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Instructional Technology/Learning Management Systems/A Non-Techies Guide to Selecting a LMS

Introduction
Prior to determining the suitability of a LMS for use in a particular environment we need to have an understanding of the technical issues that surround such a purchase. Along with the technical issues we need to understand the terminology and physical equipment needed for an installation of an LMS. This article attempts to provide the reader with an understanding of the technical issues, terminology and physical equipment that influence the selection of a learning management system.

Basic Needs
As training professionals we may have similar needs when it comes to selecting a Learning Management System. Some of the basic needs may include the following:
 * A system that tracks student records
 * A system that allows for development of training courses
 * A system that allows for the use of third-party courseware
 * A system that track student needs/requirements for training
 * A system that tracks student requirements in relation to certifications/licenses
 * A system that includes standard and customizable reporting
 * A system that allows for a variety of forms of communication
 * A System that allows for easy retrieval of stored information

Basic Components of an LMS
One of the first questions you may want to ask is what type of browser does the LMS work with? A browser is a program that allows a user to view and interact with information on the Internet. The three most common browsers are Microsoft Internet Explorer, Mozilla Firefox and Google Chrome. Since there are different versions of browsers you will also need to know what version the LMS works with.

In a similar vein you need to know if the LMS will work with your current operating system. An operating system is the program that manages all the other programs on your system. Examples of operating systems are: Linux, Windows XP, VMS, OS/400, AIX, and z/OS.

The following components should be familiar to you as they are utilized in most LMS systems.

 * LDAP Directory : Most organizations use a LDAP (Lightweight Directory Access Protocol) directory to centralize user accounts. LDAP is a software protocol (or set of rules) for enabling qualified individuals to locate individuals and other resources in a network on a corporate intranet. It stores information such as user information data, phone numbers, address and reporting structure.  It also manages authentication, meaning it makes sure that you have the right to access applications. It may be used by multiple applications such as email or online expense account forms.

 * Relational DBMS: Maintains three or more databases used by a LMS and may also contain other databases not used by the LMS.

 * LMS Server: This server is the central point for access of information by users of the LMS. A server is a computer or device on a network that manages network resources. For example, a file server stores files, a print server manages one or more printers, a network server manages network traffic and a database server processes database queries.

 * Delivery Server: Used by some LMS's to display course structures so that students can navigate through activities. The delivery server may also track student progress data and transmit it to the LMS server.

 * Content Server: This server stores content files for use with the LMS.

 * SMTP Server: The SMTP (Simple Mail Transfer Protocol) server transfers all Help Desk requests and LMS-generated e-mail.

 * FTP Server: The FTP(File Transfer Protocol) server stores uploaded courses prior to importing into the LMS.

 * Authoring Tool: Authoring tools usually run on the client workstation and enable the course developers to create content and assessments.

Technical Issues
When addressing vendors and working with your IT departments the following issues should be considered:
 * Does the LMS integrate with back-end systems? The need to pass data to other applications such as Human Resources is an important feature.  You may not have the need currently, but check to see if it is possible as it may come up as a future need.
 * Does the LMS comply to your IT department standards? What standards does the LMS comply to? Is it compliant with Section 508 Americans with Disabilities Act?
 * Is the system able to connect to other applications? Does it have documented API's? An API is an application protocol interface which allows the LMS to connect to other applications.  The API's should have documentation to describe how to perform the integration.
 * Is the system interoperable? Can it pass information back and forth between another application like the Human Resource department system?
 * How is the LMS built? What are databases, operating systems and clients upon which it is built?  Will your IT department be able to support this configuration?
 * Does the LMS support an LDAP directory?

Without a basic understanding of the technical issues, software and hardware associated with an LMS it would be difficult to understand what vendors are offering. Hopefully this short article has given the reader some information to begin to understand what goes into purchasing and implementing a LMS.

Additional Resources

 Return to Instructional Technology. Return to Learning Management Systems.


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Beekeeping/Hive Bodies

Hive bodies are the exterior structure of the hive.

In a Langstroth bee hive, the hive body is a four-sided box, with the top and bottom open for stacking. Two sides are notched to support the top bars of removable frames. A complete hive consists of a bottom board, one or more hive bodies, an inner cover and a top/weather cover.

Commercial hive bodies are sized around a 20 inch basic dimension. They are 20" from front to back, and hold 8 or 10 frames (14" or 17") across the width. "Deep" hive bodies are approximately 10" tall and "medium" are 6-5/8" tall (approximately 1/2 and 1/3 of 20" respectively). A typical commercial hive consists of a two deep bodies called brood bodies on the bottom, a queen excluder screen, and three medium bodies called 'supers' on top. There is no difference between the brood bodies and supers, only how they are used by the colony and the beekeeper. Colonies naturally produce brood lower in the hive, and store excess above. Honey is harvested only from the supers, and they are shorter solely for ease of lifting.

Bees will sometimes identify the wrong hive as their home hive, and an attempt to enter the wrong hive can be a fatal mistake. Although many hive bodies are often painted a single color, some beekeepers claim to have found that a variety of bright colors can help the bees find their way back to their hives more easily. The arrangement of the hive stacks may also be important for visual recognition of the home hive. However, since bees likely use many other visual, spatial and olfactory cues to identify their home hive, the color of the hive bodies may have only a marginal effect on choice.

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

title: Beekeeping/Hive Bodies


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Instructional Technology/Digital Storytelling

What is Digital Storytelling?
The Digital Storytelling Association defines Digital Storytelling as "the modern expression of the ancient art of storytelling. Throughout history, storytelling has been used to share knowledge, wisdom, and values. Stories have taken many different forms. Stories have been adapted to each successive medium that has emerged, from the circle of the campfire to the silver screen, and now the computer screen."

"Digital stories derive their power by weaving images, music, narrative and voice together, thereby giving deep dimension and vivid color to characters, situations, experiences, and insights. Tell your story now digitally." - Leslie Rule, Digital Storytelling Association.

Telling a story "digitally" means merging a short narrative, with corresponding audio, and various types of visual media, including photos, artwork, letters, and digital video. It also brings storytelling to the computer arena – so that it may be more easily distributed, communicated and linked with other stories, in order to create a global storytelling experience.

On his website, Daniel Meadows outlines the parameters for what constitutes a digital story. The script must be 250 words, using 10-12 still photos and about 2 minutes long.

Strict parameters such as these enforce a sort of diligence where artistic creation is concerned (think sonnets or haiku.)

Here is a link to Daniel Meadows digital story webpage. There is a tutorial on this page also. []

According to Joe Lambert in his []"Digital Storytelling Cookbook and Travelling Companion" document, a good digital story must contain seven elements.

 Point of View – Who is the narrator and why is he/she talking to us? Dramatic Question – Desire – Action - Realization Emotional Content – What are the emotions associated with your narrative? The Gift of your Voice – What does your narrator sound like? The Power of the Soundtrack – What music sets the mood for your story? Economy – Keep it short and succinct. Pacing – The rhythm of the story helps set the tone

History
Digital Storytelling came about in the early 1990's when a group of [] "media artists, designers and practitioners" got together to merge elements of storytelling with new digital media.

Digital Storytelling in Education
According to Carole McCulloch, of Tafe Frontiers in Melbourne, Australia, Digital Storytelling can be used in educational settings to:

 Demonstrate a competency Describe a process In Portfolios of achievement Develop writing skills and sense of story for younger students

In addition to the above, Digital Storytelling can be used to motivate students. Most students love working on computers. Computers provide students access to tools they can use to enhance the expression of their thoughts and ideas in ways they might not be able to do otherwise. Pictures, graphics, drawing tools, color and sound feed students' creativity. Using storytelling parameters, students would also have to address the presentation of their content from aspects. They would have to use their planning and organizational skills as well as their creative ones. Through storyboarding students can develop planning and writing skills by outlining what will take place. Students also learn how to summarize an event or process for a specific audience. The Digital Story could be viewed as a rubric to assist students in creating their projects. Although it may sound a little intimidating to some, most students would probably find it a refreshing departure from traditional educational assignments and thus more likely to stay engaged.

Join the "Digital Storytelling Network" [] to communicate directly with Carole McCulloch, among others working with Digital Storytelling.

Faculty and graduate students at the University of Houston have created a website called the Educational Uses of Digital Storytelling which focuses on the use of digital storytelling by teachers and their students across multiple content areas and grade levels.

Things to Think about Before Implementing Into a Classroom: A Teacher's Reflection
Although students are familiar with films and may have exposure with creating multimedia presentations, the concept of Digital Story Telling is abstract for many students. In a recent attempt to incorporate Digital Story Telling into the elementary classroom, It became apparent that students need to be provided with examples of quality projects. Some things that you will want to emphasize your students are:
 * Planning is pertinent to creating a quality project
 * Create clear illustrations
 * Use a loud, clear voice when recording the narration
 * Be patient
 * If necessary, do things over.

Beyond preparing students to be successful, it is pertinent that the teacher create an environment that is conducive to effective story telling. For example, if the project is being completed in a small space, not all groups will be able to record their narrations at the same time. Too much background noise will muddle recordings. If you choose to have groups scan pictures for use in their presentation, you may need to stagger the groups to ensure that students are actively involved in the project whenever time is allotted to work on it.

It is also necessary to make sure that the equipment that will be used in the creation of these projects is available. Students will need access to computers, microphones, digital camcorders, digital cameras, scanners, and software that allows for the creation of multimedia presentations. If your school is networked and students are not provided with file strorage large enough to hold these large electronic files, the teacher will need to develop a plan for how these projects are going to be stored while the students are working on them.

Good Digital Stories:
Are personal: ''The creator of the digital presentation is in the story in a key way — as the narrator and sometimes also as the protagonist. While many digital storytelling projects feature third parties, the narrator is encouraged to personalize the tale, making it clear how the people or events in the story impacted his or her life.''

Begin with the story/script: ''In workshops by CDS, DigiTales, and others, participants are expected to narrow in on their story, writing and even recording their script before they ever begin digitizing images, importing sound effects, or using video editing tools. Jason Ohler, in an introduction to his soon-to-be-released book, Telling Your Story, points out that having students "create and tell stories before they [get] to use all the empowering and distracting technology at their disposal" is an important way to avoid "enabling the technophile at the expense of the story teller in...students."''

Are concise: ''Typically, a digital story will run from two to five minutes in length. This means tight editing and a very specific focus. In Scott County, Kentucky, Leslie Flanders and Jeanne Biddle explain to students that the goal is to narrow the story down to a single "nugget" — one central idea or message.''

Use readily-available source materials: ''Although camcorders might be used in the creation of a digital story, they are not essential. In fact, some consider them a distraction from the end product. Instead, many digital stories rely heavily on photographs, hand-drawn illustrations, and other scanned-in images, along with transition effects, to accompany the recorded narrative. The staff at CDS refer to the medium they teach as being like "PowerPoint on steroids." They have embraced this approach because it "puts the participant in the editing chair, with a minimal amount of preparation."''

Include universal story elements: ''Although proponents of digital storytelling describe and label these terms in a number of different ways, good stories — digital or not — include essential elements such as conflict, transformation, and closure. Furthermore, they are told in a way that allows the audience to, as Ohler puts it, "identify with them, remember them, and be changed by them."''

Involve collaboration: ''"Story circles," in which participants give and receive feedback on their stories and scripts, are an important part of many digital storytelling workshops. As Joe Lambert puts it, "Storytelling is meant to be a collaborative art. It is much more realistic this way, and much more fun."''

Tools
If you're interested in creating some digital stories, Carole McCulloch suggests the following tools to get started:

Photo Story 3 software http://www.microsoft.com/windowsxp/using/digitalphotography/photostory/default.mspx Free music clips http://www.freeplaymusic.com Script template (click on "Resources") http://www.groups.edna.edu.au/course/view.php?id=107

Digital Story Telling Starter Kit http://www.digitalstorytellingworld.com

Many Regions, Many lives, Many Stories
Here are some Digital Storytelling websites from around the world.

 <li>[]Capture Wales <li>[]Cipolwg ar Gymru <li>[]The Fray <li>[]Dreamtime <li>[]Journale <li>[]Schooltv <li>[]Streaming Stories <li>(BAD URL)World War II Memories Project </ul>

Pioneers in the Field
Joe Lambert [] founding Director of the Center for Digital Storytelling, a "non-profit project development, training, and research organization dedicated to assisting people in using digital media to tell meaningful stories from their lives," located in Berkley, CA.

The late Dana Atchley, [] performance artist and creator of "Next Exit" an interactive theatrical performance.

Return to Instructional Technology.


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J2ME Programming/MS WindowsMobile and J2ME

The MS WindowsMobile(SmartPhone) OS came out without a J2ME JVM at least from Microsoft. However, because of consumer and Mobile Operator demand the OEMs of the MS WindowsMobile platform started partnering with JVM vendors to provide this functionality.

HTC
In 2001 High Technology Computer gained a contract from Microsoft to design MS Smartphones based on MS's Stinger concept design. As both consumers and mobile operators demanded java functionality in form of J2ME/MIDP; HTC partnered with several JVM OEMs to bring this functionality to HTC MS powered smartphones. HTC smartphones can be found with many OEMs and Mobile Operators as evidenced by this table at XDA-developers.com.

Conclusion
By gathering what JVMs are being used in these devices either by HTC information or the JVM OMEs themselves one can determine the optional J2ME APIs that can be accessed. The minimum configuration seems to be MIDP 2.0/CLDC 1.0 and JTWI 1.0.

Trademark Notices
J2ME, Java and all Java-based marks are trademarks or registered trademarks of Sun Microsystems, Inc. in the U.S. and other countries. All other Trademarks are property of their respective owners.


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Cookbook:Rosemary Garlic Baked Potatoes

| Vegan cuisine | Side dishes

Rosemary garlic baked potatoes are a delicious side dish of baked potatoes infused with rosemary and garlic.

Ingredients

 * 4 baking potatoes
 * 4 tbsp olive oil
 * 2–4 cloves garlic, chopped
 * 1 tsp dried, crushed rosemary
 * ¼ tsp salt
 * ⅛ tsp fresh ground pepper

Procedure

 * 1) Heat oven to 400ºF (205°C).
 * 2) Wash potatoes and pierce all over with fork.
 * 3) Lay each potato on an individual 9-inch (23 cm) square piece of aluminum foil (or sized to fit potato).
 * 4) Pour 1 tablespoon of olive oil on each potato. Make sure the entire potato skin is coated in oil.
 * 5) Sprinkle ¼ of the chopped garlic, rosemary, salt and pepper over the entire skin of each potato.
 * 6) Wrap each potato in aluminum foil.
 * 7) Place foil-wrapped potatoes on baking sheet (to catch any leaking olive oil).
 * 8) Bake in oven for 1 hour.

Notes, tips, and variations

 * Sea salt or crystal salt can be used in place of table salt. Fresh, chopped rosemary can also be used.

title: Cookbook:Rosemary Garlic Baked Potatoes


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Macroeconomics/Aggregate Demand

After discussing the AE model, we will discuss aggregate demand and aggregate supply model (AD-AS model), in which AD curve is based on the concept of AE.

To build the AD-AS model, we need to build and examine the AD curve and AS curve(there are two types of AS curves, namely short run aggregate supply (SRAS) curve and long run aggregate supply (LRAS) curve). In this chapter, we will examine the AD curve. In the next chapter about aggregate supply, we will build and examine the SRAS and LRAS curves.

We should recall how AD is built using the relationship between AE and $$P$$, in the chapter about AE. The following section (one section with its subsections) is a brief review about that, and it can be safely skipped if you are familiar with it.

Brief review: components of Aggregate Demand
Aggregate Demand or Aggregate Expenditure (abbreviated to AD and AE respectively) is essentially the demand curve for goods and services for a whole economy. There are determinable parts, known as components of aggregate demand, which the next few pages will explain in more detail.

The formula for finding $$Y$$ is as follows: $$ Y=C+I+G+NX $$

Consumption (C)
This is the expenditure by consumer on goods and services, including both durable and non-durable goods but not including saving. While values vary widely between economies, 'C' usually accounts for 40-60% of GDP. Because of this, high or low consumer confidence, and consequently high or low consumer spending can change the course in an economy.

Investment (I)
Strictly known as Gross Domestic Fixed Capital Formation, this is the money spent by firms (not the government or consumers) on capital investment i.e. new machinery and factories. There is some argument as to whether human capital (training) should be included. Investment also includes stocks and goods and services not yet completed; for example, car firms will likely have many machines part-built or stored at any one time. Since they cannot be included in consumption since they have not been purchased, stores must be included in I.

Investment makes up approximately 10% of GDP in most economies, and governments are often keen to increase this value, as investment helps to increase the possible output of economy (strictly LRAS or the PPF).

Government purchases (G)
Strictly known as General Government Final Consumption, it is the expenditure by the government, not including transfer payments (e.g. social security, welfare benefits since they are simply moving money around the economy). Governments usually spend on public and merit goods. These are microeconomic terms. A public good is one that is provided to everybody and cannot be exclusive by its nature (think street lighting), whilst a merit good is one that is under-supplied and under-demanded as consumers do not appreciate all the benefits, because some of those benefits do not directly apply to the buyer (think environmentally friendly vehicles).

Changes in government spending as a method of controlling the economy is known as fiscal policy. It will be discussed later.

Net exports (NX)
Exports are a positive figure on Aggregate Demand as overseas customers purchase goods and services produced here. Imports, on the other hand, are not produced here, though they are consumed here. For imports, money is leaving the economy, while for exports, money is entering the economy.

Movements along AD curve vs. shifting AD curve
In this section, we will consider of AD curve. There are two ways of moving the AD curve, namely movements the AD curve and shifting the AD curve.

The movements the AD curve is caused by $$\Delta P$$,  caused by a change in component of $$Y$$ (i.e. not caused by $$\Delta C,I,G$$ or $$NX$$). We have discussed the movement along the AD curve when we explain why AD curve is downward sloping (how $$\Delta P$$ (only) affects $$Y$$).

Illustration of $$\nwarrow$$ movement AD curve: P (GDP deflator, 2022=100) |    | \ 105 |  * ^  |   \   AD |  |    \ 100 |    *    |      \    |--- Y (trillion 2022 USD) 20->22

On the other hand, the of AD curve is caused by changing in some component of AD (i.e. component of $$Y$$: $$C,I,G$$ or $$NX$$) Under the parallel (we may assume this for simplicity) shift of AD curve, for each $$P$$, we have the same $$\uparrow$$ (for $$\nearrow$$ shift) or $$\downarrow$$ (for $$\swarrow$$ shift) in $$Y$$.

Illustration of $$\nearrow$$ of AD curve, from $$AD_0$$ to $$AD_1$$: P (GDP deflator, 2022=100) |    | AD_0  AD_1 | \     \    |   \     \       |    \     \ 100 |-\-\    |     |\   | \    |--- Y (trillion 2022 USD) 20  30

Shifting the AD Curve
Indeed, we can use some policies to shift AD curve, e.g. monetary policy and fiscal policy. We will discuss these two policies in later chapters.

We will introduce several important factors that shift AD curve in the following proposition, by affecting the component(s) of AD ($$C,I,G$$ or $$NX$$)

title: Macroeconomics/Aggregate Demand


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Talk:Macroeconomics/Consumption

Okay, that's rubbish, what if C=Y=0? In both cases 50=0. Similarly, any value of C=Y makes the APC=1, which makes the MPC>1. What? Too many assumptions equals nonsense.
 * In both examples (C=50+0.5Y, C=50+0.9Y), when Y=0, C=50. '50' is autonomous consumption, i.e. what C equals when Y=0 by definition. Therefore, it is impossible for C=Y=0 in both cases. LeoChiukl (discuss • contribs) 03:26, 29 March 2022 (UTC)

title: Talk:Macroeconomics/Consumption


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Beekeeping/Entrance Reducer

Usage
Entrance reducers have several purposes including controlling traffic, temperature and ventilation within a hive. Most commonly, entrance reducers are only used for new or low population colonies, weak colonies, or during times of low temperature. Store bought entrance reducers are nothing more than wooden cleats with two varying sized notches, one on each plane. Entrance reducers are designed so that when sandwiched between the bottom board and the lower  hive body, a narrow entrance and exit port is created. By rotating the entrance reducer 90° vertically a different sized notch, and there by a different sized exit is used. Finally a hive can be completely opened by removing the entrance reducer altogether. Traditionally the size of the notch used is dependent on the traffic belonging to the hive. As more bees that are coming and going, the size of the entrance should be increased.

Selecting an Entrance Reducer
There does not exist mass variation between entrance reducers that are available for purchase. However, some keepers forgo the added (minimal) cost and simply use grass or rags to close a hive's entrance.

Purchasing
Most often, entrance reducers come packed with bottom boards and it is thereby often unnecessary to purchase one separately. Despite this common practice, be sure that an entrance reducer is part of the package deal before you end up with out one.

Maintenance

 * Entrance reducers may need to be occasionally scraped of propolis but should otherwise not need any real maintenance.
 * When not using an entrance reducer in a hive, store it well as to prevent warping or damage.

Tips

 * Grass, leaves or clean rags can be used if necessary in place of an entrance reducer.
 * Some beekeepers choose to varnish or preserve their entrance reducers much like their hive bodies.

title: Beekeeping/Entrance Reducer


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Cookbook:Plantain

Plantains are hard, starchy bananas used for cooking, as contrasted with the soft, sweet dessert varieties. Plantains are a staple food in the tropical regions of the world, treated in much the same way as potatoes and with a similar neutral flavour and texture when unripe. It is unknown whether plantains were grown in the Americas before the arrival of Europeans.

Ripe plantains can be eaten raw, or they can be used for cooking at any stage of ripeness (it can be fried and eaten with white rice). Green plantains are firm and starchy and resemble potatoes in flavour (it can be fried and eaten like potato chips). Yellow plantains are still firm and starchy but slightly sweeter (it can be added to beans, to make it sweeter). Extremely ripe plantains are black, with a soft deep yellow pulp that is much sweeter than the earlier stages of ripeness. These black plantains can be used in sweet dishes, but they still must be cooked.

Plantains are also dried and ground into flour, when prepared, it is highly recommended for diabetic patients. banana meal forms an important foodstuff, with the following constituents: water 10.62, albuminoids 3.55, fat 1.15, carbohydrates 81.67 (more than 2/3 starch), fibre 1.15, phosphates 0.26, other salts, 1.60. The sugar is chiefly sucrose.

Plantain fruit can be brewed into an alcoholic drink. The rootstock which bears the leaves is soft and full of starch just before the flowering period, and it is sometimes used as food in Ethiopia; the young shoots of several species are cooked and eaten.

External link

 * Botanical.com: Plantain Fruit

title: Cookbook:Plantain


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Cookbook talk:Plantain

The Wikipedia article on plantains was mostly about their food aspect, so I copied most of it over to the cookbook.

title: Cookbook talk:Plantain


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Ruby Programming/Reference

This is the intro page to the Reference section. Please see Ruby_Programming for a complete list, so we don't have two lists to maintain.

title: Ruby Programming/Reference


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Beekeeping/Honey Bee Races

There are several races of the honeybee. Each of these races has different advantages and disadvantages linked to their original regional background. Each region likely has a differing climate, topography, resources and predators. Because of difference in background, each race of honey bees have evolved slightly in a different manner than their cousins allowing them to better take advantage of their specific situation. Today the Italian Honey Bee is the most commonly kept honey bee in the United States, conversely the  Africanized Honey Bee is the most feared and illegal to keep in many regions. Fitting somewhere between these two extremes include many of the other races and the Feral Honey Bee, though technically not a race in its own, it may be acclimated to the area in which it has been found. The following is a partial listing of the races of honeybee that may be available to a prospective beekeeper, along side is a brief amount of information regarding each race and some common advantages and disadvantages with each.

Africanized Honey Bee
Apis mellifera scutellata The Africanized honey bee, also known as the killer bee. Because of the media attention received, Africanized bees have been given a bad name. This is not to say that they can’t be more dangerous than standard honeybees, their representation has simply been blown out of proportion. There have been several more recent breeding programs that have produced a more gentle form of this race. This gentler form of bee has even become one of the more sought after honeybee races in regions of Brazil.

Buckfast Honey Bee
Apis mellifera: hybrid The Buckfast hybrid was produced by  Brother Adam of the  Buckfast Abbey. Brother Adam crossed a great many races of bees with the British bee in hopes of creating a superior breed. The results are what is now known as the Buckfast Bee.

Carniolan Honey Bee
Apis mellifera carnica

Caucasian Honey Bee
Apis mellifera caucasica

Cordovan Honey Bee
Apis mellifera ? A genetic trait, usually found in the Italian race, cordovans are used mainly for tracking the genetic makeup due to the wide variance in color.

Feral Honey Bee
Apis mellifera ... Feral honey bees consist of escaped swarms and unmanaged colonies.

Western European Honey Bee
Apis mellifera mellifera The Western European Honey Bee, also known as the dark or black bee, was the first honeybee imported to the Americas. This distinctly marked bee is brown and black in color and overwinter well.

Italian Honey Bee
Apis mellifera ligustica Italian bees are the most common stock bee, and likely are the race to be found in packages or as unspecified breeds and queens for sale.

Midnite Honey Bee
Apis mellifera: Hybrid The Midnite hybrid is a combination of both the Caucasian and Carniolan races.

Russian Honey Bee
Apis mellifera: hybrid (A. mellifera caucasica with some Italian and Carniolan.)

Starline Honey Bee
Apis mellifera: hybrid The Starline is an Italian hybrid known for its vigor and strong honey production.

Yugo Honey Bee
Apis mellifera ?

title: Beekeeping/Honey Bee Races


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User:Bmud

You're likely going to kill me. Well, that's okay. My name is Bmud. It's dumb spelled backwards in case you were.

title: User:Bmud


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Talk:Tomos Moped/Repair

I would like to increase the resistance of the front steering spindle. Can it be done and if so, How,

Replacing rear wheel
Hello

I need to know how to replace the rear wheel. WHile it sounds easy enough (disassembly was brainless -- it almost disassembles itself), the reinstallation (this is after replacing a tube) had problems. There is obviously a right way and a wrong way to install a rear wheel back on to the moped, and I did it the wrong way. I am getting a "ker-chunking" on acceleration that wasn't there before. What should I be looking for, for a proper installation?

BTW, this is an incredible reference. It definitely shows promise.

title: Talk:Tomos Moped/Repair


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MATLAB Programming/Psychtoolbox/Windows only scripts

The windows version does not support changing screen resolution with the Screen("Open Window",... command. You can use a 3rd party program to do this though: . Then in Matlab you can write code like this:

!reschange -width=800 -height=600 -depth=32 -refresh=85


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Cookbook:Egg Wash

Egg wash is often used for coating the top of baked goods, especially pies, to give a shine when baked. It's also used for battering fish and other ingredients for deep frying.

Ingredients

 * 1 egg yolk, egg white, or whole egg
 * 1–2 tablespoons water or milk

Procedure

 * 1) Beat all ingredients together.
 * 2) Apply wash as directed by your recipe.

title: Cookbook:Egg Wash


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Cookbook:Fried Corn

A pleasantly-surprising recipe encountered in China. Also, a good first attempt for beginning deep-fryers. Makes a good substitute to chips or fries.

Ingredients

 * Canned or frozen corn
 * Egg wash (optional)
 * Flour
 * Salt
 * Pepper
 * MSG (optional)
 * Spices (as desired)
 * Oil

Procedure

 * 1) If using frozen corn, thaw. If using canned corn, microwave in a glass bowl or gently heat on the stove until warm.
 * 2) Coat corn with a light layer of egg wash.
 * 3) Mix salt, pepper, MSG, and other spices into the flour.
 * 4) Move corn from the egg wash, and toss with the flour mixture until well-coated.
 * 5) Heat enough oil for deep-frying to moderate–high heat.
 * 6) Deep-fry floured corn until golden brown on the outside (less than 2 minutes).
 * 7) Serve as a complement to another dish.

Notes, tips, and variations

 * Substitute moderately-chopped vegetables such as carrots and green beans for additional flavors.

Warnings

 * When a pot of hot oil catches fire, the flames will reach up to 2 or 3 feet. If you must work under flammable cabinets or shelves, be sure to have a fire extinguisher handy. An oil with a high smoke point is less likely to cause problems, including indoor air pollution and fire. See deep-frying for more warnings.

title: Cookbook:Fried Corn


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Video Game Design/Design

Design
Creating a video game is no simple task, it is the step that requires the most creative effort and artistic vision. This chapter will help you get through it.

Thesis

 * A Game is defined as: "a recreational activity involving one or more players, defined by 1) a goal that the players try to reach, and 2) some set of rules that determines what the players can do. Games are played primarily for entertainment or enjoyment, but may also serve an educational or simulational role."

Planning comes first
The most important task in any game developing process is having a plan, whether that plan involves using a really well thought-out concept, a basic idea, or going into a full-blown production. Another aspect is that the plan must be possible to implement in software and on available hardware. Gaming platforms and game designs place high and specific requirements on software which differ from the requirements of other software platforms.

Be creative...
In the gaming industry there is a constant need for innovation games with better graphics, better music, better controls, games with new realm, new laws, new types of games.

But this does not mean every game has to be all new. Innovation can be as simple as new perspective, a new spin on an old idea.

Brainstorming
Brainstorm. Think of all the ideas that you can and write them down. (do not worry about good ones yet, keep them all). Then after you have thought of all that you can, eliminate the ones you do not like as much, are impossible, etc. And form a concept for the video game. For example the concept of Tetris would be: Differently shaped blocks fall and you try and line them up on the ground to make lines to get points.

Steps
Before we can create a video game that generations can enjoy (or a simple game to amuse friends, yourself, or potential mates), we need to discuss the Five Ws of Development.'

What is the purpose of developing this game? Who will be the actor? Who is our target audience? Who do we care to entertain, frustrate, puzzle? What is the point of the game? What Type of game is it? What is the objective ? How long will it take to complete the plot ? Where can the game be played?
 * Why
 * Who
 * What
 * When
 * Where

Practical application Sometimes one can learn as much from a bad example as a good example.

WHY: Purpose for the video game
While designing your game consider your purpose for creating the game. Is it because you enjoy making games, or because you want to make a lot of money? Think about the audience who you are going to be selling this to, is that their purpose for playing the game? To spend lots of money or because they enjoy playing games? You should have at least some idea of the replies to these question before you can proceed constructively toward your goal.

WHO: Market considerations
Since you will be designing a game for other to play, having a consideration on the design to what market you are producing is extremely important. Who are you marketing it to? Teenagers? Children? What must you do to market it to that group? What are that group interests ? Where do you have less competition? What are your target audience interested in?

WHO: Understand the player
Almost every game requires a type of strategy toward gaining control of the motivator (the reason for committing to play). The logical reasoning, and generated optimal strategies normally used in game play are mathematically described and psychologically studied by the science of Game Theory. The Wikibook Introduction to Game Theory tries to cover the subject in greater depth, but anyone creating any type of game that involves complex decision processes should have at least a passing knowledge on this subject.

Players can be classified in four major classes that are not mutually exclusive but one will have predominance over the other, the player will be:
 * Competitor
 * Achiever
 * Explorer
 * Socializer

WHAT: Goals and objectives
As any other task a game has to have a goal or a objective and those must be clear (or seem so) to the player. Note that the goal may even be letting the player create or decide its own goals, with or without he being aware of any designed goal oriented imposed limitations.

WHERE: Technical requirements
Before you start to conceptualize the game you must establish the initial technical requirements available. See what technologies can be used, determine the target platform and the time for the implementation.

Some of the requirements may create a bottleneck for the implementation, others my require that you create or change normal tools or other parts of what would normally be the framework for the implementation. This can often not be known before you start your game design, and not all games designs are created for immediate implementation, they can often be stored for future use when a technology is available or the license prices, production team or implementation is right.

So, technical requirement are most often mutable and unpredictable, but a required consideration for the design stage.

A note about gamification
Gamification is simply described as the merge of non-leisure activities with games.

Games as a learning medium
Games can be easily turned into learning platforms, finding the right approach to turn a game experience into a learning one (or an aid to consolidate knowledge) it the trick that permits games that teach. Game and learning are inseparable from the start, the act of playing a game is the act of becoming proficient in the games rules and to attempt to excel in its uses in a competitive way. As all the things that humans like patterns are at the top, we are attracted by logic sets and combinations in any form. Patternization and the automation of those patterns is what our brains do best. Games are very prone to help us not only to build what we define as muscular memory (automated responses) but go beyond to deep learning of abstract concepts without the need of extensive formalisms required for class room format.

Design Phase

When you have your concept, expand it. Using the Tetris example again, think about the shapes of the blocks, how many points things are worth. Consider the Theory discussed earlier in the book, what is the character-player relationship? What is the character's role? What is the challenge, what is the risk? What is the reward? What could be lost? What is the realm?

When designing the levels consider what was discussed on difficulty and challenge. If it is too hard before the player has been able to gain logic and skill in the realm, the player will not want to play. And if the game is too easy, same thing. Consider how challenging elements of a level are, do the rewards of the levels outweigh the loss or is it too easy to die?

Moral and ethical considerations
Moral and ethics can be important elements in defining the game concept as they help to exclude unacceptable ideas not only to the creator but to the player or the community that will be impacted by the game distribution. Today we have probably a heightened sense of protection for the society in general and children in particular, sometimes beyond what is reasonably acceptable, so determining limits to what should and should not be covered will definitely help in planning.

Addiction
The psychology study of behavioral addiction, has not generated yet enough scientific research to claim that video games are addictive in nature, that is generate an addiction.

Note however that gambling addiction (ludomania), pathological gambling, is considered to be an impulse control disorder similar to many other impulse control disorders such as kleptomania, pyromania and is therefore not considered by the American Psychological Association to be an addiction.

While there is a possibility that video games can be addictive, they are structural different from other forms of what is normally classified as addictive activities. For instance when dealing with substance abuse the addiction is created by the body's dependence on the drug, if we translate this into the area of video games we can only define two types of substances that can create a modest addiction, endorphins and adrenaline, and video games are not the best or the only way to obtain a "fix" of those substances, even if a person begins to crave for the biological sensation these natural substances generate, a video game will tend not to provide them with enough consistency and strength to really create an addiction, making the player unable to cope without the substance, it can however reinforce and generate a compulsive behavior.

Compulsion
Video game compulsion is very similar to, problem gambling even if not so rapid and destructive, if we look at the media or art that are similar and even utilized in video games, like images, music or plot, most games would have the same risk of creating an addiction that a good movie, a book or your favorite painting.

So the issue must be centered in the game mechanics, presentation and the environment surrounding the activity. The emotional and social framework around playing any type of game in general, peer acceptance, reputation, etc. become factors that act as promoters for the activity and reinforce the compulsion.

In the case of compulsion, the psychological need to do an action, there the video game can have relevance, depending on the social structure of the player. If there was improper emotional development, substance use disorders, mood and anxiety disorders, or personality disorders then most of these problems could also contribute to an isolation and detachment from normal society. This is also common with Internet addiction, that in fact is a psychological craving to be in the communal action, be informed and participative.

Video games that are played over the Internet would better come under the same issues, but it is not a general problem of games, but a result of the psychological fragility of the person/player and the general state of society. One can not specifically blame games, and not all persons will be at the same level of susceptibility.

Compulsive presentations and games mechanics
Several video game creators, including Shigeru Miyamoto, have stepped up and denounced the practice of creating games around compulsive rewarding mechanics, labeled as "carrot and the stick" called such mechanics unethical.

Compulsion can be avoided by limiting repetitive patterns in games, but of course some game creators seek actively to reinforce the compulsive behavior. Sadly this is becoming a fad especially in many Internet activities, including games that depend in continued play for revenue or even social networks that simply require continued participation.

Examine the competition
Part of the process should include a look on the availing offering similar to what you are intending to create, have references and solidify your expectations.

Contextualize
For a game to be attractive and engaging its actions need to take place in an as rich as possible environment. One must choose between two poles, realism and the absurd, the mixing of the two must be done with artful understanding of the comic and ironic.

Context is the background universe of the game, it is all the extras that are not themselves a requirement for the gameplay. Some universes where the plot takes place are not possible to seem realistic at all, therefore one must not try to go beyond what is necessary to keep the player interested and its actions significant in that specific context.

A dynamic universe will often increase the game replay value on its own, since at each attempt the player will have the chance of discovering and observe something new, even if it does not have a direct impact on the gameplay it will be in itself rewarding.

The created context for the gameplay must fit the game's objectives and not the other way around, if the game is simple it will not require a complex background but as gameplay complexity increases the right context must be provided as to sustain the player motivation for continued engagement.

Context has the main purpose of activating and then conforming to the player's imagination, in this cultural background is an important consideration. This task can be archived by the use of images, sound and a good story.

Narrative
If the objective is the point of the game, what you are trying to accomplish, the narrative is what drives the player to attempt to archive it, it provides not only the reason for the player actions but creates all the environment were they are to be performed serves to move the player along the game.

Some game types are elusively dependent on the interactive narration. That is the game evolution or experience is a partnership between the game designer and the player.

Story telling (the plot) All games do not necessarily have the "once upon a time..." plot, however, in every game there is a narrative of sorts. For one thing every game has an objective. This objective can be simple as making a line to get points in Tetris or as complicated as saving the princess in Zelda.

In Tetris you move from level to level in chronological order according to the finishing of prior levels. In games with a story line, the plot is the storyline. The narrative is important to the player as it gives them a sense of progression.

The first step to any successful game is to have a great, or as close as you can came up to it, is the narrative, since the goal can be less than the road that needs to be traveled. This is why 3D games sell so well, even if most of them does not deliver anything really innovative. If you produce a great visual show with distracting shiny visuals people forget to look for a plot or can even be made to like absurd things that any marketing researcher would bet his life on that you should not include on your masterwork. Before you make any game, you should first ask yourself "Is this game fun? Would I want to play my game?" What would the point of making a game if you do not think your own game is fun? Think what type of game YOU would want to play. It is also a good idea to start small. If your first project is to make the next Halo, or 3d MMO you will probably fail miserably. Start with something simple like PONG, and work your way up from there.

More complex games my require a richer environment to captivate the gamer, writing game stories today may be even more complex than writing the next blockbuster scrip. There are even conferences for innovative storytelling in computer games. (See for instance StagConf).

Building a workable plot, is very similar to writing a movie script, you will need hooks and a good story telling capability, to get the player involved into the action.

Sequel Sickness Sequel Sickness is contagious, Hollywood has it, and so does the gaming industry. Often times, developers will see that a game has done outstanding and decide to make a sequel. Now, sequels are not inherently bad, however they usually turn out to be.

When developing a sequel, remember that it has a lot to live up to. A sequel must be as good as or better than the previous game and you should only make the sequel if it has something to add to the original.

A sequel that does not live up to its predecessor can ruin both (or all) the games in a series. So be careful.

The Mime Syndrome Another illness comes from Hollywood too. The Mime Syndrome is where game developers try to make a game based off a movie or a book. Usually the game precisely mimics the movie or book so the plot has already been experienced by the player - what is the point?

Movie games usually tear a movie/book apart using the generic movie game template where they take the movie/book putting in apathetic collectibles, and plot points. If you ever make a game based off a movie or book consider what it really is, what it means to its fans - how are avid players going to feel about the game based off of it? And do not just copy the movie/book if the players wanted that - they would just go read the book or watch the movie. Come up with your own plot points within the style of the media you are creating the book from and do not just roll out another cheap movie game. Remember, most movie/book games result in failure in the market, only few actually succeed.

If you cannot be cured of Mime Syndrome, do not make a movie/book game.

Playability
An important aspect of any game is good gameplay. You could have the best looking and sounding game on the planet but if the gameplay is bad, it will be a bad game and no one will want to play it. A good game always has a creative hook. It has to be a game that players will want to play. It may have a creative story, with many plot twists. But what makes some computer games so addictive? Why do so many of us spend countless hours sitting, our eyes stuck on a computer screen?

There are so many answers to these questions that several (very heavy) books could be written on the subject. People like to have fun, but have different tastes and thus different definitions of "fun". To Carl, mowing the lawn may be "fun", while Ryan may find it a complete bore. You see, fun is not simply "goofing off". You can have fun doing something constructive. Anything you find enjoyable can be described as "fun".

Progression & Achievement
The feeling of achievement of progress should hinge in mastering the game mechanics.

Fairness
The sense of fairness is extremely important, especially when competing with other human players, noting that an AI is cheating, if too obvious can also be extremely vexing even if to a small degree excusable and even expected (depending on the game type).

Replay value
Replay Value is the value of starting over and playing the game again (or continuing playing) after you have already finished playing the game. If the game is only playable once, then it really is not worth much, is it? The sign of a truly superb game is one you can play over and over again, whether you continue on beyond the plot through mini-games and side-quests or you simply start it completely over.

Some aspects that give a game replay value (besides just being really well done) are mini-games, side-quests, challenges that go beyond the scope of the plot (find all the... to get...), unlockables, and so forth.

Mini-games A mini-game is a 'game within a game'. Usually these are arcade-like games such as racing, puzzles, and so forth. The Zelda series incorporates mini-games in Ocarina of Time with archery, fishing, and so forth. The challenge to get the highest score possible in a mini-game is a good motivator for replay.

Unlockables An unlockable is some type of reward that the player can unlock by doing something (such as getting all the... or finding the...). These can be very helpful in increasing replay value.

Innovation
Breaking new grounds in the creation of video games be it technology, or concept can be a high point for your production, it can make your game pop out among similar offerings and even create specific niche where no other product will be competing with your creation.

Innovation in game concept is often interlinked with the creation of new technology, this is not at all a requirement but is often necessary to create get deeper into the framework to provide the features required for the implementation. This can also create a new revenue stream, for instance if you create a specific engine or technology that can be relicensed to other creators.

The danger of going out of the box is that it can also break playability or reduce the target market in a way that will restrict adoption by the public, this is a thin line that must be carefully considered.

Composition
This is one of the final steps of the game design process, it is the critical analysis on how well each game component fits into the design and how best to tweak its use.

Style consistency Remember to keep all the graphics, sound, and gameplay in the same style. Something painted by Picasso would NOT look the same as something painted by Davinci. Make sure that everything is stylized similarly - do not mix Picasso and Davinci.

title: Video Game Design/Design


text: Talk:Video Game Design/Design

title: Talk:Video Game Design/Design


text:
User:Bushmango

My Recipies: Other Cookbook:
 * Cookbook:Fried Corn
 * Cookbook:Egg Wash

Other books
 * Game Development

Joke collections (started)
 * 182 Jokes

title: User:Bushmango


text:
Radiation Oncology/Unsealed sources

 * See also: Isotopes used in Radiation Oncology

For bone metastases
These have usefulness in treating blastic bone lesions (basically anything that lights up a bone scan). The dose limiting toxicity is bone marrow. Observe platelet counts.
 * Please see the bone metastases page

 * Phosphorus 32 - beta emitter
 * Gets taken up in bone
 * Not commonly used

 * Strontium 89 (Metastron) - beta emitter
 * Calcium analog, gets taken up in bone
 * Long half life (50.5 days physical half-life)
 * Usual dose 4 mCi (supplied as a 4 mCi vial)
 * May also be dosed at 0.040-0.060 mCi/kg

 * Samarium 153 (Quadramet) - beta and gamma emitter
 * Bound to a tetraphosphonate, which gets taken up in area of active
 * Usual dose 1 mCi/kg (may use 0.5 mCi/kg)
 * Short half life (about 3 days)
 * Can repeat dose after about 6-8 weeks
 * Lowest effective range (compared to Sr and P) and thus lower bone marrow toxicity
 * Can be used for imaging also due to its photon component

P-32

 * ovarian cancer
 * endometrial cancer
 * uterine papillary serous carcinoma
 * pancreatic cancer

 * Pure Beta emitter
 * Energy: 1.71 MeV and 0.69 MeV electrons
 * Average tissue penetration: 1.4-3mm
 * T ½ : 14.3 days
 * Benefit: no photon contamination
 * Typical dose: 10-15 mCi
 * 10 mCi gives equivalent of 30Gy to the peritoneum
 * Distribution
 * Test intraperitoneal distribution with T-99mc prior to treatment
 * Inhomogeneous dose distribution.
 * Mainly absorbed in the peritoneal surface
 * Some enters systemic circulation via lymphatics and is removed by the liver
 * LNs receive low, subtheraputic doses
 * Little hemopoietic toxicity
 * Peripheral blood dose: 1.2 cGy
 * Bone marrow dose: 6 cGy

Research

 * Experimental antibody based methods - alpha emitters
 * At the ITU (Institute for Transuranium Research; website) work is being done on Alpha-Immunotherapy, an experimental method using antibodies bound to alpha isotopes. Bismuth-213 is one of the isotopes which has been used. This is made by the alpha decay of Ac-225. The generation of one shortlived isotope from longer lived isotope is a useful method of providing a portable supply of a shortlived isotope. This is similar to the generation of technetium-99m by a technetium cow. The actinium-225 is made by the irradation of radium-226 with a cyclotron.

Guidelines

 * see also: Guidelines at Bone metastases

Reviews
Samarium-153:
 * 2004 PMID 16985930 -- Full text "Overview of Samarium Sm 153 Lexidronam in the Treatment of Painful Metastatic Bone Disease" (Sartor O, Rev Urol. 2004;6 Suppl 10:S3-S12.)

title: Radiation Oncology/Unsealed sources


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Horn/Technique/Transposition

Transposition
Many older pieces for horn were written for a horn not keyed in F as is standard today. As a result, a requirement for modern horn players is to be able to read music in other keys. This is most commonly done by transposing the music "on the fly" into F. A reliable way to transpose is to liken the written notes (which rarely deviate from written C, D, E, and G) to their counterparts in the scale the F horn will be playing in. Commonly seen transpositions include:
 * B♭ alto – up a perfect fourth 1
 * A alto – up a major third
 * G – up a major second
 * E – down a minor second
 * E♭ – down a major second 2
 * D – down a minor third
 * C – down a perfect fourth
 * B♭ basso – down a perfect fifth 1

Some less common transpositions include:
 * A♭ alto – up a minor third (Doesn’t exist!!)
 * G♭ – up a minor second
 * D♭ – down a major third (used in some works by Berlioz, Verdi and Strauss (Der Rosenkavalier))
 * B – down a tritone (used by Brahms) 3
 * A basso – down a minor sixth (used in some works by Verdi)
 * A♭ basso – down a major sixth (used in some works by Verdi)
 * G basso – down a minor seventh (used in some works by Verdi)

It has been speculated that one of the reasons Brahms wrote for horn in the awkward key of B was to encourage the horns to use the natural horn; he did not like the sound of the new valved horns. An example of this is when Brahms picked the second horn player, Wilhelm Kleinecke, in the Vienna Opera for a performance of the Horn Trio in E flat, op. 40 over the first horn, Richard Lewy, because Lewy only played the valved horn.

Sometimes it is ambiguous whether a piece should be transposed up or down (i.e. B♭ alto versus B♭ basso when only B♭ is written). It is usually safe to assume that the most common and reasonable transposition is the intended transposition (i.e. it stays in the normal horn range). More can be decided from the history of the composer. For example, Verdi and other opera composers used many low and odd transpositions. For Haydn symphonies that have trumpets, the lower transposition for the horns is usually correct; otherwise the high transposition is usually correct. After gaining much experience, this decision-making should come easily to the horn player.

1 In older scores (many times German), B♭ alto and basso are written simply as "B."

2 E♭ horns were used extensively in military bands in the early 20th century, therefore band parts written for chromatic E♭ horns are common.

3 Brahms indicated the key of B as "H."

Learning to Transpose
Many ideas are out there as to how to think of transposing. Here a few are presented. Pick the ones that work for you and use them. In the end, knowing what note to play is what is important.

Note by Note
Once you figure out how far you need to transpose, just think that in your head for every note. For example, for D horn you need to transpose every note down a minor third (three half steps). When you come to a third space C, you think a minor third below that and play an A.

Clef Transposition
Pretend the written music has a different clef.

Tricks

 * B♭ Horn - If you have a double horn, as most people do, you can use F horn fingerings on the B♭ side of the horn. This does not work for all fingerings, but if you are in doubt, it can come in handy.

 * C Horn - This is similar to B♭ horn, but instead use B♭ fingerings on the F side of the horn. Again this is not fool-proof and does not work for all fingerings.

Old Notation
Old Notation was the practice of notating bass clef Horn parts a fourth BELOW sounding pitch instead of a fifth ABOVE sounding pitch, which is the standard today.

These parts should be played an octave above the written pitch. A good indicator of old notation is the presence of a pedal C (C2) or lower.

In modern composition, old notation should never be used. It is outdated and unnecessary.

title: Horn/Technique/Transposition


text:
J2ME Programming/Philips J-Ware

Philips J-ware JVM for MIDP devices runs on Philips Real time Kernel and Linux on ARM 7 and ARM 9 processors using the OMAP application processor from TI.

J-Ware Version 1.0

 * MIDP Devices
 * MIDP 2.0
 * CLDC 1.0/CLDC1.1
 * WMA 1.1 JSR 120
 * MMAPI 1.1 JSR 135
 * 3D Graphics JSR 184
 * PIM/FileConnection JSR 75
 * JTWI 1.0 JSR 185

Trademark Notices
J2ME, Java and all Java-based marks are trademarks or registered trademarks of Sun Microsystems, Inc. in the U.S. and other countries. All other Trademarks are property of their respective owners.

title: J2ME Programming/Philips J-Ware


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Music Theory/Eastern European

Eastern European Music is best learned by ear. Listen to as many various traditional field or studio recordings to become an expert at a given style. Eastern European Styles include:
 * Russian\Baltic
 * Balkan (Macedonian,Serbian,Bosnian,Bulgarian,Croatian,Montenegro)
 * Transcarpathian
 * Transdanubian
 * Hungarian
 * Romanian
 * Romani (Gypsy)
 * Klezmer (Jewish)
 * Turkish\Caucasian

title: Music Theory/Eastern European


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J2ME Programming/Motorola JVMs

Introduction
Motorola develops its own JVMs rather than customizing Sun's JVMs to port to OS platforms.

iJV30

 * MIDP 2.0
 * CLDC 1.0
 * WMA 1.0 JSR 120
 * MMMAPI JSR 135

Trademark Notices
J2ME, Java and all Java-based marks are trademarks or registered trademarks of Sun Microsystems, Inc. in the U.S. and other countries. All other Trademarks are property of their respective owners.

title: J2ME Programming/Motorola JVMs


text:
Reaktor/Links/DSP

 * Digital Signal Processing Wikibook
 * The Scientist and Engineer's Guide to Digital Signal Processing by Steven W. Smith, Ph.D - whole book online for free in PDF format
 * Physical Audio Signal Processing - Digital Waveguide Modeling Of Musical Instruments And Audio Effects by Julius O. Smith III
 * DSP Guru - DSP Guru purpose is to promote resource-sharing among DSP designers
 * Music-DSP Source Code Archive
 * The DSP Dimension by DSP Guru Stephan M. Bernsee
 * comp.dsp news-group FAQ
 * FFT realted links
 * Theory and Techniques of Electronic Music by Miller Puckette
 * musicdsp.org source code archive
 * Introduction to digital filters
 * ruccas.org
 * 101 Science Digital Signal Processing
 * Adaptv Signal Processing
 * Bores Signal Processing
 * Circuit Sage: Analog/RF Design Resources
 * Comp.dsp Frequently Asked Questions on Digital Signal Processing
 * Digital Signal Processing Group at Rice University
 * Digital Signal Processing Tutorial
 * Yehar's digital sound processing tutorial for the braindead! Archived
 * Digital Filter
 * DSP Store Large online DSP Database
 * ePanorama Digital Signal Processing Page
 * EUASIP Journal on Applied Signal Processing
 * FDI DSP Digital Signal Processing Design Guide
 * How Do I Learn DSP?
 * i2pi DSP Papers
 * Introduction to Signal Processing Sophocles J. Orfanidis
 * Introduction to Sound Processing by Davide Rocchesso
 * Neil's Digital Filter Page
 * DSP Algorithms
 * Zen Audio Project

title: Reaktor/Links/DSP


text:
Instructional Technology/Enhanced Mathematics

Using Technology to Enhance Mathematics Instruction
There are many ways that technology can be used to enhance mathematics instruction. It can be as simple as using a calculator for basic calculations or as complex as using graphing calculators to create graphs or a geometric drawing program to investigate geometric properties and formulas.

The following are types of technology that can be used to enhance mathematics instruction:

Calculators

Graphing Calculators

Tutor Application Software

Tool Application Software

Spreadsheet Software

Worksheet Generating Software

Pocket PCs

Return to Instructional Technology.


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Carpentry/Hand Tools/Saws

There are several types of saws for cutting wood. Some are used to make straight cuts and others are used to make curved cuts.

The two main types of handsaws in the western world are the crosscut saw and the ripsaw. The teeth on a ripsaw are like a row of chisels, each used to sever a fiber of wood as they pass parallel to the grain. The teeth on a crosscut saw are like a row of knives, each used to slice across the wood fiber as they pass perpendicular to the grain. As its name suggests, a crosscut saw is used to cut wood perpendicular or at an angle to the wood grain. The crosscut saw typically has more teeth per inch than the ripsaw. A crosscut saw can also be used to cut plywood. The ripsaw is only used to cut wood in the same direction as the grain. The ripsaw makes a very rough and ragged cut when used to cut across the grain. The crosscut saw is a better all-purpose saw since you can cut with or against the grain. Although it can tend to follow the wood grain and make it harder to make a straight cut with the grain.

Both of these western handsaws cut on the push stroke. Japanese saws, on the other hand, cut on the pull stroke. The advantage of the Japanese saw is the width of the blade can be much thinner because you are using the steel in tension. Western style saws are much thicker because they will buckle if they are too thin. An exception is the backsaw used by cabinetmakers. This saw has a very thin blade with a high tooth count (for cleaner cuts) and a stiffener across the top of the blade to keep it from buckling.

The compass or keyhole saw is a short, narrow-bladed crosscut saw used for getting into tight spaces or for making circular cuts

The coping or fret saw has a narrow fine-toothed blade held in a c-shaped body and is used to make circular cuts and to for cope (trim) molding to fit snugly.

The hacksaw has a very fine-toothed, narrow blade and is used for cutting through metals.

title: Carpentry/Hand Tools/Saws


text:
Danish

Velkommen!

 * /Cover/
 * /Alfabet/ ~ Danish alphabet and pronunciation guide

Lektioner ~ Lessons
Click on a lesson below to get started!
 * 1) Velkommen ~ Greetings
 * 2) Familie ~ Family
 * 3) Tal og farver ~ Numbers and colors
 * 4) Tøj ~ Clothes
 * 5) Tid ~ Time
 * 6) Common Phrases

Grammatik ~ Grammar

 * /Nouns/
 * /Adjectives/
 * /Verbs/

Se også ~ See also

 * Wikipedia articles about the Danish language and Danish grammar.
 * The Danish language edition of Wikipedia.

title: Danish


text:
Instructional Technology/Distance Education/Correspondence courses

Correspondence Learning
The student receives a set of learning materials via mail. The traditional set included textbooks, student guides, and assignments that the student is obliged to do within the specified time. No teacher support is provided. Later this form of learning is combined with the educational radio and TV programs. But in general this form of learning doesn't include any kind of feedback and communication with other participants of the educational process. At those times students and teachers saw each other only within exam sessions.

Traditional correspondence education assumes that learners should work with various educational materials received by the mail. The learner also should send back written assignments and results of his individual research activities.

Distance Ed. Home Page


text:
Cookbook:Marjoram

Marjoram is a cold-sensitive perennial herb or undershrub with sweet pine and citrus flavors. It is also called sweet marjoram or knotted marjoram.

Marjoram's aromatic leaves are used either green or dry for culinary purposes; the tops are cut as the plants begin to flower and are dried slowly in the shade. It is often used in herb combinations such as Herbes de Provence and Za'atar.

Marjoram is very similar to oregano, a herb from the same family. Oregano is stronger in flavour, marjoram is sweeter and milder. If a recipe requires marjoram, you may substitute oregano for it, but only use ⅔ as much as the recipe states.

Kookboek/Marjolein

title: Cookbook:Marjoram


text:
Instructional Technology/Distance Education/Broadcast Courses

Broadcasting Courses
The TV and radio broadcasting for educational purposes is widely used for teaching. Very often TV programs are integrated into the curriculum in addition to the existing face-to-face educational programs (for example, taped demonstration of the lectures of the famous scientists, Nobel prize laureates, etc). The feedback is organized in a form of the e-mail and asynchronous conferences. Students receive the help from the teachers, and send them back the reports about the on-going projects.

Companies are using TV broadcasting more to broadcast open forum or town hall meetings as a type of seminar course. The seminars are live and allow for Q&A session between the different locations.

Distance Ed. Home Page


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Instructional Technology/Distance Education/Computer Aided Instruction (CAI)

Computer Aided Instruction (CAI)
Having a personal computer at home the student could learn the subject by various interactive educational software programs, that are delivered in most cases in a form of an educational toolkit with software and courseware materials (textbooks, guides for self-instruction, learning tools, etc). The student could work with these materials at his home computer, or could get the access to the same educational resources, but published on the appropriate Internet web site. Distance education supported by educational software programs could be the part of the traditional educational process or the dominating form of education, organized, for instance, in a form of so-called learning environments, or learning spaces, virtual laboratories, etc. As a rule, the feedback in such cases is provided by e-mail and teleconferences. Distance Ed. Home Page


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Instructional Technology/Distance Education/Web-based Courses

This form of distance education could be developed in the Internet environment with the help of the interactive Web-based textbooks, e-mail, mailing lists, chats, asynchronous forums, computer modeling and simulation programs, etc. Teaching on the Net could be integrated with other forms and methods of distance teaching, enlisted above (for example, with broadcasting courses).

There are several types of web courses that refer to the various levels that they are used within the web that should be pointed out.

o A web-presence course would have all the general information about the course but does not provide any instruction.

o A web-enhanced course will take advantage of the web technology to distribute the course materials.

o The web-centric course makes more use of the web technology for greater access and interaction to course materials and even communications between teacher-to-students, student-to-student.

o Full web-courses can be accessed anywhere and anytime. These courses take full advantage of web technology for communication and interaction between teacher, students, and course materials

In her monograph [], "Innovations in Online Learning: Moving Beyond No Significant Difference," Dr. Carol A. Twigg says that web-based distance learning can run the gamut from "teacher-led distance learning programs... to more innovative, learner-centered programs that rely on a combination of high quality, interactive learningware, asynchronous and synchronous conversations, and individualized mentoring..."

Distance Ed. Home Page


text:
User:Njk~enwikibooks

Oh hey there :-)

title: User:Njk~enwikibooks


text:
Cookbook:Dill

Dill is an herb in the parsley family. Both the fern-like leaves and the seed are used.

Characteristics
Dill has bright green, feathery fronds (called dill weed/herb), whose flavor is somewhat like parsley and anise. After flowering, the plant also produces dill seeds, which are brown and ovular with a pronounced anise- or caraway-like flavor. Overall, the seed has a stronger flavor than the weed.

Selection and storage
When choosing fresh dill weed, look for bright green color without yellowing, wilting, or sliminess. It should be stored in the fridge, wrapped in a damp towel and sealed in an airtight container, for up to several days. Alternatively, you can keep the stems in a glass with an inch or so of water. Dried dill weed is available, but the flavor and aroma are more degraded.

Dill seed keeps for much longer, with a shelf life of months at room temperature when kept in an airtight container away from light, heat, and moisture. Like with most spices, the flavor dissipates faster when ground.

Use
Dill leaves (called dill weed) are used to flavor many foods, especially in Northern and Eastern Europe. It is a popular herb used in various ways with fish, and it works well with creamy sauces and as a garnish. When cooking with dill weed, you'll usually want to add it to your dish after removing from the heat to prevent flavor degradation. However, some South Asian dals do use stewed dill, though the flavor lessens.

Dill seed can be used much like caraway and fennel seeds, sprinkled over casseroles and breads, and in salad dressings. It is a main flavoring in dill pickles.

Both the seeds and the leaves are commonly used to flavor cucumber pickles.

title: Cookbook:Dill


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Cookbook:Cardamom

Green cardamom or elaichi is a pungent aromatic spice. It is separate from black cardamom, which has different characteristics.

Characteristics
Cardamom takes the form of a small green pod containing several small dark seeds. The immature pods are harvested and dried, and some forms of processing may treat them with a bleaching step to make the pods white —this may slightly reduce the aroma, but it is not a dealbreaker.

Overall, cardamom has a quite strong sweet flavor, with hints of eucalyptus from the cineole it contains. It also has other trace compounds that give it its unique profile.

Selection and storage
Whole pods or seeds are preferred, as the aroma and flavor are preserved for longer—grind as close to use as possible. If purchasing seeds, they should be dark in color and just a little sticky. As with all spices, keep cardamom in an airtight container at ambient temperature, away from light, heat, and moisture.

Use
Cardamom is used in a variety of cuisines, both sweet and savory, especially across Asia and in northern Europe. It often features in spice blends, such as curry powders and garam masala, and can be mixed with tea or coffee.

Because the majority of its flavor compounds are fat-soluble, heating cardamom seeds in oil is an excellent way to ensure their flavor is spread through the entire dish. Whole crushed cardamom pods can be used,  though this is best in dishes where they can be easily identified and removed to avoid their fibrous texture.

title: Cookbook:Cardamom


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Cookbook:Clove

Cloves are the aromatic dried buds of a tree native to Indonesia, used as a spice in virtually all the world's cuisine.

Characteristics
The whole spice is shaped something like a woody nail, with both a head and a stem. The flavor comes primarily from eugenol, which is highly abundant and gives the spice a very strong and warming character. Interestingly, like cinnamon, it has a subtle sweetening effect on dishes.

Selection and storage
Cloves are available both whole and ground. High-quality whole cloves can be ascertained by pressing a nail or other sharp item into the stem to see if the essential oil comes out. Though whole spices last longer and can be ground at home, you won't want to grind cloves in anything that has plastic parts—the oil is corrosive and lingering, and this will ruin the equipment.

Like all spices, store cloves at room temperature in an airtight container, sequestered from light, heat, and moisture.

Use
Clove can be used in cooking, both in savory and sweet recipes. In savory recipes, it goes particularly well with red meats such as lamb or beef, as well as with onions. In desserts, it goes well with fruits, such as apple and pumpkin. It also pairs well with other eugenol-containing and warming ingredients like basil, cinnamon, vanilla, and wine. Due to its very strong flavor, clove should be used sparingly.

title: Cookbook:Clove


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Talk:Autonomous Technology-Assisted Language Learning

Untitled
When I first saw this wikibook, and all the edits, I thought it would be a great rescource for Learning languages autonomously using machines. It's not. It's basically a guide to the internet. If you want to put a guide to the internet, make a wikibook called... Internet Guide. Not ATALL.

The Internet is certainly a large part of ATALL. But ATALL is not limited to the Internet. There is information here (and will be more) on radio, TV, DVD movies, MP3 players, telephone and other forms of non-Internet technology as well.

Orphaned Wikibook module
The following is a module that may have some connection to this Wikibook:

 * Introduction to Rich Internet Applications for ATALL

If it doesn't seem to fit here, you can either try to find a better fitting Wikibook (unlikely, but possible) or simply tag it for deletion by inserting the template to let the admins know that it is something that should be looked at closer. --Rob Horning 09:15, 7 August 2005 (UTC)

Further quotes in the sequence

 * Give a teacher a way to teach students to become autonomous technology-assisted language learners, and you teach them and their students for a lifetime. Write a computer program to give the teachers the same skills, and it may or may not end up being less work. (Anonymous, 2006)

--71.141.168.190 20:38, 28 March 2006 (UTC)

Uncategorised pages
I have added onto the main module page 3 modules that were orphaned. Please either integrate these modules or mark them for deletion. Thanks, Jguk 21:18, 3 July 2006 (UTC)

 * This has been done.Gary Cziko 13:11, 13 September 2006 (UTC)


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Danish/Alfabet

Alfabetet ~ The Alphabet

Vokaler ~ Vowels
There are nine vowels in the Danish/Norwegian alphabet, a, e, i, o, u, y, æ, ø and å. For people who only speak English they are often not pronounced quite the way you would expect.

The 5 first vowels are pronounced similar to most European languages the rest are similar to the nordic languages the Danish y is also reminiscent of how it was pronounced in Classical Latin and has not changed since it was adopted along the rest of the alphabet.

 * Long a is pronounced as some English speakers say long a or short a in rat.
 * Long e is pronounced as some English speakers say ee,it is identical to Standard German ee in nee and similar to e/é in Standard French et / écoute
 * Long i might be confused with the Danish Long e or English ee.This sound does not occur in some English dialects,however some might pronounce their long-e/ee as this sound, it's similar to the French qui and identical to German in biete
 * Long o is pronounced nearly identical to the way some english speakers say oo in took just longer,it is identical to Standard German oo in boot and to ô in French côté
 * Long u is pronounced as in the way many english speakers say the oo in boot.It is identical to the ou in standard French nous or oe in Standard Dutch toe
 * Long y is pronounced as the i above but rounded. This sound does not occur in the dialect of most English speakers, it's similar to the Standard French u in tu or Standard German ü in rübe.
 * Long æ is pronounced as in every or 2) as in any or end but longer.
 * Long ø is pronounced like Danish Long e mentioned above but rounded.
 * Long å is pronounced as awe and or or 2) sort of like as in no or low.

It is important to distinguish between long and short vowels. A short vowel is often indicated by doubling the consonant after it.

For instance skulle with a short u means should, but at skule means to stare. Pile means darts, but pille means pill.The vowel quality in the short vowels takes a darker sound than the long versions so as short e is said with the same quality as long æ but said short.

Konsonanter ~ Consonants
b, f, h, k, l, m, n, p, s and t are pronounced more or less as in English.

 * t is said practically identical to Standard English at the beginning of words but when found in between vowels or at the end it might become a soft t somewhat like the the and in other places like a voiceless d in dinner.
 * d is silent if found after an n, as in hende. If doubled in the middle of a word, as in hedder or found at the end as in hed, it is pronounced somewhat as th in the English the or tether. The d can also take on the sound of a hard d, "at dykke" (meaning, "to dive" where the d's are pronounced the same).
 * g is usually pronounced as in guess at most word beginnings ,after vowels it takes either a semi-vowel quality or lengthens the vowel before . Some might pronounce it as dg as in G.E (Global English) edge if the word of foreign origin has it, for example: teenagere however many might say it as G.E dy(di in Dionne) or an English y sound ,in such words.
 * v is usually pronounced somewhere in between a w and a v at  word beginnings ,after vowels it takes the semi-vowel quality of w sound in the G.E cow  or (in some speakers) as a rounded G.E y only when following e,ø, i, y and æ.
 * j is pronounced as the y in yes.

c, q, w, x and z are mainly used in foreign words.

 * c is pronounced as s when it comes before e,ø i, y and æ, and as k in all other cases. (Exception: Cypern (meaning Cyprus) is pronounced with a k sound))

 * q is pronounced as k.

 * w is pronounced somewhere in between a standard english w and v.

 * x is pronounced as s if it is the first letter in a word and is pronounced as ks if it is not.

 * z is pronounced as s.

 * r is pronounced almost as French/German r but more "smoothe", without the vibrating sound.

Note that Danish does not have the voiced z-sound, so Danish s, x and z are never pronounced as in English is, example or zoo.

Eksempler ~ Examples:

xylofon (x pronounced like s)

fox (x pronounced like ks)

title: Danish/Alfabet


text:
Sociological Theory

In sociology, sociological perspectives, theories, or paradigms are complex frameworks used to analyze and explain objects of social study. This wikibook introduces some of the more well-known sociological theories.

Introduction

 * /Introduction/

Classical Sociological Theory

 * /Max Weber/
 * /Karl Marx/
 * /Emile Durkheim/

Modern Sociological Theory

 * /Structural Functionalism/
 * /Conflict Theory/
 * /Ethnomethodology/
 * /Symbolic Interactionism/
 * /Postmodernism/
 * /Systems Theory/

Middle-range Theories (Specific Social Phenomena)

 * /Role Theory/
 * /Reinforcement Theory/
 * /Social Learning Theory/
 * /Exchange Theory/
 * /Impression Management/
 * /Feminist Theory/
 * /Equity Theory/

Other Information

 * /Noted Contributors/

Future Chapters

 * /Classical Theory vs. Modern Theory/ (classical theory section
 * /Cognitive Theory/ (middle range theories section)
 * /Social Constructionism/ (modern sociological theory section)
 * /Micro-Macro Integrative Theory/ (modern sociological theory section)
 * /Globalization Theory/ (modern sociological theory section)

title: Sociological Theory


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Cookbook:Saffron

Saffron is the dried stigma and part of the style of the saffron crocus. It has a pleasant spicy smell, and it contains a dye that colours food a distinctive deep golden colour. It is one of the most expensive of all spices, because of the labour-intensive way it is prepared. Saffron has been described as metallic honey with grassy or hay-like notes, while its taste has been noted also as hay-like and somewhat bitter. Saffron contributes a luminous yellow-orange colour to whatever you put it in.

Saffron is used in many Spanish recipes, including paella and fabada Asturiana, and in the most famous saffron-based Italian dish, the risotto alla milanese. Outside Europe, it is a vital ingredient of many South and Central Asian, and Arabian dishes.

Turmeric is sometimes used as a substitute; although it gives a similar colour, it has none of the real saffron taste.

Preparation
Saffron should always be soaked in hot (not boiling) water before use, about three times as much water as saffron. If you have the time, it is best to soak the whole saffron strands for about 2 hours. Otherwise, soak for at least 20 minutes, then crush the strands of saffron with the back of a spoon, to release the flavours and colour in to the water. Add the saffron and soak water to the rest of the ingredients, as directed by the recipe.

hy:Եփութուխ:Զաֆրան Kookboek/Saffraan

title: Cookbook:Saffron


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Cookbook:Sage

Sage is a herb, the leaf of a perennial plant that can be grown in most climates.

It has a slight peppery flavour and in Western cooking it is used for flavouring fatty meats (especially as part of a marinade), cheeses, and some drinks. In Britain and Flanders, sage is used with onion for poultry or pork stuffing and also in sauces. In French cuisine, sage is used for cooking white meat and in vegetable soups. Germans often use it in sausage dishes. Sage is also common in Italian cooking. In the Balkans and the Middle East, it is used when roasting mutton.

Whole branches of sage may be laid in the bottom of a roasting pan when roasting chicken and other meats, to prevent the meat from sticking to the bottom of the pan. The sage then imparts its flavour to the meat, and other items in the oven. The pan drippings are also infused with sage, making for a delicious gravy.

Kookboek/Salie

title: Cookbook:Sage


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Italian/Grammar/Verbs

Verb patterns: desinences / suffixes
In Italian, most verbs end in a common pattern, such as -are, -ere, and -ire. These are the 1st, 2nd and 3rd conjugations respectively.

Present tense (Presente indicativo)
The present tense in Italian is essentially the same as in English. The only difference is that it can also be used as the present continuous, so "I do" and "I am doing" are conjugated the same way. The English present continuous, however, is expressed in a better way by a more complex construction with the verb "stare" and the "gerundio" form (the English -ing form).

Also note that the subject pronoun can be dropped from a conjugated verb because the ending of the conjugated verb communicates the subject of the action.

Present Tense Conjugations 1, 2 and 3
Category 1 words in the infinitive end in ARE: for example parlare (to speak), giocare (to play), amare (to love) and so on. Similarly, category 2 words in the infinitive end in ERE: vendere (to sell), vedere (to see). Category 3 words in the infinitive end in IRE. There are two (2) subcategories of this case: those requiring no special treatment and those requiring an -ISC- be inserted prior to inserting the ending. Some authors have classified the second subcategory as class 3 and the first subcategory as class 4, thus reclassifying to 4 cases. Using this method, in class 3 we have: capire (to understand), finire (to finish),preferire (to prefer) and in class 4 we have: sentire (to feel),dormire (to sleep). The A and the I in -are and -ire verbs are always stressed in the infinitive form. The E in -ere infinitives can either be stressed (like in temere, "to fear") or not (as in mettere, "to put"), but there are no differences in stress in any other conjugated form of those verbs.

To conjugate regular verbs in the indicative present follow this method:

 * 1) Drop the ending from the infinitive to give the stem. Eg.: lavorare (to work) → lavor-
 * 2) Add the correct ending: Eg.: lavorare → lavor- → lavoro

The accents on some endings in the table must not be written: they are used only here to show which endings are normally stressed.

So, for example, parlare (to speak) would be conjugated as follows:

 * (Io) parlo ("I speak / am speaking")
 * (Tu) parli ("You speak / you are speaking")
 * (Egli/ella/Lei/Lui) parla
 * (Noi) parliamo
 * (Voi) parlate
 * (Essi/Loro) parlano

Note: Words egli, ella, and essi are older versions of lui, lei, and loro, respectively, but are still used today only in formal, written Italian.

3rd Conjugation Verbs taking "-isc-"
Many 3rd Conjugation verbs add the letters -isc- between the stem and the ending for the present tense. This is constructed as follows:

Remember that, when followed by i or e, -sc- sounds like the English 'shake' (/ʃ/). If a, o or u follow, -sc- will be read as in the English word 'sky' (/sk/).

The Present Perfect (Passato Prossimo)
The Passato Prossimo is one of the most commonly used past tenses in Italian. It is a compound tense, therefore the auxiliary verbs avere and essere are used in conjugation. Note that the following conjugations are both irregular.

The Past Participle
The past participle is used with the verbs avere and essere to form the passato prossimo. To form the past participle, the ending of the verb (-are, -ere, -ire) are changed as follows:
 * verbs ending in -are take -ato for their past participle (e.g.: parlare ("to speak") → parlato)
 * verbs ending in -ere take -uto for their past participle (e.g.: cadere ("to fall") → caduto)
 * verbs ending in -ire take -ito for their past participle (e.g.: finire ("to end/stop/finish") → finito)

Note that the past participle of avere is avuto and the past participle of essere is stato.

The majority of the -ere verbs, some -ire ones and fare (meaning "to do", "to make") actually form irregular past participles which don't follow any specific rules and have to be memorised (e.g.: vedere ("to see") → visto).

Formation of the Passato Prossimo with Avere
To form the passato prossimo, you have to use avere or essere plus the past participle. Most verbs take avere for the passato prossimo; all reflexive verbs take essere and a few select verbs of motion take essere.

For now, we deal with the verbs that take avere. First, you conjugate avere for the appropriate subject, then place the past participle after it; an example follows:

The literal translation of this is "I have spoken", "you have spoken", "he/she has spoken", etc. However, this tense is the main past tense used in Italian and can be loosely translated as "I spoke", "you spoke", "he/she spoke", etc. Note that almost all verbs are conjugated this way with the passato prossimo.

Formation of the Passato Prossimo with Essere
The passato prossimo is generally conjugated with avere; however there are some situations in which essere is used. Many verbs of motion as well as all the reflexive verbs, require essere.

Some of the most common verbs that take essere are: Note that irregular past participles are in parentheses.
 * arrivare (to arrive)
 * andare (to go)
 * uscire (to go out)
 * entrare (to enter)
 * venire (venuto) (to come)
 * essere (stato) (to be)
 * diventare (to become, to turn into)
 * partire (to leave)
 * stare (stato) (to stay, to be)
 * scendere (sceso) (to go down)
 * salire (salito) (to go up)
 * tornare (to come back/return)
 * nascere (nato) (to be born)
 * morire (morto) (to die)
 * rimanere (rimasto) (to remain)

And before we get to an example, there is just one other difference between essere and avere for the passato prossimo. While in conjugations with avere, the past participle does not agree with the subject, it must in essere.

E.g., when a feminine subject wants to say 'I spoke', she would say 'io ho parlato'. But if she wants to say 'I was', she would use essere and the respective form of the participle: 'io sono stata'. Similar changes occur for plural subjects, such as noi, which can have a past participle ending in -i or -e. An example of a passato prossimo with essere follows:

The Future Indicative (Il futuro indicativo)
The future indicative is the equivalent of 'will + a verb' or 'be going to + a verb' in English. It is not a compound tense in Italian (it is not formed with avere/essere like the passato prossimo).

The verbs avere and essere are irregular in the future indicative. Their conjugations are:

Regular Verbs in the Future Tense / Verbi regolari al futuro
The verbs ending by -are and -ere are conjugated by adding the same set of endings for the future indicative. These endings are -erò, -erai, -erà, -eremo, -erete, and -eranno.

The endings for -ire verbs are similar; the difference is that the first e of the ending is replaced by i. Therefore the endings are: -irò,-irai, -irà, -iremo, -irete, -iranno.

There is a small group of verbs whose infinitive ends with -gare or -care. In the formation of the future indicative, these verbs require an h to keep the consistency with the rules of pronunciation. An example of such case follows:

Italiano/Verbos

title: Italian/Grammar/Verbs