
Most flashes should be used no closer to a subject than 6 feet. and more than 20 feet away. Any closer and it will "wash out" your subject, (depending on flash), and any farther away, the light won't even reach. For example: Have you ever seen people use a flash at a football game, or in a large stadium in hopes of getting photos of the people on the field? The flash won't help because its too far away!

Don't try to use a flash when there is a reflective object directly in front of the lens. For example, a mirror or window behind your friends, or the fishtank glass between you and that shark at SeaWorld. Move off to the side diagonally a little, so that the light, when it flashes off the reflective object, won't bounce directly back to your lens, but instead will bounce into empty space beside you!

Use the flash to fill in shadows. If your subject has side-lighting erasing the features on its face that you want to capture on film, use the flash to erase the shadows. BE SURE you're far enough away, or the whole picture will be blotted out!

Some ideas for Pathfinders:

 * Try using a flash when your friends are in a dark cave or room. Arrange them 6 feet away from your camera, then take 2 pictures. One with a flash and one without. Notice the difference. Now take one with your friend(s) only 3 feet away. What happened?
 * At your next campout, just before sunset grab some friends and have them stand in front of camp, with the sunlight coming from one side, casting shadows on their faces. Take 2 pictures. One with fill-in flash, and one without. What was the difference?

8. Learn how to place photos in PowerPoint. Create a PowerPoint presentation showing the pictures you took using the above techniques.
Generally speaking, depending on your version of the presentation software, you follow the menu path: Insert -> Picture -> From File, and navigate to the picture you want to place. After that, you can right click on the picture, and select Format Picture and do some changes.

Do not feel constrained to using PowerPoint. You can download OpenOffice for free from http://www.openoffice.org and use the Impress package that comes with it. Impress can generate slides that PowerPoint can read. OpenOffice is available for Windows, Mac, Linux, and other operating systems.

9. Using a photo editing program on a computer, show ability to crop, color correct, sharpen, and adjust brightness/contrast to photos.
Most modern photo editing software allows you to accomplish these tasks simply and quickly. Adobe's Photoshop is probably the best known photo editing package, but you may wish to experiment with The Gimp. It can be downloaded for free and runs under Windows, Mac, and Linux.

11. Have a basic understanding of file organization techniques.
File - A computer file is a block of arbitrary information, or resource for storing information, tdkasfljd;sankejvwinoeutnakjf;eniowvaupondjirnejakvdlsjadm,nejioawjnvdkja;fkjdaases just a sequence of binary digits. At a higher level, where the content of the file is being considered, these binary digits may represent integer values or text characters, or anything else. It is up to the program using the file to understand the meaning and internal layout of information in the file and present it to a user as a document, image, song, or program.

Organization - An organization is a social arrangement which pursues collective goals, which controls its own performance, and which has a boundary separating it from its environment. The word itself is derived from the Greek word ὄργανον (organon) meaning tool. The term is used in both daily and scientific English in multiple ways.

Put together, file organization asks that you understand how to organize files on your computer, on the bookshelf, etc. Do you place the files in some sort of established order? Alphabetically, by date? by subject?


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Talk:Adventist Youth Honors Answer Book/Arts and Crafts/Digital Photography

Requirement Numbering
Ugh! http://www.pathfindersonline.org/pdf/ayhonors/international/digital_photography.pdf and the PDF at AdventSource number the requirements differently. I have changed them to reflect the former's method, since I believe it to be more accurate. -- Jomegat 04:23, 3 May 2007 (UTC)


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SwisTrack/Components/ThresholdGray

Description
This step intends to separate the objects to track from the background. The background will become black, while the objects to track will appear in white. Most of the time, this step follows a preprocessing method like background subtraction.

Input

A grayscale image.

Output

A binary (black and white) image.

Threshold
A threshold value (between 0 and 256). If the objects to track don't appear in the image, try to reduce the value. If parts of the background become white, the value need to be increased.

Invert threshold
Whether the threshold must be inverted or not.

title: SwisTrack/Components/ThresholdGray