text:
Lojban/Pro-sumti

Pro-sumti are words that describe other sumti without specifically mentioning them- kind of like "he" or "this" in English. Unlike English, Lojban has sumti with only one possible interpretation ("he" does not: There are Bill and Charlie. He hit him. (Who hit whom?)').

Vocabulary
ri                  the last sumti, as determined by back-counting rules ''la suzyn. bajra .i ri klama la xustyn.'' Susan runs. She (Susan) is going to Houston'' ''la suzyn. rinsa la bret. .i ri melnau'' Susan greets Bret. He (Bret) is handsome (literally "beauty-type-man") ra                  a recent sumti before the last one, as determined by back-counting rules Usually is used as "Susan" in: ''la suzyn. rinsa la bret. .i ri melnau ra'' Susan greets Bret. He (Bret) is handsome to her (Susan). However, it is not required to be used in the just previous example (it could refer to a sumti even before Susan) ru           a remote past sumti, before all other in-use backcounting sumti Used as "ra" is to "ri" goi                 assigns the just following pro-sumti to the just previous sumti/tanru assigns a pro-sumti of selma'o KOhA4 (such as: ko'a, ko'e, fo'a, fo'e, etc.) ge'u         terminates [goi] pro-sumti assigning action (almost always elidable) da'o                cancels all pro-sumti assignment da                  someone/something (unspecified but important) 1 there exists something 1 (usually restricted) de                  someone/something (unspecified but important) 2 there exists something 2 (usually restricted) di                  someone/something (unspecified but important) 3 there exists something 3 (usually restricted) do'i                elliptical/unspecified utterance variable do                  you/that to which/whom is receiving the information do'o                you and others/y'all/you guys ko                  imperative you (Run! = ko bajra) ko'a                he/she/it/they #01 (specified by goi), gender neutral ko'e                he/she/it/they #02 (specified by goi), gender neutral ko'i                he/she/it/they #03 (specified by goi), gender neutral ko'o                he/she/it/they #04 (specified by goi), gender neutral ko'u                he/she/it/they #05 (specified by goi), gender neutral fo'a                he/she/it/they #06 (specified by goi), gender neutral fo'e                he/she/it/they #07 (specified by goi), gender neutral fo'i                he/she/it/they #08 (specified by goi), gender neutral fo'o                he/she/it/they #09 (specified by goi), gender neutral fo'u                he/she/it/they #10 (specified by goi), gender neutral le go'i             the x1 of just previous bridi le se go'i          the x2 of just previous bridi le te go'i          the x3 of just previous bridi le ve go'i          the x4 of just previous bridi le xe go'i          the x5 of just previous bridi ma                  question sumti; what is the value of this sumti slot? note: It does not have to literally be a number (ma klama = who/what is going?) mi                  self-identifying pro-sumti; I               may also be used to describe that which the user is representing or for whom, the dictating person/group, one is writing: ("We the People") ma'a                we; I, others, and you (includes you and others) mi'a                we; I and others, but not you (does not include you) mi'o                we; I and you, but no one else (does not include others) ti                  this; immediate demonstrative ta                  that; nearby demonstrative tu                  that over there; distant vo'a                repeats 1st place of main bridi of this sentence vo'e                repeats 2nd place of main bridi of this sentence vo'i                repeats 3rd place of main bridi of this sentence vo'o                repeats 4th place of main bridi of this sentence vo'u                repeats 5th place of main bridi of this sentence zi'o                fills a sumti place, deleting it from selbri place structure changes selbri semantics nonexistant "it" zo'e                an elliptical/unspecified value; has some value which makes bridi true used to say "something unspecified and unimportant" equivalent to "co'e", but for sumti (instead of selbri) zu'i                the typical sumti value for this place in this relationship affects truth value typical "it"

Additional Notes and/or Examples

 * After any occurrence of a cmavo belonging to selma'o KOhA4 (ko'a, fo'a, etc.) "cu" is not necessary, unless if the utternace is complex.
 * The "counting-back rule" used for "ri", "ra", "ru" does not include selma'o KOhA4.
 * "la suzyn. goi ko'a zgani lo nanmu .i ko'a se melbi ri" = Susan sees that which is really a man (the man). He (the man/lo nanmu) is beautiful to Susan.
 * "ra" can be used in place of "ri" (meaning that they both can refer to the immediately preceding predicate argument), unless if "ri" is already in use for the intended anaphora:
 * [lo smuci .i lo forca .i la djen. pu pilno ri .i la rik. pilno ra] = There exist at least of spoon. There exist at least on fork.  Jen used (the-immediately-preceding-sumti = a fork).  Rick uses (somewhat-distant-sumti = a spoon).
 * If "ri" did not occur, but was replaced by "ra" - [lo smuci .i lo forca .i la djen. pu pilno  ra ] - "ra" could refer to "a fork".
 * This rule also applies to "ra" and "ru", respectively, as well.
 * [goi] need not always assign a pro-sumti from the KOhA4 series
 * [lo tricu goi .ytoi (cu) melbi mi .i .ytoi banro] = The tree is good-looking to me. The tree is growing.
 * In the immediately previous example, any occurrence of [.ytoi] refers to [lo tricu] specifically, not any [[tricu], nor anything else.
 * [ko'e goi la samantas. (ge'u) (cu) melbi] = Party2, henceforth known as "Samantha", is beautiful.
 * The immediately previous utterance is equivalent to [la samantas. goi ko'e (ge'u) (cu) melbi] (which is, in English "Samantha, henceforth known as "Party2 is beautiful"), therefore [goi] is symmetric.
 * This sentence does not imply that the name of [ko'e] is "Samantha", nor is [ko'e] normally called "Samantha". It merely states that "Samantha" is a term, almost chosen at random, that will be used to identify [ko'e] for that writing.
 * [ge'u] differs from [da'o]: [ge'u] just terminates the action of assignment; while [da'o] terminates the pro-sumti meaning what it previously meant.
 * [la nevil. goi ko'i ge'u (cu) dunku le du'u rirni jai fenki] = Neville, henceforth known as "[ko'i]", is anguished by the notion of his parent's being crazy
 * Not: Neville, henceforth known as "[ko'i (cu) dunku le du'u rirni jai fenki]"

 * [la nevil. da'o cu virnu] = Neville, no longer dubbed "[ko'i]", is brave
 * The precise definition of [le go'i], and (by extension) any of its relatives, is "that which is described as doing the previous bridi".
 * [le xekri mlatu cu klama le zarci .i le go'i cu cadzu le bisli] = The black cat goes to the store. The cat (that is black and goes to the store) walks on the ice.

Pro-sumti as Rafsi

 * The most prominent way of using pro-sumti as rafsi is to use them is as internal sumti, filling in an appropriate place of the gismu or lujvo to which they are attached
 * as such, they usually stand as the first rafsi in their lujvo.
 * [donta'a] ([do] = you; [tavla] = talk) = [tavla be do]
 * x1=tavla1 talks to you about subject x2=tavla3 in language x3=tavla4
 * since tavla2 (the addressee) is already known to be [do] (you).
 * [donma'o] ([do] = you; [cmavo] = structure word) = [cmavo be zo do]
 * x1=cmavo1 is a second person pronoun in language x2=cmavo4
 * Since both the cmavo2 place (the grammatical class) and the cmavo3 place (the meaning) are obvious from the context [do].
 * cmavo of series KOhA4 ([ko'a], [ko'e], [ko'i]...) terjvo (predicate arguments that make up a lujvo) which can't be expressed in a convenient rafsi form, because they are too long to express, or are formally inconvenient (fu'ivla, cmene, and so forth.)
 * [fo'a goi le kulnrsu,omi .i lo fo'arselsanga] = x6 stands for Finnish-culture. An x6-song
 * Lujvo involving [zi'o] are also possible. In brief, the convention is to use the rafsi for [zi'o] as a prefix immediately followed by the rafsi for the number of the place to be deleted.
 * Consider a beverage (something drunk without considering who, if anyone, drinks it) as a [se pinxe be zi'o] the lujvo corresponding to this is [zilrelselpinxe] (deleting the second place of [se pinxe]). Deleting the x1 place in this fashion would move all remaining places up by one.
 * [zilpavypinxe] = [zilrelselpinxe]
 * [lo zilpavypinxe] = [lo zilrelselpinxe] refers to a beverage, and not to a non-existent drinker.
 * The pro-bridi [co'e'], [du], and [bu'a] also have rafsi, which can be used just as if they were gismu.
 * The resulting lujvo have (except for [du]-based lujvo) highly context-dependent meanings.

title: Lojban/Pro-sumti


text:
User:Ben-cj

HI!!!!

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

title: User:Ben-cj


text:
User talk:65.27.2.19

Your recently created page has been deleted. It was not suitable for Wikibooks which is a collection of online text books.

--ЗAНИA talk 21:02, 3 April 2008 (UTC)

title: User talk:65.27.2.19


text:
AQA Business Studies/Changes in Ownership

A change in ownership can be because of many different factors. When ownership changes (for example from a Private Limited Company to a Public Limited Company) there may be a change in focus. For example, a private company typically has few, if any, institutional investors and a stable shareholder register. This allows the company to focus on very long term goals, to retain profit for future investment, etc. A public company, in contrast, will have a more diverse and changeable shareholder base. This can lead to the company needing to maintain or increase income distributions year-on-year which could be against the best long term interests of the company.

Takeovers and mergers
These are the main ways change in ownership can occur.

Takeovers
This is where one company takes control of another. It can be an agreed takeover which happens when a current owner and an external person agrees a price which the share of the company is sold for. It can also occur in hostile conditions where a potential owner goes about collecting shares, buying off the market when they are made available and trying to get a large enough share to control the company. In the United Kingdom, public company take overs are governed by the Take Over Panel and company law. These set rules around how a stake is accumulated, the timetable for making an offer, etc. They also ensure all shareholders are treated equally.

Many advantages can be taken for the new owner. These include:
 * Brand name retained
 * Reputation retained
 * Customer base retained
 * Staff/expertise retained
 * Patents and designs retained

Even if the failing companies get taken over, the best parts of the companies can be retained, or the market share can still mean a larger market share (e.g., Volkswagen take-over of Skoda - Skoda before the takeover was known as a bad quality car but Volkswagen then put its engines and reliability into Skoda and before long Skoda became a good quality car at a lower price point).

Disadvantages can also be experienced:
 * Not only the good parts of companies are taken over, but also the bad parts
 * The cost of completely taking it over can be huge

Mergers
Two companies may decide to join together to gain synergies. This could be where the companies have complimentary products (allowing a wider range to be offered or to cover a greater geographic area), have significant overlap (allowing duplication and hence cost to be eliminated) or other reasons. This is called a merger. An example is the now HBOS where Halifax and the Bank of Scotland merged and also Lloyds TSB when Lloyds merged with Trustee Savings Bank. Lastly when two gaming companies merged called Activision and Blizzard to form Activision Blizzard.


text:
User talk:71.235.65.210

--ЗAНИA talk 21:56, 3 April 2008 (UTC)

title: User talk:71.235.65.210


text:
User talk:King Crusaders

Hello and Welcome
Hello and Welcome King Crusaders. I just wanted to thank you for your work on Adventist Youth Honors Answer Book/Arts and Crafts/Bread Dough. As you can tell, the Arts and Crafts section of this book could really use a lot of help (it's not my strong point). If you have any questions about the project or about formatting Wiki text, please do not hesitate to drop me a note (either on your talk page, or on mine. I'll see it either way).

Thanks again! --Jomegat (talk) 23:01, 3 April 2008 (UTC)

Adding Images
Hi King Crusader,

There's a pretty nice tutorial on doing this at Editing Wikitext. Without a better description of you problem, I can't offer more specific help. Where are the images you were trying to add? They have to be either at Wikimedia Commons or on the Wikibooks site. --Jomegat (talk) 15:54, 4 April 2008 (UTC)

Template:Species id
Hi KC,

I have added the Species id template to the Marine Invertebrates honor for the Tunicate. Take a look and you can see how that's done. It pretty easy to do, and if you like it, you can add it to the rest of the MI's listed in requirement one. Another thing you might consider is simplifying some of the language imported from Wikipedia. There are a lot of technical terms in there that should either be reworded or chopped out. For example, most people (me included) have no clue what a metanephridial organ or mesenchyme are. --Jomegat (talk) 00:48, 5 April 2008 (UTC)

title: User talk:King Crusaders


text:
User talk:ThomasShepard

Welcome message
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Good luck! --Panic (talk) 23:11, 3 April 2008 (UTC)

title: User talk:ThomasShepard


text:
User talk:Radoslav Danchev

Welcome message
Hello, and welcome to Wikibooks!

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You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Reading Room, IRC channel or ask me personally on my talk page. For site news, see the Bulletin board. It might be a good idea to add that page to your "watchlist" so that you can see when any new information is posted there. You can do that by clicking the tab labeled "watch" at the top of the page.

Good luck! --Panic (talk) 23:11, 3 April 2008 (UTC)

title: User talk:Radoslav Danchev


text:
User talk:Quintuple

Welcome message
Hello, and welcome to Wikibooks!

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You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Reading Room, IRC channel or ask me personally on my talk page. For site news, see the Bulletin board. It might be a good idea to add that page to your "watchlist" so that you can see when any new information is posted there. You can do that by clicking the tab labeled "watch" at the top of the page.

Good luck! --Panic (talk) 23:12, 3 April 2008 (UTC)

title: User talk:Quintuple


text:
User talk:Haughki

Welcome message
Hello, and welcome to Wikibooks!

Here are some tips to help you get started:
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 * Wikibooks is a collection of open-source textbooks. (What is Wikibooks).
 * If you are a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI (requests for importation) to bring the material over in compliance with the GFDL.
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You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Reading Room, IRC channel or ask me personally on my talk page. For site news, see the Bulletin board. It might be a good idea to add that page to your "watchlist" so that you can see when any new information is posted there. You can do that by clicking the tab labeled "watch" at the top of the page.

Good luck! --Panic (talk) 23:12, 3 April 2008 (UTC)

title: User talk:Haughki


text:
User talk:Charlesrkiss~enwikibooks

Welcome message
Hello, and welcome to Wikibooks!

Here are some tips to help you get started:
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Good luck! --Panic (talk) 23:12, 3 April 2008 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

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

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

title: User talk:Charlesrkiss~enwikibooks


text:
User talk:Phil.a~enwikibooks

Welcome message
Hello, and welcome to Wikibooks!

Here are some tips to help you get started:
 * To learn the wiki-markup-language syntax, see Help:Editing.
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 * Remember to conduct any editing experiments in the sandbox.
 * You can tell the community something about yourself in your userpage.
 * You can get to this page by clicking the tab at the top of the page labeled with your registered username.
 * Wikibooks is a collection of open-source textbooks. (What is Wikibooks).
 * If you are a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI (requests for importation) to bring the material over in compliance with the GFDL.
 * If you're an instructor and plan on using Wikibooks for a class project, see Guidelines for class projects
 * Please say hello at the Reading Room with any questions or ideas.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Help us by participating in policy and guideline creation.
 * Please take a look at Naming policy before starting a new book.
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Reading Room, IRC channel or ask me personally on my talk page. For site news, see the Bulletin board. It might be a good idea to add that page to your "watchlist" so that you can see when any new information is posted there. You can do that by clicking the tab labeled "watch" at the top of the page.

Good luck! --Panic (talk) 23:12, 3 April 2008 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:36, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:22, 19 April 2015 (UTC)

title: User talk:Phil.a~enwikibooks


text:
How to Use Rhino Mocks/Debugging Exceptions

ExpectationViolationException
The first time I got an ExpectationViolationException, I was baffled. Here's what it looked like:

Cryptic, and ultimately not very helpful (at least to me). Basically, all you know when seeing this is that something went wrong with an expectation you set up in your test. Here are a few more things to know, and things you can do to try and debug these kinds of problems:

 * Expectations have to do with both the expected calls _and_ the expected parameters. If, in your test, you say something like, Expect.Call(myMock.DoSomething(fooObject)), Rhino.Mocks expects that myMock.DoSomething will be called with _the exact instance_ of fooObject.

 * When Rhino.Mocks compares expected parameters (like fooObject in the previous point), it uses the object's Equals method. This means that even if your expected object has all the same property values, etc., comparison will fail unless you are able to pass the _exact_ expected instance (or unless you override Equals, which is generally a not-so-great idea). In 3.4, Rhino.Mocks introduced the Property.AllPropertiesMatch constraint which does a reflective property comparison for objects, e.g.,
 * I.e., expect a call to myMock.DoSomething, "ignoring" all passed arguments, but constrained by the following: that the first arguments properties match fooObject's properites exactly.

 * You can add a Rhino.Mocks logger to print data to the console. This can give a bit more detail on what's happening where and why. Just add the following line to your test, before the mocking work:
 * When Rhino.Mocks compares two objects during expectation validation, and something goes wrong, the data you get in the exception message comes from the ToString on the objects. So, you can override ToString in the class of the objects which are being compared; override it to give you some info about what might be going wrong with the comparison (like, override it to spit out the various properties on the objects).


text:
Introduction to Physical Science/A.2

=Practice Problems Exam 2= '''Dear Users - please note students are currently working on these problem sets - please do not edit until their signature tag has been removed --J.M.Pearce (talk) 23:25, 3 April 2008 (UTC)

Students - please put in two questions for the review and work out entire example. Put your answers in boxes by putting a space before it. Make sure to include all equations and units. Make sure to tag your question with --~

Thank you.

Waves
Wave Speed = wavelength * frequency 340m/s/2.43m = 139.91Hz
 * A Sound wave from a tuning fork moves at 340 m/s. It has a wave length of 2.43m. What is it's frequency?

 * Name, and describe two types of waves that we discussed in class.

Transverse Wave: motion of the particle is perpendicular to the direction of the wave Longitudinal Wave: motion of the particle move the same direction

 * A wave is traveling with a frequency of 70.0 Hz and has a wavelength of 50 m. What is the speed of this wave?

velocity= wavelength X frequency velocity= 50 m X 70.0 Hz velocity= 3500 m/s

 * As a wave moves, intensity _________ with distance, and ________ as it passes through a material.

Intensity DECREASES with distance, and DECREASES as it passes through a materal.

Any Pattern with an indentifable periodicity in space and time. No matter is transferred but energy is.
 * What is the definition of a wave?

 * A wave has a wavelength of 70m and a frequency of 80Hz. How fast would this particular wave be traveling?

= Wavelength x frequency = 70m x 80HZ = 5600m/s

 * Illustrate diffraction

At a time(t) consider everypoint on a wave front, a new point source.
 * Illustrate Hugen's Principle?

crest and trough
 * What are the names for the highest and lowest points of a wave?

Sound
1. For sound waves, as the _________ of a material increases, _________ increases

Density and Velocity 2. Dolphins can hear noises at the frequency of 250 kHz. If a dolphin hears a sound with this frequency that is moving with a velocity of 1700 m/s what is it's wavelength?

Use the equation v=λf, for this problem it is v/f=λ. First convert 250kHz to 250000Hz. 1700m/s divided by 250000Hz = 6.8x10^3m

3. Sound cannot travel through a vacume because it needs what?

Sound needs a medium to travel through. (solid, liquid, or gas)

4. What is Refraction when dealing with sound waves?

An abrupt change in wave speed at boundary of two mediums.

5. What is the equation for Refraction?

f = v1/wavelength = v2/wavelength2

Electromagnetic Waves
Radio waves, microwave, infrared, visible, ultraviolet, x-ray, and gamma rays.
 * What are the seven type of waves in the electromagnetic spectrum in order of their size (largest to smallest)?

The periodic oscillations in the electric and magnetic components.
 * The wave-like properties of electromagnetic radiation are due to what?

Wavelength=velocity / Frequency 3.8m/s x 15s= 57m/s(squared)
 * 1) If a wave is traveling at a velocity of 3.8m/s and the end of the wave reaches where the fron t of the wave started in 15s.

 * If an AM radio wave has a length of 300 m, what is it's frequency?

Frequency = speed of light (c) / wave length Frequncy= (3 x 10^8 m/s)/ 300 m Frequency= 1 x 10^7 Hz

c is constant. c=3x10^8 m/s legth=c/f=3x10^8/1.5x10^7Hz=20m
 * An electromagnetic wave has a frequency of 1.5x10^7 Hz, what is the lenth of the wave?

Light
A convex mirror curves away from you and a concave mirror curves toward the viewer.
 * What's the difference between a convex mirror and a concave mirror?

 * What can the size of an infrared light wave be compared to physically? (e.g. a bread box, an atom, etc).

a pinhead

Reflection
1. A beam of light is sitting in the floor 45 degree and it is shining to a mirror that was sitting at the floor 90 degree, if the mirror turn 45 degree where the light is pointing to and the light remain the same position, what will be the new reflection angle? (Hint: follow the wording use the diagram only as a guide)

No reflection will occour because the mirror and the light become parallel.

Refraction
Empty

CFL
Answer: 25%
 * A Compact Fluorescent Light bulb (or CFL) uses roughly ____ percentage of the electrical wattage needed for an incandescent light bulb to produce the same amount of light.

Answer: True
 * True or false  CFL's are a more economical choice over the standard incandescent bulbs

Answer: 20 x 32 $640
 * If a house has 20 light fixtures and they switch to CFL's, that save $32 per bulb, how much will the household save?

 * CFL Bulbs that have the equivalent power of a 60 Watt Incandescent bulb have ____ watts.

Answer: 15 watts

 * If you have 10 fixtures to replace with CFL light bulbs and the total costs over 8,000 hrs of illumination at Clarion rate of $0.0615 per kW-hr are$18.30 per fixture. How much will your initial costs be to replace the light bulbs with the energy saving bulbs?

Answer: $18.30*10=$183 as your initial cost for CFL bulbs

Answer: CFL's use mercury vapor and when the mercury vapor is exposed to an electrical current the electrons begin to move quickly, emitting light. An Incandescent light bulb uses a filament which emits mostly heat, which makes it   much less efficient.
 * How do CFL light bulbs differ from incandescent light bulbs?

 * If a CFL light bulb has a pay back time of 5.4 months and you save 1.12 per month and the life time is 3 years, what is your total return on investment?

Answers: 36 months - 5.4 = 31.6 months x $1.12 = $35.40

LEDs
Nothing

Energy

 * What is the formula for electrical energy?

Answer: Energy=Power(Time)

Light, chemical, electrical, lastic, nuclear, sound, thermal, gravitational.
 * Name 5 forms of energy

E=Pt = [w][hrs] 1000w=1kw =3(5)     =15kw*hr
 * How much energy is being used while using 3000 watts for 5 hours?

E=Pt =(500w)(8hrs) = 4,000w-hrs = 4kw-hr E= 4kw-hr
 * If you use one electrical space heater at 500w to heat your living room for 8 hrs. How much energy does it use in kw-hr? 1000w= 1kw-hr

 * What are 3 examples of chemical energy?

Gasoline, fossil fuels, batteries

 * Can energy be lost when it is used in a particular task?

no, energy can only be transfered from on form to another--Natehepler

.12[kw-hrs]
 * A 120 watt curling iron plugged in for 1 hour uses how much electrical energy?

1000
 * How many watts are in a kilowatt?

11. A force of 6 N is moving a box over a distance of 2 meters. How much work is being exerted on the object? w=6x2; w=12J

Temperature
Thermodynamic Equilibrium
 * When dealing with science, equal temperatures are also known as this term?

373-273=100
 * The boiling point of water in degrees Kelvin is 373. Find the boiling point of water in degrees Celsius.

 * If you have a temperature of 63 degrees Celcius, what would that same temperature be in Kelvin?

Formula: T Kelvin = T Celcius + 273 T Kelvin = 63 + 273 T = 336

 * What is Thermal Expansion and what causes it to occur?

Answer: Thermal Expansion is the expansion/contraction of a material due to temperature change. When most materials are heated, the atoms move faster and cause the material to expand; the opposite occurs when it is cooled. Thermal expansion is calculated by using a "coefficient of thermal expansion" specific to that material, since the expansion/contraction of each material varies.

 * A 10-inch long copper rod is heated from 70°F to 180°F. The coefficient of thermal expansion of copper is 9.3×10^-6 in./°F.  What is the length of the rod after it has been heated?

ΔL = α×L×ΔT Where α=coefficient, L=original length, ΔT=change in Temperature ΔL=(9.3×10^-6)(10 inches)(180-70°F) ΔL=(9.3×10^-6)(1100 in./°F) ΔL=(0.01 inches) 10 inches + 0.01 inches = 10.01 inches

Heat Transfer
ways?
 * How many ways can heat be transfered and what are the specific

-3 -Conduction -Convection -Radiation

is 90cm x 60 cm. The glass in the window is .35 cm thick. The temp outside is 5 c and inside it's 20 c. What is the rate of heat loss through your window? Remember K= .63 w/mk
 * Lets say you have a wall with a window in the middle. The window

Icd=Q/t=KAΔT/d

.63w/mk(90x10 raised to the negative 2)(60x10 raised to the -2)(20-5) divided by .35x 10 raised to the negative 2 m

the answer is 1458 w

 * 1) Jimmy is replacing the 17ft x 14ft window in his kitchen. The glass he purchased is 0.34cm thick. The current temperature in Jimmy's house is 23 degrees Celsius and the temperature outside is 7 degrees Celsius. K is 0.63w/mK. What is the thermal gradiant?

Solution: ΔT/d Change in temp= 23-7 =16.0 D = 0.34 ΔT/d = 16/0.34 = 47.06

It is the thermal gradient.
 * What is ΔT/d?

T=21.1-10=11.1 D=0.42     ΔT/d.... 11.1/.42= 26.4
 * The Jones are getting new window for in their living room. They are 50cm x 45 cm. The glass is 0.42 cm. The outside temperature is 10°C, the inside is 21.1°C. K is 0.63w/mK. What is the thermal gradient?

 * Name the 3 types of heat transfer.

Conduction, Convection, and Radiation

the glass is .32cm outside temp. is -15°C inside temp. is 22°C and K is 0.63w/mK. Using this information what is the Thermal gradient?
 * We are getting new windows in the classroom.From the example we had in class 20cm x 15cm,

ΔT/d 22-(-15)= 37 d=.32 37/.32= 115.62

A. Having multiple panes B. Use an inert gas--vacuum C. Low conductivity spacers, either plastic or wood D. Having a single pane E. Low e coating
 * All of the following are ways to improve windows except:

D is the correct answer. Icd=KA(change in temp)/d Plug in the numbers and the answer is 368 W. Conduction-a collision of molecules Convection- energy transfer by movement of material (forced air) Radiation-energy transfer with electromagnetic waves
 * What is the rate of heat loss thru a 30 cm by 25 cm single pane window, with a thickness of 0.45 cm thick, when it is -10 degrees C outside and 25 degree C inside. If given K=0.63 W/mK, what is the rate of loss?
 * Describe the 3 different types of heat transfer.

Icv=(h)(A)(change in temperature) Icv=(32)(1.2m2)(6 degrees celcius) Icv=230.4 W
 * A baseball player has a surface area of 1.2m2 with a skin temperature of 34 degrees celcius. He is standing in center field. The air temperature is 28 degrees celcius and the wind velocity is 4m/s. The coefficient of convection is 32. Icv=?

the windspeed is 3m/s, and the sailors skin temp is 30°c. What is the Icv? ( h=26)                                                            -
 * A shipwrecked sailor is lying on a beach. The sailors skin area is 1.8m², the air temp is 25°c,

use the formula Icv = hAΔT = 26(1.8m²)(30 - 25) = 234w

-Use the formula Icv=(h)(a)(change in temperature) Plug in the numbers in the correct places. Icv= (37)(1.6 m2) (45-35) iCV= (37)(1.6 m2) (10) Icv=592 w
 * A hockey player has a surface area of 1.6 m2 with a skin temperature of 35 degrees celcius while he is warming up for a big game. The temperature in the arena is 45 degrees celcius and there is a slight breeze from the top being open and it is 2 m/s.  What is the  Icv? (h=37)

Radiation
 * 1) Which form of heat transfer involves electromagnetic waves?

Hot to cold
 * Temperature moves from a___________object to a____________object until the temperatures of both objects are equal.

Thermodynamics

 * 1) What is the second law of Thermodynamics?

No refrigerator or heat pump can have an inefficiency of zero.

 * 1) What is the third law of Thermodynamics?

It is impossible to cool a system to absolute 0.

Heat Engines

 * A heat engine is rated as 85% efficient. If the heat input is 500W what is the work output to make the efficiency true?

E=work output/Q input .85=output/500W .85x500=425W output=425W

Refrigerators

 * The fridge in your kitchen has a heat output of 60 and work input of 250. What is the inefficiency of the refrigerator?

Answer: The answer is 4.2 The inefficienct of the fridge is ein = work input / heat output = 250 / 60                                                                =  4.2
 * The 2nd Law of Thermodynamics states what about refrigerators or heat pumps?

Answer: The 2nd Law of Thermodynamics states that No refrigerator or heat pump can have an efficiency of 0 (zero).

 * The 3rd law of thermodynamics states that it is impossible to cool a system to ________.

Absolute zero (or, 0 degrees Kelvin)

Heat pumps
inefficiency
 * 1) . The 2nd law of thermodynamics is no refrigerator or heat pump can have a(n) underline text of zero.

ein= work input/heat output work input= 100 x 6.5 work input= 650
 * 1) . You have an air conditioner which has a heat output of 100 and an inefficiency of 6.5. What is the work input?

Microturbines
What is a Microturbine?

A Small Electric generation systems based on turbine technology.

If you put 100 units in how many units will it produce out? 150 units?

85 units, it is 85% efficient 150 x .85= 85% ... 150 x .85= 127.5 units

 * What does the 1st law of thermodynamics deal with?

Energy conservation

 * What is 2 of the 5 ways one can improve windows?

Multiple layers of glass, no frames of metal, insulate frames, fill glass with inert     gas,Low emissivity coating

title: Introduction to Physical Science/A.2


text:
Introduction to Physical Science/A.0

=Basic Formula=

Volume
Cube=E^3

Rectangular Prisim=L*W*H

Sphere=4/3π*R^3

Triangular Prisim=(1/2B)H

Cylinder=(πR^2)H

Cone=1/3(πR^2)H

Pyramid=B*H*1/3 (where "B" equals the area of the base)

Other Useful Mathematics
In trigonometry the acronym SOH CAH TOA represents: sin=opposite/hypotenuse cos=adjacent/hypotenuse tan=opposite/adjacent

Properties
Concentration=M/100cm^3 (Mass of the Solute per 100 cm3 of solution)

Density=D=M/V

title: Introduction to Physical Science/A.0


text:
How to Use Rhino Mocks/Mocks, Dynamic Mocks, Partial Mocks

The difference between these three types of Rhino Mocks mocking solutions has always been a little confusing to me. So, here's my best shot at some concise definitions:

 * A normal mock object will throw an exception when a method, which has no explicit expectation defined, is called on the mock instance.
 * A dynamic mock, instead of throwing an exception, will return null or 0 for any unexpected method calls.
 * A partial mock, like a dynamic mock, will not throw an exception if a method is called when there is no expectation defined for the method; but, instead of returning 0 or null, a partial mock will call the actual implementation method (i.e., not the mock) on the object and return that value. This lets you selectively mock specific methods on an object.


text: User talk:74.77.229.200

title: User talk:74.77.229.200


text:
Cookbook:Cuisine of Chuuk

| Pacific cuisines

This is a cookbook for the islands of Chuuk State in the Federated States of Micronesia.

Traditional Fish Cooking
Fish are prepared in many traditional ways: boiled in water, cooked in coconut creme, fried, or grilled. Large fish are usually cut into smaller pieces. Smaller fish can be cooked whole.

title: Cookbook:Cuisine of Chuuk


text:
Blender 3D: Noob to Pro/Animation Notes and FAQ

IMPORTANT
This page is under heavy construction. It will probably not be edited better until early May 2012. If someone sends me information on how to convert a OpenOffice odt file to a wikidoc format, then it may be done sooner. Until then this will be quite a work in progress.

Authors & Contributors
See here.

Introduction
I found it quite cumbersome to find all of the little quirks, problems, and tricks in multiple sources whenever I would forget something. Therefore, I compiled all of the things I found important—primarily with character animation. Almost all the information here is consolidated from many sources. Some sources still need to be cited and any help on this would be much appreciated. For that reason I did not intend to make this public but I think there is enough need for this type of information so here it is.

Just as a special aside, I made these notes to help myself with my animation project. Although I have organized them and posted them online for my and others benefit, I will not be dedicating any large amount of time to this website. All of my extra time needs to be allocated to the animation project. However, I do not mind suggestions and am willing to possible use them. I want to make sure that the viewer understands my time is very limited.

There may be many typos or confusing areas of organization. I tried to organize the mess of notes as best as possible but I am sure there is an even better way. Feel free to fix any aspect of this.

Any suggestions or comments feel free to e-mail me at wiki [at] pagodaproductions.com.

Todo List
See here.

Armatures
Q: I managed to create an acceptable walk cycle finally, now when I reopend the file to add additional animation, It keeps falling back to walk cycle, is their something i am doing wrong. Even after adding the LocRotScale key frame, it still ignores them, and goes back the corisponding frame for the walk. Ugggghhhh!!!

Q: What is the best approach for rigging a character in Blender?

Q: How do I attach a separate object to a bone?

Q: When you try to scale the root bone of the armature(which scales the mesh), the bones move out of the natural placement causing unwanted positioning and distortion. Is there any way around this?

Q: What is a pole vector?

Q: How do I know that my armature is correctly positioned in global space in edit, object, and pose mode with proper bone rolls and axis pointing in proper directions? What are the best methods for building? And what axis is up Y or Z?

Hotkeys
Ctrl-C/Ctrl-V Trick One simple way to get the right name is to select the Lattice, go to F9, Link and Materials panel and where it says Ob:Lattice or Ob:Lattice.001 etc., move the mouse over this field and press Ctrl-C (don't click on it, just hover over it). This copies the Lattice name. Then select your object, go to the Lattice Modifier panel, hover the mouse over the Ob: field and press Ctrl-V to paste the name in. Now it should stay there and your Lattice should work in Edit Mode.

H hides bones

Alt+H shows all bones

Shift+H hides everything except the chain

Ctrl+I [Pose Mode] will automatically add an IK contraint

M [Pose Mode] to move a bone to a bone-layer, select it in POSE mode then press "m" and click on the desired layer button. When the bone is selected, you can see which bone layer it is on in the Editing buttons / Selected Bones panel. Whichever of the 16 layer buttons is enabled is the layer the bone will be on.

Shift+M [Pose Mode] You can use the hotkey SH-M to display a floating bone-layer panel in the 3d viewport. Select the armature, change to POSE mode, then change to the Buttons/Editing panel (F9). Under the Armature-Panel, Display Options SH-LMB the 8th button under the Display Options Bone-Layer buttons to enable it. Check out this by BlenderArtists.com.

Alt-N normalize the bone orientation This can fix problems sometimes.

Alt+P clears parent

Alt+S [Pose Mode] in edit mode allows b-bones shape to scale visual changes without affecting the bones.

W [Edit Mode] subdivides bones

W [Pose Mode] will calculate paths to see how a bones movement is mapped out along a path or If you've named your bones correctly ( with .L and .R at the end of the name ), you can flip the mirrored bone name by pressing "W" and "flip name". A relevant post on BlenderArtsists.com is available here.

Approaches, Techniques, Tips and Tricks
Constraining IK or FK In the Armature Bones Panel is where you can limit the movement of the bone for IK and Limit Rotation Constraint for FK

Customizing Frame Skipping Steps(F10 playback) allows for a customizable way of skipping frame in increments.

Copying Constraints in pose mode 1. Select all bone(s) you wish to copy the constraints to, from a particular bone 2. Now, select the bone you wish to copy constraints from 3. Ctrl C --> Constraints (All)

You can do CTRL-CKEY to copy stuff from a bone to bones. The options are location, rotation, scale and constraint. Constraint is very handy when you wan to copy a constraint to other bone. The way it works is easy. The WKEY menu get some neat options too: Select constraint target: Will select the target of the bone's constraint currently selected. Flip name: Yep, you can flip name in Posemode too. Calculate/Clear path: This is a visual way to see the action linked to your armature. You can select just some bones and ask Blender to show you the paths of the bones.

It's possible to copy constraints from one object/bone to a bunch of objects/bones. A useful thing to know when doing a repetitive task like rigging all the fingers of a hand. Just select all bones/objects that you want to give a copy of the constraint, and then select the bone/object containing the constraints. Press CTRL-CKEY in 3DView, and select Object Constraints from the popup menu. The idea behind this is to copy the constraints of the active object to the selection.

Rigging Q: What is the best approach for rigging a character in Blender?

A: Apollux Honestly, I don't think that there is a golden set-up that will solve all your problems. For example, when I design a character rig I need to know beforehand what type of actions he will perform.

If you want general pointers, I guess this would do: Allways set your rigs in a half relaxed fashion.. totally relax your hand for a few minutes and see the position of the palm and fingers, that is position you should model and rig-them on the 3D world. Same goes for mouth, legs, arms, etc. etc. etc.

When in doubt over IK or FK always choose IK, since it is quite easy to switch a IK rig into FK when needed and then back to IK.

Bone's axis orientation can't be an afterthought!! It is no coincidence that every self-respecting rigging tutorial for blender mention it... And don't trust blindly on the automatic axis orientation fix command (Ctrl-N), since it can introduce some odd solutions on complex armatures. Always check each bone by hand, even if Blender says they are fixed.

Ultimate rig design is not the in-and-all of character animation. Sometimes I would spent crazy amounts of time preparing a rig for a special squence, and in the end realize that if I had used a simple FK rig tricked by hand during animation I would get the same results in half of the time and half the frustration. Not because it can be done means that it must be done. BlenderArtists post here.

Item Pickup A good use of it is to ask a character to pick up something. By having a bone or empty for each side of the relationship (hand <-> glass), as the hand approaches the glass, you can align the two empties and fire the constraint up (1.00) to stick them together. You add another child-bone in the middle of the hand to tell where the glass will be. Thus moving the hand will move the glass. On the side of the glass just add an empty and make it parent of the glass. Add a copy location to the empty pointing to the bone in the hand we just did. There you go. Of course when the hand rotates the glass will not. For that you will need to add a Copy Rotation Constraint. Before Blender 2.40, the above method was a good way of faking parent relationship without rotation. But now we have the hinge option which does the same.

Problems and Questions
Separate Object/Bone Attachment Q: How do I attach a separate object to a bone?

A: To do that simply Ctrl-Tab into Pose Mode with the armature selected then select the object/mesh you want to parent to a bone then shift-select the bone you want to be the parent and Ctrl-P>"MakeParent to">Bone.

Armature Scaling Problems Q: I have been trying to scale my character which has many similarities to the mancandy and ludwig rigs. However, when you try to scale the root bone of the armature(which scales the mesh), the bones move out of the natural placement causing unwanted positioning and distortion. Both the mancandy and ludwig rigs have this same problem. Is there any way around this?

A: Why are you trying to scale the root bone (to scale the whole model)? Are you doing this in pose mode or object mode? If you are trying to scale the whole model try it in Object Mode. Also check if you are scaling around the cursor instead of median point

Q: What is a pole vector?

A: Vertex Pusher 2) Pole vector is actually a term used in Maya. It refers to the direction a bone is set to point towards in Maya rigging. For example, the direction you want the knees to point towards can be set using pole vectors. Apparently, Blender should be getting this feature soon . Right now you have to add target bones so that the knees will only bend one way (see Ryan Dale's BSoD tutorial), but with the option to use pole vectors you won't need to do this in the future.

BlenderArtists post about bones.

Bone Orientation Q: How do I know that my armature is correctly positioned in global space in edit, object, and pose mode with proper bone rolls and axis pointing in proper directions? What are the best methods for building? And what axis is up Y or Z?

A: 1. Build up all the bones, as you did before. (Every foot, arm, etc. should be a bit bent, and drawn from the proper view.)

2. Select all these armatures, and with Ctrl-J join them into one armature. (Or with parent/child connection, as is necessary.)

3. Select this armature, go to "Editing" (F9), and then turn on "draw axes". Then you can see the axes of the bones. You will see, that the axes are different. Some bones has the Z-axis up, some has the Z-axis to the left, etc.

4. First you should tell Blender that this is the original position of your skeleton/model by pushing Ctrl-A. This is applying rotation. This means, that now all the rotations of the bones will be "0, 0, 0", so if you push later Alt-R (clear rotation), you will get this position. (Turn on numerical menu with N, to see what happens when you make this apply rotation command.)

5. Select the whole skeleton/model again. Go to edit mode. Then push A, to select all the bones. (They should be yellow now.) Then hit Ctrl-N, and you will see all the axises will be changed to stay on the same way.

6. That is, your skeleton now is ready to define the IK solvers, and then the skinning, and finally the animation.

http://blenderartists.org/forum/showthread.php?t=25653

A: Vertex Pusher 4) Yes you should always add in top view[numpad 7]. An armature bone always has its axes set (Y is always up X side to side and Z depth) and you cannot change this like you can with mesh objects, so it seemingly won't matter which view you add a bone while in Edit Mode but in Object Mode your armature object will have a 90 degree rotation around the X axis (if you add it in front view) which can and usually does create problems down the road . If for some reason you want to add bones in front view simply start by adding the first armature bone in top view ad then switch to front view to add additional bones . You can just delete the first bone or rotate it while in Edit Mode.

Blender's default views have the Z as the "up" axis while the armature system is coded with the Y as the "up" (like most 3D apps)

When you rotate a bone in the front view, when the bone is aligned to that view and the Z is the up axis, you will give a roll value the bone because it is rotating perpendicular to its coded up axis ... this can cause you problems in some situations when you want a "neutral" roll value in Pose Mode... in most cases you'll want to recalculate the roll value with Ctrl-N (which will remove the visible rotation and insert a value in the "Roll:" field in the Transform Properties subwindow) and give it a non zero roll value in Edit Mode so that in Pose Mode it is properly aligned and rotated for poses and constraints ...

You won't get that behavior if you rotate in either the top or side views if the bone is aligned to the view ...

It's just that if you have the Y axis (the axis the bone rolls on) perpendicular to the Global Y axis then you will have to recalculate the bone roll angles to get it aligned properly for pose space.

By "bone is aligned to the view" I mean what it is like when you first add a bone in a preset view, i.e. head at bottom and tip up at top in Edit Mode with no rotation applied.

http://blenderartists.org/forum/showthread.php?t=110721

A: Fligh If you look at your left hand, palm down, from above, and assume for this exercise that all four fingers have their X-Axis pointing towards the thumb and have a Roll Angle of zero (same as if you created an Armature in Top View), but the thumb would need a Roll Angle of about 90. So if you rotate the first digit of the fingers around their Local X (R-XX) they would go down perpendicular to the back of the hand, but if you rotate the thumb (Roll Angle 90 and again around the Local X) it would go Left, towards the fingers.

Ahh.... but who bothers to pose bones like that? You just grab the IK Target and move it!. Well the Transform Matrix is divided into four chunks (I think? I'm not sure of this but it helps to think of it [or look at it] this way and if you actually test it in Blender it works), Bone Space (the structure of the bone including Roll Angle), Armature Space (the structure of the Armature = the sum of all BoneSpace), Pose Space (transforms relative to Rest Position = recorded changes in BoneSpace within ArmatureSpace) and World Space (the sum of all the above relative to the (transforms of) the Armature Object.

http://blenderartists.org/forum/showthread.php?t=102209

A: Fligh Anyhow, In Blender, In Top View (always add armatures in Top view) the Z-Axis is Facing you and Y is Up. So when you add the first Bone it lies along the Y-Axis. You cannot change that parallel-to-Y and any future Bones you extrude will use that bones axis as reference. If you add an Armature in Front view the bone's (local) Z-axis will point to the Global -Y (Y-Negative) and can lead to problems later on.

http://blenderartists.org/forum/showthread.php?t=102609&highlight=bone+orientation

A: Vertex Pusher Well I guess I may have a little something to contribute to this ... but I have been trying to learn the armature system in depth for the past few months and this particular issue came up with a complicated rig I was working with ... and I basically "discovered" that you really shouldn't have any other axis other than the Y as the "up" axis. And precisely because the bone roll angle issue.

It seems that despite how the view ports are configured (with the Z as the "up" axis) the default "up" axis is the Y ... for everything ... This is a bit annoying but if you have, like me, configured Blender to start with the front view open and have the Transform Properties window always open, you will see that everything when created in the front view is actually rotated 90 degrees along the X axis once you tab into Object Mode and that you need to Ctrl-A all objects so created (I guess Blender "out of the box" has the top view open ? ... it's been a while so I can't remember ...). This isn't all that important for most things but for the armature system this does create a problem - bone roll values that you don't want.

Just as a simple test : Open up Blender and add an armature in the front view. Grab the tip and move it to a corner of the grid so that it is angled 45 degrees. Tab into Object mode. Open up the Transform Properties window. You will notice that your armature is rotated 90 degrees along the X axis. So ... Ctrl-A the armature to have it's "up" axis as Z ... And suddenly you will see the bone rotate along its roll axis. Tab back into Edit Mode, select the entire bone and Ctrl-N to recalculate the bone roll angles ... the bone will rotate back to the way it was ... but with a change in its roll value (-45 or 45 depending on which way it is angled) ... Now repeat the above but this time create the armature in top view ... And you will realize that despite being angle at 45 degrees to the view like above no roll value ... not even after recalculating the bone roll angles (Ctrl-N) ...

Now I am assuming that this occurs because the Y axis is the one used to calculate the bone's roll ... and that if you have anything other than the Y as the "up" axis the roll values get screwed up because now the roll axis (Y) is tangent to the up axis instead of being the up axis. Just turn on "Draw Axes" and look at what the "up" axis is for an individual bone is ... the Y.

And just another bit of proof ... The really great new "limit" constraints (loc,rot and scale) added in the last release ... Try and apply the limit rotation constraint to the first armature (the one with Z up and rotation applied). Now turn LimitX on with no min or max values and do not turn on the "local" co-ordinate space ... it will fall flat along the Y axis as if created in the top view ... This is occurring because despite the fact that you have applied the 90 degree rotation along the X axis to the object, the constraint is enforcing the global up axis ... which is ... the Y.

Now the only work around that I could come up with was to create an empty and parent a Y up armature to it then rotate the empty 90 degrees to be able to use the Z up view ports and also making sure the mesh also had the proper orientation as the armature. This prevents me from accidentally applying the rotation to the armature and I can use the numbpad hotkeys to navigate the views ... ... Else you could just clear the roll values manually if you insist on having the Z as the up axis ... though you won't be able to get rid of the rotation that is caused by being tangent to the Y axis without odd roll values ...

Sorry for the long winded response, but this has been bugging me for a while ... Hopefully with the refactoring for v2.5 later this year there will be an option as to which axis will be the "up" axis with regards to the various views ..

http://blenderartists.org/forum/showthread.php?t=93578

General Armature Information
Armature Object is like any other object type: It has a center, a position, a rotation and a scale factor. It can be edited. It can be linked to other scenes, and the same armature data can be reused on multiple objects. All animation you do in object mode is only working on the object, not the armature's contents like bones. Link and Materials panel: The AR: field let you rename your armature Datablock. The dropdown is a quick way to select which Armature datablock you want to connect to this armature. You can keep more than one version for the same character. Useful when you have a special move to achieve in a shot, you can turn on an armature for a special purpose. The F button is an option to assign a Fake user to the Armature. Again if you have more than one armature for your character, it's a good idea to turn the Fake on, because if your armature datablock is not used (linked) it's not going to be saved in your .blend files. You can always do batch Fake-assignment of armatures by opening the Datablock browser (SHIFT-F4KEY), go in Armature datablock, select all the armatures you want to keep, and Press the FKEY. The OB: field is just to Rename your armature Object to something more cool and useful than Armature... Armature.001...

Delay Deform: This was useful before as the old system was very slow. What it does is when you do a manipulation to the rig, it waits until you finish to update the view. Can still be useful though.

Weight: This specifies how strongly this bone will influence the geometry around it, relative to the other bones. If two bones crossing each other, both with envelope influence, have the same weight (like 1:1) they will influence the surrounding geometry equally. But if you set one to 0.5, the geometry will be affected more significantly by the other one, with weight 1. For example, in this image, 2 bones using envelope influence try to move the same geometry. The 2 on the left have the same weight, you can see the geometry didn't move. On the right, one of the bones has 0.5 so the bone with weight 1 is winning the tug-of-war!: Deform: This lets you say if you want the bone to deform the geometry at all. Switching it off is like setting the weight to 0, except it's faster this way. Useful when using a bone as a target or a controller, i.e. a bone you just want to use to control other bones, but not the geometry itself. Mult: to deform geometry you can use vertex group and/or Envelope. The ability to mix both of these methods is handy for using one to tweak the other. For example, you might use envelope everywhere but tweak difficult places manually with vertex group. We'll discuss this in more detail later on. There are two number fields to better tweak the effect of B-Bones. The in/out is used to tell the scale of the virtual handle of the bezier curve. In is the Root of the bone, and Out is the Tip. The bigger the value, the bigger the effect of rotation. You can do ALT-SKEY on one or more bones while in Envelope display mode to tweak the envelope size in real time while animating. Useful when for example you move the hand and some part of the character isn't in the influence zone; the result will be that some vertices will stay behind.

Tip: Bake envelope to vertex groups The workflow is very simple. When you are done with the envelope's tweaking and you have gotten the best out of it, delete the Armature modifier and parent the mesh to the armature(CTRL-PKEY). Parent it to "armature" when asked and "Create From Closest Bones". Do ALT-PKEY and redo the Armature modifier. Now all the envelope influence are converted to Vertex Groups. This way you can further tweak influence zone using Weight paint. More info in the following pages. You can edit this white zone in Editmode or posemode by going in Envelope display mode, selecting bones and using SKEY or ALT-SKEY The Mult option will tell Blender to multiply the weight it get from envelope (let say 0.7) with the weight you painted in weight paint (let say 0.5). The result will be 0.5*0.7=0.35 so in fact you just tweaked the envelope influence to 0.3 when it was at 0.7. If you don't want vertices to be part of the zone, you can always paint it with 0, as 0*(something) will always give 0. This way you can give custom shape to your envelope. More on weight paint on next page.

Deform with only things weight painted Deform + Multiply with only things that are weight painted within the envelope radius

Process: Make bones. Make good envelope transformations(including some overlap). Alt+P to make virtual parent(from nearest bones)this will already weight paint parts based on envelope influence

"All faces" tells Blender if you want to paint on all faces in the mesh or just the visible one. "Vertex Dist" tell blender to use vertex distance instead of faces. When active, the painting will only check if the vertex is in the brush, then apply a weight value. If it's off, all vertice part of the faces in the brush will receive weight value. Turning on Vertex Dist can give good results when you have a lot of polys in your mesh. Constraints are calculated from first to last. So if you have two Constraints working on the same channel, let say Location, The last one will most probably win the chance to move the object. But... Most of the constraints have influence slider to tell how much it influence on the stack. If the last constraint have an influence of 0.5 it will mix the result with the one before. Most of the time this little constraint is useful to stick objects to one another. By playing with the Influence you can tell when it will work, when it will remain motionless.

Building Armatures
Ludwig's Stretchy Spine In the spine Ludwig model keep in mind the following things. The SpineStretch.null is necessary. It must be set to Hinge and Deform to keep the bones from scaling. IKSpine must have Deform turned off(none selected). Spine 4 or the last bone child in the chain(closest to the neck) must have Deform turned off(none selected). Scaling problem is usually tied(maybe always) tied to an improper child/parent relationship to a bone that is involved with stretching.

Created a mirrored copy without using X-Axis Mirror select the bones that you want to mirror, put the 3D cursor at the center : And make shift + d, and directly , S , X , -1 ...

Other Information You can extrude a new bone from the selection using EKEY. This will create a bone connected to the original one, meaning the Root of the new bone will follow the Tip of the original one. You can also CTRL-LMB to extrude a new bone. It will extrude to where you clicked.

Alternatively, you can connect two existing bones by selecting them one after the other and pressing CTRL-PKEY. You can then choose either 'Connected' (the child bone - the one you selected second - will automatically be moved so that it touches the parent) or 'Keep offset'. aa Using the WKEY menu, You can subdivide your bone or flip the name of the bone between Left-Right (See Naming convention below). You can delete the bone with XKEY You can select a chain of bones (connected together) using LKEY, when you hover your mouse over a bone. In many cases, rigs are symmetrical and can be mirrored in half. In these cases, it is helpful to use a left-right naming convention. This is not only useful for your own sake, but it gives Blender a hint that there is a pair of equivalent bones, and enables the use of some very cool tools that will save you some significant work. It's helpful to name your bones with something useful telling you what it's there for, such as leg, arm, finger, back, foot, etc. If you get a bone that has a copy on the other side, however, like the arm (you have 2 arms right?), then the convention is to call them arm.Left and arm.Right. Other alternatives are also possible, like _L, _LEFT, _left, .L, and .Left. Anyway, when you rig try to keep this left-right thing as accurate as possible; it will pay off later on. You can copy a bone named blah.L and flip it over using WKEY --> flip name. So the bone will be blah.L.001 after you copy it, and flipping the name will give you blah.R. Blender handily detects if the .001 version already exists, and increments the number for you.

Useful Rigs
Bassam's(slikdigit) Mancandy 1.0 http://freefactory.org/posts/candy-for-everyone

Bassam's(slikdigit) Mancandy 2.0 One of the most complex rig I have available for Blender. It has lattice based stretching. http://freefactory.org/posts/candy-for-everyone

Calvin's 05, 2017 This is an alternate foot roll method to Ludwig's rig.

Calvin's handy02

Clean3D's Mouserig http://blenderartists.org/forum/showthread.php?t=79305

Cognis's AnimTest Interesting use of empty's as a bone.

Daniel Martinez Lara's 3-plender leg This is a complex leg rig. It has many IPO driven bones. http://www.daniel3d.com/pepeland/misc/3dstuff/blender/rig/3-plender_leg_v0-1.zip

Jason Pierce's(sketchy) Ludwig http://jasonpierce.animadillo.com/resource/ludwig/ludwig.html

Kugyelka's Walkcycle

Martin Georgiev's(Animarto) Walk_anim

Master Yoda

Michael Thoenes's Suzanne Rigged http://creationanimation.com/sites/thoenes/animation/3dtutorials.htm

Nathaniel Shaw's Generi

Noodlesgc's (Mike Roberts) W1r3z http://www.esnips.com/doc/276d8bd1-0070-4ee4-bd8c-e787b507d6a9/W1r3z.blend

Nozzy's Driven hand http://blenderartists.org/forum/showthread.php?t=18754

Nozzy's Skinny Guy http://blenderartists.org/forum/showthread?t=30994

Otothecleaner's Flor

Virgilio's Otto 1.6 Interesting constraint to keep the feet on the floor. http://uploader.polorix.net//files/99/otto_v1.6.zip

Rbackman's Bounce9

Rbackman's Zeyne

Simple's Character

Tugkan's Sharlo

Woodman5k's Bunny http://web.pdx.edu/~wlf/Bunny.rar

Yagapayanata's Rig

Yagapayanata's Rig(2, 4, 6 legs)


text:
Talk:Japanese/Lessons/Lesson 3

Untitled
I am considering putting the questions in Japanese script. Any objections? WongFei 18:16 03 April 2008

I was also wondering what everyone thought of: 電話番号は教えて下さい. and お幾つですか？　WongFei 18:16 03 April 2008

"携帯電話番号" is too formal. "携帯の番号" is better.

title: Talk:Japanese/Lessons/Lesson 3


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User talk:72.197.221.27

Welcome!
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title: User talk:72.197.221.27


text: Wikibooks:Requests for deletion/History of Prisons


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User talk:12.107.188.130

Join Us!
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title: User talk:12.107.188.130


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User talk:62.87.96.65

Join Us!
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Talk:Rosacea/Insurance

need a complete project on car insurance

title: Talk:Rosacea/Insurance


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User:Reynaldo

Reynaldo

title: User:Reynaldo


text: Category:Chuuk recipes

title: Category:Chuuk recipes


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User talk:Chuukhighfilm

Welcome message
G'day, welcome to Wikibooks. As you are contributing to our Cookbook, you might be interested to read our Cookbook:Policy and chat with other Cookbook contributors. Here's our standard welcome message:

Welcome, Chuukhighfilm!

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Webaware talk 07:09, 4 April 2008 (UTC)

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User talk:67.188.7.56

Join Us!
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User talk:Yliang

Welcome, Yliang!

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Webaware talk 07:56, 4 April 2008 (UTC)

Image copyright

 * Note that there are several suitably licensed images of this horse available on Commons. You can use them exactly as you would use an image in Wikibooks. Webaware talk 07:56, 4 April 2008 (UTC)

 * G'day, per our media policy, you can use restricted-use copyright material under fair use provisions if there is no free alternative. As there are several free alternatives on Commons, this image does not qualify for fair use on Wikibooks; please select one of those images instead, or find another free image of your preference. Incidentally, the website you reference does not own the copyright for this image – the page you reference quite plainly states "Image courtesy of Corel Corporation". Webaware talk 07:52, 5 April 2008 (UTC)

Image:Hans Christian Andersons Little Mermaid - Copenhagen.jpg is missing license or source information
G'day Yliang, do you need some help with this image? Where did you want to use it? There are some images of the Little Mermaid available on Commons here, as well as some of his other works and of Hans Christian Andersen himself (NB: sen not son). Webaware talk 05:11, 9 April 2008 (UTC)

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text: User talk:124.181.47.148

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text: User talk:80.229.32.71

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User:SideMontero~enwikibooks

Hi, I'm Said Abdallah Said Salim(born May 22, 1989, Dubai, U.A.E). For now I am in Dar es Salaam, Tanzania. I am good enough in English as much as Kiswahili. I am here to support and to be supported.

Thank You!.

title: User:SideMontero~enwikibooks


text:
Talk:ERP Internals/Data Tables/Opportunity

Editing talk
Hi,

I'd like to thank the contributors for sharing their ideas and making each discussion precise and accurate...

Kudos!

--Jenzwhiz (talk) 11:10, 4 April 2008 (UTC) A team of successful entrepreneurs credited for www.SelectWealthSystem.com A new home-based-business marketing system that provides the strategic high ground for internet marketing. Pro Team Marketing uses an automated marketing system that is currently promoting a cutting-edge young company, entering the early growth stage, that targets the largest consumer base in the United States with their financial educational products. http://www.SelectWealthSystem.com


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User talk:WongFei

Welcome to Wikibooks, WongFei! Νεοπτόλεμος ( talk | email | contribs ) 11:27, 4 April 2008 (UTC)

Japanese Wikibook discussion
Hi WongFei,

I just added a comment on Talk:Japanese which I wanted to draw your attention to as you've been involved in this book. --Swift (talk) 14:39, 10 June 2008 (UTC)

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text:
User talk:Chrisb97

Welcome to Wikibooks, Chrisb97!

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User:Chrisb97

Hello my name is Chrisb97 and I live in the U.K. The books I am working on are The Elements and The Human Body.

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text: User talk:189.26.224.162

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text: User talk:82.198.140.206

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Easy Ido/Lesson eight

Suffixes part two

 * Use -e- to describe tint or colour. rozea (rose-coloured), oranjea (orange-coloured)
 * Use -ebl- to indicate that something is possible. videbla (visible), kredebla (believable)
 * Use -ed- to show quantity held by something. manuedo (handful)
 * Use -eg- to indicate largeness. domego (mansion), pluvego (downpour)
 * Use -et- to indicate smallness. sigareto (cigarette)
 * Use -em- to say that someone or something is inclined to something. laborema (industrious), ociema (lazy)
 * Use -end- to express something to be done. solvenda (which must be solved)
 * Use -er- to indicate customary but not professional activity or occupation for a person, or a characteristic action by an animal or even a thing. fotografero (amateur photographer), reptero (reptile), dansero (dancer)

|8

title: Easy Ido/Lesson eight


text: User talk:98.27.163.188

title: User talk:98.27.163.188


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Template:Codebits

Use
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Used to display preformatted code lines, and to include notes. The methods used are to enclose the code blocks in either poem tags or the line-numbered version of the source tags in an attempt to regain some control over the widths of preformatted text lines. In case it is not obvious, both of these methods at the very least allow single line spacing and the wrapping of long lines: two essential factors for listing code.

The iwidth option sets the ititial width of the box, and the cwidth option sets the width of the content, when the box is open, and as a result, decides the wrapping width for long code lines within the content. This is regardless of whether the content text is surrounded with the poem tags or the line-numbered source tags, or is simply unformatted text. (See two examples below).

If contents are either an image or text in pre tags, then the open-width will extend to accommodate the contents. The use of the pre-wrap value of the CSS white-space property will in time allow the pre tags to wrap long lines, but not all browsers can use it at present.(8 Dec 2008).

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title: Template:Codebits


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Talk:General Securities Representative Exam

Bad link This link is broken: http://www.nyse.com/pdfs/series7.pdf Anyone know the new link? Lavaka (talk) 18:42, 4 April 2008 (UTC)


text:
User talk:80.2.52.4

--ЗAНИA talk 19:16, 4 April 2008 (UTC)

title: User talk:80.2.52.4


text:
A-level Physics (Advancing Physics)/Phasors

Consider the image on the right. It shows a wave travelling through a medium. The moving blue dot represents the displacement caused to the medium by the wave. It can be seen that, if we consider any one point in the medium, it goes through a repeating pattern, moving up and down, moving faster the nearer it is to the centre of the waveform. Its height is determined by the amplitude of the wave at that point in time. This is determined by a sine wave.

Phasors are a method of describing waves which show two things: the displacement caused to the medium, and the point in the repeating waveform which is being represented. They consist of a circle. An arrow moves round the circle anticlockwise as the wave pattern passes. For every wavelength that goes past, the arrow moves 360°, or 2πc, starting from the right, as in trigonometry. The angle of the arrow from the right is known as the phase angle, and is usually denoted θ, and the radius of the circle is usually denoted a. The height of the point at the end of the arrow represents the displacement caused by the wave to the medium, and so the amplitude of the wave at that point in time. The time taken to rotate 360° is known as the periodic time, and is usually denoted T.

Phase difference is the difference between the angles (θ) of two phasors, which represent two waves. It is never more than 180°, as, since the phasor is moving in a circle, the angle between two lines touching the circumference will always be less than or equal to 180°. It can also be expressed in terms of λ, where λ is the total wavelength (effectively, 360°). You can use trigonometry to calculate the displacement from the angle, and vice-versa, provided you know the radius of the circle. The radius is equal to the maximum amplitude of the wave.

Phasors can be added up, just like vectors: tip-to-tail. So, for example, when two waves are superposed on each other, the phasors at each point in the reference material can be added up to give a new displacement. This explains both constructive and destructive interference as well. In destructive interference, the phasors for each wave are pointing in exactly opposite directions, and so add up to nothing at all. In constructive interference, the phasors are pointing in the same direction, so the total displacement is twice as much.

Questions
1. A sine wave with wavelength 0.1m travels through a given point on the surface of the sea. A phasor arrow representing the effect of this wave on this point rotates 1000°. How many wavelengths have gone past in the time taken for the phasor to rotate this much?

2. A sine wave has a maximum amplitude of 500 nm. What is its amplitude when the phasor has rotated 60° from its start position?

3. Two waves have a phase difference of 45°. When the first wave is at its minimum amplitude of -0.3m, what is the total amplitude of the superposed waveforms?

/Worked Solutions/


text:
A-level Physics (Advancing Physics)/Phasors/Worked Solutions

'''1. A sine wave with wavelength 0.1m travels through a given point on the surface of the sea. A phasor arrow representing the effect of this wave on this point rotates 1000°. How many wavelengths have gone past in the time taken for the phasor to rotate this much?'''

0.1m is irrelevant information.

$$\frac{1000}{360} = 2.78\lambda$$

'''2. A sine wave has a maximum amplitude of 500 nm. What is its amplitude when the phasor has rotated 60° from its start position?'''

$$a \sin{\theta} = 500 \times 10^{-9} \times \sin{60} \approx 433\mbox{nm} \,$$

'''3. Two waves have a phase difference of 45°. When the first wave is at its minimum amplitude of -0.3m, what is the total amplitude of the superposed waveforms?'''

The first wave has an amplitude of -0.300m. The second is at an angle of 270 - 45 = 225°.

$$a \sin{\theta} = 0.3 \times \sin{225} \approx -0.212\mbox{m} \,$$

$$-0.300 + -0.212 = -0.512\mbox{m}\,$$


text:
Trainz/Surveyor Hints

Some Essential Surveyor Hints

 * Add a new baseboard: Move the camera so that the space where the new baseboard is required is visible. Topology > Advanced > Extend - then left-click off the edge of the world in the space where the new baseboard is required.

 * Add spline point, and stay in spline adding mode: -click in Spline Add mode

 * Add spline point, without reference to previously existing track or roads, or their spline points: -click in Spline Add mode. This is useful if you don't want your new spline to 'snap' to a nearby spline point.

 * Adjust height of ground to railway track or road level: Smooth Spline - levels the railway track or road between two spline points, then raises or lowers the ground so as to meet the track or road, forming an embankment or a cutting. Apply several times if necessary.

 * Adjust height of railway track or road to ground level: Remove Gradient - lowers or raises a section of railway track or road so as to lay precisely on the ground below it. The ground can have been previously raised or lowered. Spline points may need raising very slightly afterwards so as to prevent short sections of track or road disappearing under the surface of the ground.

 * Alternate wireframe view: Trainz contains an alternate wireframe view, that uses less resources and also shows all the ground polygons. Press to activate; Click the wireframe button or use  to show the wireframe; Use  again to switch back to the standard wireframe.

 * Camera initial position: Allocate an AI driver to a locomotive, so as to make the camera default to an external view of that locomotive when the driver session starts.

 * Copy and paste: These operations can sometimes have disastrous results when used on large layouts. Therefore perform a save before using them.

 * Double track: All connections, including junctions with other sections of double track, must be made via sections of single track.

 * Fly mode: Fly mode is an alternative camera movement mode in Surveyor. To invoke Fly mode in UTC/TRS2004 press and hold and type "fly" (without the quotes). In TRS2006 press . In Fly mode navigate with the cursor keys and turn with the mouse. To return to normal mode, press the  key. See also Walk mode.

 * Level crossings (known as grade crossings in US English): All level crossings are listed in "Objects - Object Mode", but under various names. After placing a level crossing, attach tracks and roads as appropriate to each of its spline points. Road traffic is controlled and barriers operate as trains pass.

 * Positions of objects at junctions: The signal for trains approaching the junction from BACK and going to LEFT or RIGHT, then the junction lever, then the spline point at which the tracks diverge, then along each branch and pointing in the other direction the signals for trains approaching the junction from LEFT and going to BACK and the signal for trains approaching the junction from RIGHT and going to BACK.

 * Roads: All roads are listed in "Objects - Spline Mode". Roads are created in the same way as railway track. (Similarly for other spline objects such as fences, power lines and rows of trees.) Bridges carrying roads can be created in the same way as bridges carrying railway tracks. There are a few road tunnels available but they do not appear to behave as true tunnels. The Straighten Track toggle will also work on most other splined objects such as roads and fences.

 * Rotating Objects: To precisely rotate an object, hold down the key while moving the mouse.

 * Signalling: This is a highly complex subject in its own right and therefore described elsewhere.

 * To make spline circles disappear: In pop out menu select a non-spline category (for example Tools - ) and press (the letter, not zero). Or, if you want to see only the rail spline circles and not the scenery spline circles, then select the Tracks tab and press . Likewise, if you want to see the scenery spline circles without the track spline circles, select "Objects - Add Spline" (S) and press.

 * To make the pop out side menu disappear: Press.

 * To move a track marker or trigger past a spline point or onto a different track: Change from Track > Trackmark to Track > Trackside mode (and then click the "Move" button).

 * Track alignment at junctions and between curved sections: Straighten Track - use this toggle to make the track's curves smooth. (The Straighten Track toggle will also work on most other splined objects such as roads and fences.) For best results at a junction, use the Straighten Track tool on a short stretch of track immediately before and immediately after the main through track of the junction.

 * Undo: The Undo button routine is suspected of having a bug which sometimes causes it to corrupt a layout. TRS2006 is particularly suspect in this respect. Therefore avoid using the Undo button, or do so only to an extremely limit extent and check before resaving a layout.

 * Vegetation hint #1: On an out of site area of the layout, create a suitably textured area with a random clump of vegetation (trees, plants, bushes, etc as desired). Give one of the trees a name such as "Trees" so it can be readily found. Then copy and paste this area wherever it is required. Stagger the paste in a brickwork fashion and rotate each time to avoid repetition.

 * Vegetation hint #2: To delete vegetation, copy and paste a blank area of baseboard onto the area with the unwanted trees (etc).

 * Vegetation hint #3: The apparent variety of vegetation types can be increased by varying the heights of trees, grass, etc.

 * Walk mode: Walk mode is an alternative camera movement mode in Surveyor. To invoke Walk mode in UTC/TRS2004 press and hold Alt and type "walk" (without the quotes). In TRS2006 press . To return to normal mode, press the key. Walk mode allows the user to explore the layout from a person's point of view. This feature automatically triggers the Alternate wireframe view: see above. See also Fly mode.

 * Water height: In "Topology", add water over the relevant squares, then adjust the water level. Separate water areas on the same layout can have separate water heights, but this is somewhat tricky to achieve. It is probably best to paint all the separate water areas (making sure they do not join) before adjusting any of their heights. It is possible to create canal locks, crater lakes, dams and "Lake On The Mountain" effects.

 * Some additional Surveyor features (each of which may only be available in some versions of Trainz):
 * allows you to ride a car. The compass will disappear, in which case you should click on a car to ride. After some amount of time the ride will end automatically for some reason. Use the key to manually cancel.
 * generates a variety of sky colours and patterns.
 * generates random terrain and textures.
 * Makes lightning strike the ground. This makes the terrain under your cursor to lower, and this also makes the terrain have new textures. Press to cancel this mode.

title: Trainz/Surveyor Hints


text:
User talk:142.35.60.249

--ЗAНИA talk 21:16, 4 April 2008 (UTC)

title: User talk:142.35.60.249


text: User talk:65.162.62.31

title: User talk:65.162.62.31