text:
Cookbook:Bread

Bread is a type of cooked preparation made from a dough of flour and water, often with additional ingredients.

Varieties
There are many types of bread across the world, each with its own history, style, and taste. Typically, these can be described according to a couple characteristics.

Leavened vs unleavened
Leavened breads include a component to lighten and expand the crumb, while unleavened breads do not. As a result, unleavened bread is usually denser. Beyond the simple presence/absence of leavener, breads can also be classified as yeasted breads, which use yeast as the leavener, or quickbreads, which use a chemical leavener like baking powder or baking soda—either way, the resulting carbon dioxide gas is what leavens the bread.

Loaves vs flatbreads
Loaves are shaped to have several inches of height, with an outer crust and inner crumb that have different textures—they are almost always leavened and made with a significant proportion of wheat flour. On the other hand, flatbreads are thin and usually crustless, though they may be either leavened or unleavened. Because of their simplicity and non-reliance on leavening, flatbreads are the most basic and widespread type of bread worldwide,  and they can use a range of flours. Typically, flatbreads local to a culture will incorporate the grains or starches local to that area.

Lean vs enriched
Lean breads have little to no fat in them, while enriched breads contain fat, eggs, and or sugar, all of which impact the texture. Typically, enriched breads have a much softer and more tender crumb as a result. Like cheese, bread is made from very simple ingredients, and it is the specific choices made during the multi-stage production process that create the wide array of options we see.

Mixing
The vast majority of breads begin by simply combining the ingredients into a dough, followed by a period of continuous kneading in gluten-based doughs. In the first or "pickup" step, all the ingredients are combined on a low speed to make a rough and shaggy dough. If needed, adjustments can be made at this point. The dough is then kneaded at a medium (not high) speed for several minutes until all flour is incorporated, the dough is smooth and shiny, and the gluten is properly developed. Add-ins like nuts or fruit may then be incorporated. Kneading time depends on the type of dough being made, as well as the type of flour used—harder wheat flours require more kneading. One good way to tell if a wheat dough is ready is through the "windowpane test". Here, a piece of the dough is gently stretched as thin as possible into a square—if the gluten network is strong enough, the dough will form a nearly translucent membrane through which you will be able to see light. Conversely, if the dough is ropy and tears, the dough is not ready. Note that it is technically possible to over-knead dough, at which point the gluten network will start to break down and the dough will become a sticky mess that cannot be rescued. However, this is typically not a concern when hand-kneading or using a basic mixer—rather, it is more of a concern in large-scale bakeries with powerful mixers.

Kneading serves several important purposes. As the dough is mixed, the water begins to hydrate both the starch and the proteins. The continued agitation of the hydrated mixture detangles glutenin and gliadin proteins and encourages them to bond to each other, thus creating a strong and flexible gluten network that is necessary to trap gas bubbles, retain moisture, and provide structure to the bread. Kneading also increases the dough's temperature via friction and distributes the yeast throughout.

Serious bread bakers will often seek to carefully regulate the temperature of the dough as it comes out of the mixing stage, in order to get it off to a desirable start during fermentation. In order to do so, the baker will often take the temperature of the ingredients and the room, then use a formula to calculate the required temperature of the water to get the desired final dough temperature with the given parameters. For example, ice-cold water may be used to counterbalance a hot environment or long mixing time, or to otherwise slow down fermentation.

Direct vs indirect method
While all yeasted wheat doughs are mixed and kneaded, there are two primary methods used, which produces slightly different results. In the "straight" or "direct" mixing method for yeasted wheat doughs, the ingredients (flour, liquid, yeast, salt, and additions) are simply combined in one stage and mixed. The yeast may or may not first be activated by mixing with sugar and warm water, depending on the variety. The dough then proceeds to the bulk fermentation stage. On the other hand, the "preferment" or "indirect" mixing method builds the final dough in separate stages, with an intermediate fermentation stage between them. Owing to the long fermentation time, this type of dough creation results in more complex flavor and improved texture, especially in breads with a proportion of non-wheat flour like rye. There are several types of pre-ferment, which range in texture and fermentation style. A pâte fermentée is just a piece of bread dough from a day or two prior that has been kept in the fridge. A sponge combines a recipe's yeast, liquid, and half the flour, allows this mixture to ferment for about an hour until doubled, and then mixes in the remaining flour and other ingredients. A poolish is a thin mixture of approximately equal weights flour and water, with variable quantities of yeast depending on the desired fermentation time—less yeast and water means a longer fermentation. The poolish is then allowed to ferment a little past its peak rise (typically several hours) before incorporation into the final dough. A biga is a stiff mixture of only 50% hydration and 1% yeast that is allowed to ferment for 16–18 hours before incorporation into the final dough. Due to the lower hydration, bigas tend to be more stable over time than thinner pre-ferments like poolish. A sourdough starter is a long-term, living mixture that sustains an ongoing population of wild yeast and bacteria in a flour-and-water mixture. It must be regularly fed, and it contributes complex, sour flavors to the final dough that incorporates it. A levain or leaven sponge is simply a sponge that uses sourdough starter instead of commercial yeast.

First rise
After mixing, yeasted doughs must undergo a period of fermentation, sometimes called the "first rise", "bulk fermentation", or "proofing". In this stage, the entire dough is covered, greased, or placed in a humid environment to prevent a skin from forming, and the entire mass is allowed to rest and rise until doubled in volume. The exact duration of this rising period will depend on the amount of yeast in the dough, the ambient temperature, and whether the dough is enriched—less yeast, cooler temperatures, and greater enrichment will all slow down the process. You can tell whether the dough is ready by gently poking it with a finger or two—when ready, the dough should no longer spring back, instead leaving an impression. Some recipes call for the dough to be gently folded over itself periodically during rising. This is said to help further develop the gluten and properly distribute the carbon dioxide.

This rising period causes several key effects. First, the fermentation of the dough by the yeast and any bacteria generates various organic molecules such as alcohols and acids, which add a more complex flavor. Many of these substances also have a conditioning effect on the dough by tenderizing the gluten network, thereby making them stretchier, with better structure and mouthfeel. This gluten network also traps the carbon dioxide produced by the microbes in the dough, giving it a lighter crumb.

Note that the temperature can be adjusted to regulate the dough and its qualities. The base temperature range that optimizes yeast growth is 24–27°C (75–80°F). Below 21 °C (70 °F), the yeast's activity is slowed, and bacteria and their byproducts are favored —deliberately fermenting the dough at cool temperatures (3–10°C/38–50°F) is called retardation, and it causes greater acidity and development of the dough's flavor. Note that dough can still become over-proofed while refrigerated if left too long.

A good environment for rising bread is an oven; turning the oven on to a low setting for a few minutes prior to putting the dough in will encourage better leavening, but remember to turn the oven off for when the dough is in. Professionals will have dedicated proofing boxes, which ensure an optimum environment for bread to rise.

Deflating
The next step after fermentation is to gently deflate the dough, which is sometimes confusingly called "punching down" or "knocking down", even though you should not actually be so rough with the dough. This process involves gently folding and pressing down on the dough, which releases excess carbon dioxide and breaks large bubbles into smaller, finer ones. It also evens out the temperature and relaxes the gluten network, which helps with shaping.

Shaping
Bread dough can be shaped into a multitude of shapes/styles, through various techniques like stretching, rolling out, rolling up into a spiral, folding, twisting, and molding. Flatbreads are often patted or rolled out thin. Free-form loaves may be shaped using the hands, baskets, or thick cloths. The dough may also be placed in a loaf pan or pot to give it a rigid form. In some cases, the dough may be slashed or scored with a sharp tool, either before or after the second rise, to help the bread rise properly in the oven and to give it an appealing design.

Sometimes, a brief 10–20 minute rest period is enacted before the final shaping in order to let the gluten relax further.

Second rise
Some yeasted breads—typically loaves—are given a second rising stage after shaping, and it is this rise that governs the final crumb in the oven. Many of the same principles apply as with the first rise, and this rise is typically always done at warm room temperature. However, unless making small items like rolls, the dough should not be allowed to rise to its maximum, or it may over-proof in the oven and collapse.

Garnishing
Garnishes may be applied to the outsides of some breads before baking, providing added texture and flavor. These garnishes are as varied as those that can go into a loaf. Some common garnishes include sesame seeds, poppy seeds, herbs, cheese, coarse salt, and onion. Some garnishes will stick better if applied on top of an egg or milk wash.

Cooking
Breads are typically cooked by baking, steaming, or frying. Frying is the simplest method, achieved by placing a flatbread on a hot stone, pan, or metal sheet. Some breads can be steamed in a simple pot steamer setup to yield a soft bread with no significant crust.

In baking, the bread is typically placed in a very hot oven, where it begins to cook from the outside in. As the dough is warmed, the yeast gets a final rapid proofing stage and produces extra carbon dioxide before being killed by the heat. The protein network also weakens slightly, allowing the gas bubbles in the dough to expand further. This expansion of the dough in the oven is called "oven spring". Around 60°C (140°F), the starch begins to gelatinize and set, and proteins denature and set around 71–74°C (160–165°F), contributing to the finished structure of the loaf. Once the crust is fully set at around 90°C (194°F), the oven spring halts, as further expansion is no longer possible. From this point on, the inner structure continues to set, water evaporates, and the crust dries out and browns. Finally, the bread is cooked when it sounds hollow when tapped, usually around 82–88°C (180–190°F) for enriched breads and 88–99°C (190–210°F) for lean breads—instant-read thermometers are helpful here.

It is usually very important to use a very hot oven when baking loaves, in order to cause a rapid expansion and setting, avoiding collapse. This is especially important when baking free-form loaves. In many cases, steam is added to the oven early in the baking process, which helps to form make a crisp and shiny crust by gelatinizing the starch and facilitating enzymatic reactions at the surface. Note that this effect is only applicable in the early stages of baking; injecting steam into the oven at later stages would just re-moisten the bread.

Cooling
With loaves of bread, cooling is an important stage. They must be allowed to rest so the starch can cool and set properly. You also want to make sure it is removed from any pans and cooled on a rack in order to prevent condensation and softening of the crust.

Characteristics
The specific properties of bread are governed by a variety of factors.

Flour
Wheat flour is the most popular flour to use in loaves, because wheat has many qualities that contribute to a good loaf. White flour is used more frequently than unrefined whole wheat flour. Additionally, older, more oxidized flour will form a stronger gluten network. Other flours used include those of rye, corn, oat, and barley. Using a mixture of different flours can make an interesting loaf of bread.

Liquid
Water, or some other liquid, is used to form the flour into a paste or dough. The volume of liquid required varies between recipes, but a ratio of 1 part liquid to 3 parts flour is common for yeast breads, while recipes that use steam as the primary leavening method may have a liquid content in excess of one part liquid to one part flour by volume. In addition to water, other types of liquids that may be used include dairy products, fruit juices, or beer. In addition to the water in each of these, they also contribute additional sweeteners, fats, and/or leavening components.

Flavor
In lean breads made mainly with wheat flour and water, the flavor comes primarily from the byproducts of fermentation and from Maillard/caramelization reactions at high heat. In these breads, longer fermentation and interesting microbial cultures (e.g. sourdough) are typically the key to more developed flavors. In enriched doughs, the fat contributes and carries additional flavor. Flavor can also be developed in breads by incorporating ingredients with distinctive flavors, such as non-wheat flours, flavorful liquids, spices and herbs, and dairy products.

Texture
Texture in breads is generally governed by the flour, water, and fat in the dough. The flour is typically what contributes starch and protein, including gluten, to the bread. High-gluten breads like those made from wheat have the ability to incorporate air bubbles and a light, elastic crumb. Whole-grain flours make a denser and less soft bread. Breads with higher hydration levels have a more open and chewy texture.

Fats also play an interesting role in bread texture, generally contributing a tenderizing quality. In gluten-containing doughs, a small amount (3% by weight) of fat will help reinforce the gluten network and increase the viscoelastic nature of the bread —however, greater than that, the fat will interfere with the gluten network, producing a softer crumb and crust. In all breads, fats will coat the starch granules, which helps delay staling by delaying the release of moisture from the bread.

Salt tightens the gluten network, but it also helps inhibit enzymes that can digest and degrade the gluten network.

Add-ins
Once the basic ingredients have been considered, a lot of the experimentation comes in the extra additions to a loaf. Nuts and seeds can add both extra nutrition and variety in taste and texture. Some dried fruit, such as raisins, cranberries, or apricots, may be found enjoyable in a loaf, especially a sweeter one. Cheese in bread is popular, and it may be mixed in directly with the dough or rolled in during the final shaping stages. Adding different herbs and spices can change how a loaf is perceived dramatically.

Selection and storage
When selecting bread, decide what attributes you want. Generic commercial "sandwich" bread and rolls are very soft, with minimal crust and flavor, but they are easy to eat with sandwiches. If you're looking for a more flavorful and textural bread, artisan-style breads with crisp crust and well-developed interior are better. Flatbreads are great for eating with the hands and/or containing foods, and gluten-free options are available.

Bread going stale is not just a matter of it losing moisture and drying out, although this is a part of the problem. The main reason for staling is the crystallisation of the starch molecules within bread, whereby the molecules lock together. Moisture in bread sits between the starch molecules, inhibiting the crystallisation process. Evaporation of this moisture, which is accelerated by increased surface area, therefore contributes to a speedier staling. The crystallisation takes place over time, so the longer the bread sits out, the more it occurs and the harder the bread gets. Breads with high moisture and/or fat will stale more slowly. Breads that undergo a long fermentation period also stale more slowly. Refrigerating bread accelerates the staling process, and freezing interrupts it. As a result, bread is best stored at room temperature for up to a day or so, followed by freezing for longer-term storage. With slightly stale bread, moistening and heating it can temporarily reverse the staling by interfering with the starch crystallization —moistening and toasting slightly stale bread can help recover it for eating.

Autolyse
The autolyse is a special technique sometimes used when mixing lean wheat bread doughs. In this process, the flour and water are gently combined on low speed, then left to rest and hydrate for 10–30 minutes. This rest period allows enzymes to break down the gluten proteins into smaller pieces that will align more quickly into a stronger network, and it also helps high-fiber flour to better absorb water. Ultimately, this shortens the kneading stage after the remaining ingredients are incorporated and makes the dough easier to handle.

Soakers
If incorporating grains and seeds into a bread dough, it's good practice to pre-soak them in liquid overnight before incorporating into the dough. This prevents them from pulling moisture out of the dough, which would negatively affect the bread's final texture.

Use
Breads are nearly ubiquitous across the world, playing a range of roles in cuisine. Flatbreads like roti, naan, and more are often used to help pick up foods. Tortillas and sliced breads are used to enclose fillings for consumption. Breads of all kinds may also be served alongside dishes to soak up liquids and add bulk to a meal. Loaves of bread can even be hollowed out to make "bread bowls" that contain soups, soften, and take on additional flavor. Breads soaked in egg or other rich liquids can be baked or fried, making a hearty breakfast or sweet dessert. Breads have also historically been used as thickeners for soups and sauces, and they can be processed into croutons and breadcrumbs for incorporation into dishes.

Substitution
Some breads can be substituted for each other if they have similar properties, especially if they are simply to be served alongside a dish or used as a vehicle for food. Crackers or crispbreads may also be substituted, depending on the function.

title: Cookbook:Bread


text:
User:Karl Wick/Sandbox

* afdagasg * dsflasdgjoj
 * afhoahg

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

title: User:Karl Wick/Sandbox


text:
Cookbook:Proofer

| Kitchen appliances

A proofer is commonly used in bakeries to make bread rise before baking it.

title: Cookbook:Proofer


text:
Guitar/Tapping

Fretboard Tapping
Tapping is the short name of fretboard tapping or finger tapping, a technique where the fingers hammer down (tap) against the strings in order to produce sounds rather than striking or plucking the strings. If both the left and right hand are used then it is called two-handed tapping.

It is not clear who first developed tapping but it was certainly popularized by Eddie van Halen. Van Halen was listening to Heartbreaker by Led Zeppelin and he was quite inspired by the solo, which contained a variation of tapping. This is arguably the song that pushed Van Halen to use "tapping" frequently.

A rather different kind of independent two-handed tapping was discovered by Harry DeArmond and named "The Touch System" by his student Jimmie Webster. The "Touch System" is a complete playing method rather than a technique. Another method of independent tapping was discovered by Emmett Chapman, where the right hand comes over the fretboard and lines up with the frets like the left. The three kinds of tapping techniques are:

Interdependent tapping
Interdependent tapping is by far the most common type of tapping. It is generally used as a lead guitar technique, most commonly during solos; however, a small number of songs are entirely tapped. The player's picking hand leaps out to the fretboard and begins to tap the strings with the fingers. However, one must get the pick out of the way in order to tap. Some players do this by sticking the pick between their fingers; others simply use the middle finger to tap.

The Van Halen technique of getting rid of the pick is done by moving the pick into the space between the first and second joints of his middle finger. Eruption by Eddie Van Halen is a good example of this technique.

The Touch System
As mentioned before, this is a whole playing style and a whole book could be written about it. The first musician to play this way was pickup designer Harry DeArmond in the 1940's, who used tapping as a way to demonstrate the sensitivity of his pickups. While each hand could play its own part, DeArmond held his right hand in the same orientation as conventional guitar technique. This meant the ability of that hand to tap scale-based melody lines was limited. He taught his approach to Gretch Guitars employee Jimmie Webster, who wrote an instruction book called "The Touch System for Amplified Spanish guitar." Webster made a record and travelled around demonstrating the method. Even though it inspired a few builders (Dave bunker, for example), the Touch System was limited by the lack of equal movements for the right hand and never caught on.

The Free Hands Method
In 1969 Emmett Chapman, who had no previous knowledge of DeArmond, Webster or any other tapping guitarists, discovered that he could tap on the strings with both hands, and that by raising the neck up could align the right hand's fingers with the frets as on the left, but from above the fretboard. This made scale-based melody lines just as easy to tap in the right hand as the left, and a new way of playing a stringed instrument was born. Chapman redesigned his home-made 9-string guitar to support his new playing method, and began selling his new instrument (The Chapman Stick) to others in 1974. In 1976 Chapman published his volume of collected lessons he used for teaching guitarists and Stick players as "Free Hands: A New Discipline of Fingers on Strings."

It has been popularised by players such as Tony Levin, Nick Beggs, John Myung, Bob Culbertson, and Greg Howard, and is currently experiencing a surge in popularity due to the internet. Stanley Jordan became famous in the 1980s for using the same method on the guitar. Jordan discovered the method independently after Chapman did, was signed to Blue Note Records, and released several successful albums.The method that Chapman invented and Jordan also used allows complete self-accompaniment and counterpoint, as on piano.

Chitarra/Tapping

title: Guitar/Tapping


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Python Programming/Control Flow

As with most imperative languages, there are three main categories of program control flow:
 * loops
 * branches
 * function calls

Function calls are covered in the next section.

Generators and list comprehensions are advanced forms of program control flow, but they are not covered here.

Overview
Control flow in Python at a glance:

Loops
In Python, there are two kinds of loops, 'for' loops and 'while' loops.

For loops
A for loop iterates over elements of a sequence (tuple or list). A variable is created to represent the object in the sequence. For example,

This will output

100 200 300

The  loop loops over each of the elements of a list or iterator, assigning the current element to the variable name given. In the example above, each of the elements in  is assigned to.

A built-in function called range exists to make creating sequential lists such as the one above easier. The loop above is equivalent to:

Similar to the slicing operation, in the range function, the first argument is the starting integer (we can just pass one argument to the range, which will be interpreted as the second argument, and then the default value: 0 is used for the first argument), and the second argument is the ending integer but excluded from the list. The next example uses a negative step (the third argument for the built-in range function, which is similar to the slicing operation):

This will output

5 4 3 2 1

The negative step can be -2:

This will output

10 8 6 4 2

For loops can have names for each element of a tuple, if it loops over a sequence of tuples:

This will output 1 : 1 2 : 4 3 : 9 4 : 16 5 : 25

Links:
 * 4.2. for Statements, The Python Tutorial, docs.python.org
 * 4.3. The range Function, The Python Tutorial, docs.python.org

While loops
A while loop repeats a sequence of statements until the condition becomes false. For example:

Will output: 5 4 3 2 1

Python's while loops can also have an 'else' clause, which is a block of statements that is executed (once) when the while condition evaluates to false. The break statement (see the next section) inside the while loop will not direct the program flow to the else clause. For example:

This will output: 5 4 3 2 1 5

Unlike some languages, there is no post-condition loop.

When the while condition never evaluates to false, i.e., is always true, then we have an infinite loop. For example, This results in an infinite loop, which prints 1,2,3,4,... . To stop an infinite loop, we need to use the break statement.

Links:
 * 3.2. First Steps Towards Programming, The Python Tutorial, docs.python.org

Breaking and continuing
Python includes statements to exit a loop (either a for loop or a while loop) prematurely. To exit a loop, use the break statement:

This will output 5

The statement to begin the next iteration of the loop without waiting for the end of the current loop is 'continue'.

This will not produce any output.

Else clause of loops
The else clause of loops will be executed if no break statements are met in the loop.

Another example of a while loop using the break statement and the else statement:

This will output:

Input iteration step: 2 I am waiting for my melon. I hate strawberry ! Going back home now !

White Space
Python determines where a loop repeats itself by the indentation in the whitespace. Everything that is indented is part of the loop, the next entry that is not indented is not. For example, the code below prints "1 1 2 1 1 2" On the other hand, the code below prints "1 2 1 2 1 2 1 2"

Branches
There is basically only one kind of branch in Python, the 'if' statement. The simplest form of the if statement simple executes a block of code only if a given predicate is true, and skips over it if the predicate is false

For instance,

You can also add "elif" (short for "else if") branches onto the if statement. If the predicate on the first “if” is false, it will test the predicate on the first elif, and run that branch if it’s true. If the first elif is false, it tries the second one, and so on. Note, however, that it will stop checking branches as soon as it finds a true predicate, and skip the rest of the if statement. You can also end your if statements with an "else" branch. If none of the other branches are executed, then python will run this branch.

Links:
 * 4.1. if Statements, The Python Tutorial, docs.python.org

Conclusion
Any of these loops, branches, and function calls can be nested in any way desired. A loop can loop over a loop, a branch can branch again, and a function can call other functions, or even call itself.

Exercises

 * 1) Print the numbers from 0 to 1000 (including both 0 and 1000).
 * 2) Print the numbers from 0 to 1000 that are multiples of 5.
 * 3) Print the numbers from 1 to 1000 that are multiples of 5.
 * 4) Use a nested for-loop to prints the 3x3 multiplication table below
 * 1) Print the 3x3 multiplication table below.

title: Python Programming/Control Flow


text:
User talk:Javier Carro

Benvenido Javier, si cree que yo le puedo ayudar en alguna cosa me dice por favor. --Karl Wick

Aquellos que deseen contactar conmigo lo tendrán más fácil escribiendo en mi página de discusión de Wikipedia en español, gracias :)

Those who wish to write me a note are invited to do it at my Spanish Wikipedia User talk, thank you :)

Ya estoy aquí
Bueno, pues aquí estoy, ya no estás solo ante el peligro ;) Ya veremos si consigo reclutar a algún químico más, pero por ahora ya le he dado su primer aspecto al departamento de química -- 4lex 15:55, 1 Nov 2004 (UTC)
 * Me he unido a tu curso de traducción, y tengo el primer almuno en potencia :-) Dice que sólo ha dado un año de español, así que le he propuesto empezar por algo muy elemental, que creo que puede resultar. Con un poco de suerte, si empezamos a trabajar se coja el ritmo y venga más gente... :-D -- 4lex 16:08, 4 Nov 2004 (UTC)

title: User talk:Javier Carro


text:
User:Javier Carro

Hello everywikibookian

I mainly contribute to the Spanish version of wikibooks and Wikiversity. There you can find me more easily.

es:Usuario:Javier Carro

title: User:Javier Carro


text:
Guitar/Tremolo Picking

What is Tremolo Picking?
Tremolo means a modulation in volume; in the context of stringed instruments, usually refers to repeatedly striking or bowing a single string in a steady rhythm, especially the fastest rhythm the player can maintain. (This technique is particularly common on the acoustic mandolin.) In guitar literature, this is called tremolo picking, and one of the few places the term "tremolo" is consistently used "correctly" in guitar literature (whose convention usually reverses tremolo and vibrato). This technique has nothing to do with a "tremolo bar" (really a vibrato bar) or a "tremolo" effects box.

How to hold the Pick
Tremolo picking, though appearing hard at first, is actually quite easy. It is merely alternate picking at a faster speed. To start off, a pick makes tremolo picking much easier and is highly recommended when attempting it, but even though most people find tremolo picking much easier with a pick, it is possible without a pick. The best way to hold your pick is between your thumb and the side of the first knuckle of your pointing finger, but if you feel more comfortable holding it another way, such as with your thumb and middle finger then go ahead.

How to Pick
The movement should come mostly from the wrist. A little bit of arm movement is okay, but shouldn't be done intentionally. It is possible to tremolo with the elbow, but the wrist is actually easier and faster for most people with practice.

The motion done with the wrist should be like drawing quick zig zags, or Vs. Picking should feel just like writing. Imagine drawing as many connected V's as possible.

Do not play with your hand parallel to the strings. Pick like you write, with your wrist at an angle.

Grip
An important aspect of tremolo picking that many beginners fail to realise is that you must have a relaxed grip on the pick, as when you try to pick when holding the pick tensely, you will find that the pick hits the string harder therefore making it harder to pass through the string, causing it to sound sloppy. Maintaining a relaxed grip becomes harder when playing faster, but you will get used to it.

Things to Remember
When tremolo picking make sure you use just your wrist, as this will make it much easier to pass through the string. Also, when you pick the string, make sure your hand doesn't go to far away from it, as this will slow you down. The impact from hitting the string usually forces your hand to leave the string, but after practice, avoiding this will become easier.

It's also important to remember that many beginners start to use the thin side of the pick to tremolo, since the thin side has a smaller surface area and passes through the strings easily. This is incorrect, as the pick start to not only damage the strings, but also causes damage to the wrists, and may further start to ring other strings. Use the flat side of the pick to tremolo, not the thin border.

title: Guitar/Tremolo Picking


text:
User talk:Consumedbyfire

Hi, just wanted to drop off a note. It looks like you joined today, and will be contributing to the Intro to Philosophy book (correct me if I'm wrong). I, myself, joined today and am interested in developing the Philosophy books incl. the introductory text. I started fixing the book up a bit, and left some comments on its present sorry state in the Talk section of the book itself, but I think it will take some serious re-structuring before even really commencing, and there's little of value thus far so we'll essentially be starting from scratch. Oh well, sounds fun!

For what it's worth, I also laid out an outline for a Plato syllabus, though obviously that's a major endeavour.

Anyway... Just wanted to say hi, and welcome, and if my above inferences about you are correct then I look forward to working on this thing together, &c.

Yours,

Daniel

title: User talk:Consumedbyfire


text:
Guitar/Adjusting the Guitar

Many beginning or even intermediate guitarists are unaware that their guitar should be "set up". The adjustments described in the adjustment subsections below (along with restringing and tuning) are called a "set up". =What difference does a set up make?= When a guitar is set up properly: If a guitar plays easily and sounds its best then it's easy for the player to feel successful.
 * the guitar will feel and sound its best
 * all the strings will sound with exactly the notes they are supposed to
 * all notes will sound correct when played at each fret up and down the neck
 * the guitar will be as easy as possible to play
 * strings will break less frequently.

When a guitar is not set up properly:
 * the guitar may not feel or sound quite right
 * some notes may sound correct while some others may sound sharp or flat
 * the guitar may be difficult to play
 * strings will break more often
 * damage to the instrument could be incurred unwittingly by the player

When to Set Up?
When a guitar is brand new and fresh from the factory it may or may not have had these adjustments done. As a rule, a guitar should be set up when first purchased (used or new) and again when switching string gauges. Consider getting a set up anytime the guitar sounds or feels different than it used to. Perhaps after a guitar travels (altitude changes, pressure changes, and humidity can affect the wood in the guitar) and just like changing oil in a car it is a good idea to get a set up every now and then for maintenance purposes (perhaps twice a year).

Poor set up may be obvious to a player or it might not. In some cases the guitar may be unplayable because it hasn't been set up. A maladjusted guitar can cause strange quirks, for instance frets near the bottom of the neck being too sharp, or can even cause damage (e.g., by using .012 gauge strings on a nut designed for .009 strings, and the tension messes up the nut), and it can easily frustrate the player when their playing is perfectly correct yet things still don't sound right.

In particular if your guitar ever becomes difficult for you to play, a set up will probably help.

It is not absolutely required to set up a guitar, but it is nonetheless a good idea, especially if the guitar is to be taken to the stage. Some people never get their guitar set up. Some get their guitar set up even when nothing previously seemed wrong with it, then find such a dramatic change in the guitar's playability and sound that they wish they had set it up sooner.

How to get a Set Up
These adjustments should generally be done by a professional, qualified repair person. They require precision instruments, some hard to find tools, a steady hand, quite a bit of time and know-how.

Virtually all musical instrument stores will be able to perform a professional set up. Some will do the job better than others. Call a local music store and ask them "Do you do set ups for electric (or acoustic) guitars and how much would you charge?". Getting a set up will probably cost from $30 to $75 USD.

=Adjustments=

Adjusting action at the bridge
This is a simple adjustment that can usually be performed without professional assistance. The bridge saddles should be lowered if the string action is too high, that is, the strings are too far up off the fretboard. In some cases it may be desirable to raise the saddles for a higher string action.

Most electric guitars have two small screws on the saddle which can be used to raise or lower the saddle. Some saddles have screws that can be rotated using the fingers; others require an allen key. Lower the saddles too much and the strings might rattle against certain frets (this may or may not be inconsequential on an electric guitar; listen through an amplifier). In more extreme cases, pressing a string against one fret might actually fret the string against a different fret, usually the one under the intended one. In both cases, filing the frets might alleviate the problem if the saddle really should be that low. Otherwise, simply raising the saddle a small amount on the side with the problem should be fine.

Filing frets
The frets go with the shape (or contour) of the neck radius (9, 12", 16", etc.) Frets can determine how the notes on your guitar sound (i.e. intonation) and over time and use playing a fretted instrument the frets will begin to wear out by either changing the shape of the crowns (the top of the frets, and they are changed by being flattened out or mis-shaped)or the frets will begin to leave their slots. Fret work should be done by someone with experience doing this kind of job because this is a job that can lead to worse problems on your guitar such as your tonation being worse, action may be higher, strings may buzz out, and it may require that multiple frets be replaced or further repaired. Frets come in a variety of sizes as well making them each different to work on and there are special tools available to do this line of work but many are expensive and without proper training may not be used correctly.

Filing the nut
Filing the nut should only be done by a qualified repair person and is used to reduce pressure at the nut to allow a heavier gauge of strings to be used. It may not be necessary if the new strings are detuned lower (e.g., when switching from .009's to .010's, the nut will need no adjustment if the guitar is tuned to Eb-Ab-Db-Gb-Bb-Eb instead of E-A-D-G-B-E).

Neck/truss rod adjustment
This particular adjustment has been known to ruin guitars when performed incorrectly, so here referral to a professional repair person is highly recommended. A guitar will need a truss rod adjustment if the neck is not straight. One way to check the straightness of the neck is to play 12th and 19th harmonics on the low and high strings. After sounding each harmonic, fret the note there and play it again: it should be exactly the same pitch. If it is not, the neck may be in need of adjustment. However, this may be indicative of an intonation problem as well, which can be fixed without the aid of a repair person; see below. If adjusting the intonation does nothing for you, give the guitar to a repair person.

Adjusting intonation
You may notice each string on the bridge sits in a "saddle". Depending on your setup, you might notice the saddles may be in different positions: some might be pushed forward and others might be pushed back, sometimes slightly. The positioning of the saddle effectively changes the length of the vibrating string. Tune the guitar to concert pitch with the aid of an electronic tuner, making sure the open strings are perfectly in tune. Play the 9th and 12th fret harmonics, then play the fretted notes. If the fretted notes are sharp, the string is too short and the saddle needs to be pushed back toward the base of the bridge. If the note is flat, the string is too long and the saddle needs to be pushed up toward the nut. Repeat this procedure for each string. Adjusting the intonation should be done every few months or at least twice a year (Every six months interval).

title: Guitar/Adjusting the Guitar


text:
Intelligence Intensification/Visualization

What is visualization? Put simply it's the act of holding an image or several images in your mind with clarity. That's all it is.

Doing it is just as simple.

Try this. Take a common object - pencil, pen, etc. - something that is interesting to your eyes and you feel comfortable with.

Hold it in your hands. Focus on it and nothing else. Rotate it slowly so you can see all sides of it.

Now close your eyes. Try to picture yourself rotating the object in your mind. Do your best to recall as many details as possible. Open your eyes if you're unsure about something in particular. Try to build the object in front of your eyes while they're closed.

It'll take time but not as long as you think. The important part is to do this every day in some small way. Like a muscle this ability will grow stronger the more you use it.

Once you've done one object - try for a second one. Two at once, then three, then four, etc. Try re-building the room you're in in your mind. Re-organize the furniture in your mind so the room has all the same parts but is completely different.

Don't be troubled if you can't visualize exactly right down to the scratches on the wooden coffee table. That will come with time and practice. Just keep working at it.

After you're comfortable with visualizing objects, rooms, whatnot, then you can move on to visualizing goals for yourself.

Start with a little bit of motion in your mental scenes. Put yourself into those scenes.

Again, little by little change the scene you're visualizing to what you want.

Visualize yourself learning something you always wanted to. Or getting a new job that pays more or has more perks. Visualize yourself on vacation - a good anti-stress method by the way.

Focusing on these goals using visualization will make them far more real to you and much easier to work towards.

Another exercise for increasing your visualization skills is through art. Drawing, painting, sculpting and other forms of art are all ways of creating links between your initial perceptions of things, and how well you can recreate those perceptions. For example: Try to sketch an object without looking at it. When you have gotten as far as you can, try to reconcile the drawing with the original image. How much of what you drew was merely what you expected to see instead of what you actually saw?

A good drawing exercise for training your perceptions is to try to copy another drawing upside-down. Take a dollar bill and turn it upside down. Then try to copy it (not tracing, just copying it line for line). This exercise helps you to become an accurate scribe of what you see, instead of merely what you think you see.

The goal is to develop your ability to record specific visual information. In many cases it is better to amalgamate information instead of remembering every detail. These exercises will help you develop the ability to choose how your brain will store information.


text:
User:MikeMike

I'm a simple person and like most simple people I'm pretty complex once you scratch the surface. ;-)

I started doing computer work at the age of 5 when my father was one of the programmers for Globe Glass in Chicago in the 1970's. I think we were one of the few people that actually had a computer in our living space. An old IBM green-screen desktop - all one piece - I forget the model number. One of the old 5100 series boxes with a tape drive in it. From there I learned how to do basic programming. My life has never been the same since! At age 35 I'm still regularly involved with computers and other sundry things.

On other fronts I have many, many things I'm interested in on a semi-regular basis:

Blacksmithing/Swordsmithing

Journals/Writing/Papermaking

Woodworking/Walking Staffs

Pipes - tobacco. (Check out a friend of mine:Pipecrafter.com)

Art - sketching and other materials

Medieval Weapons

Artistic Electronics - cool blinkies and My blender runs NetBSD sort of stuff. ;-)

I've been married now for almost 10 years to a wonderful wife. I have a daughter who will be 7 this June. She's Autistic, I have Aspergers, but she's extremely smart. She just has a serious communication problem.

Other odd things include owning a rusting non-running 1972 International Travellall 1110 that I someday hope to get running. And a 3x3 sheet of copper that I hope to hammer into a hand-made firepit in the backyard this summer.

It's pretty lame right now but my home site is terminalcore.net. Please don't hammer my bandwidth. Thanks!

Well, enough jabbering about me. I hope to contribute more writing where I can and have knowledge. Long live Wikibooks! *grin*

title: User:MikeMike


text:
User talk:Youssefsan

Hola, Youssefsan, propongo cambiar el nombre "Wikibooks" por "Wikilibros" en la versión española para irla hispanizando en todo lo que podamos, aunque todavía es muy dependiente de la versión inglesa. He abierto una discusión en Talk:Portada:Español Javier Carro 07:26, 30 Apr 2004 (UTC)

title: User talk:Youssefsan


text:
Cookbook:Hot Chocolate (Orange)

| Beverages

Orange hot chocolate is a twist on the old childhood favorite. Note that this hot chocolate is not sweet. Those who like it sweeter should use a chocolate with a higher sugar content, or add 1 tablespoon sugar with the chocolate.

Ingredients

 * 4 cups (1 liter / 1.1 quart) milk
 * 1 stick cinnamon
 * 4 oz (110 g) bittersweet chocolate, chopped (can substitute semisweet)
 * ½ tsp orange extract
 * ¼ tsp vanilla extract

Procedure

 * 1) Place the milk and cinnamon in a saucepan, and gently heat to just below a simmer, about 180 F.
 * 2) Add the chocolate, and stir while allowing to melt. Do not allow to come to a boil.
 * 3) When the chocolate has melted, strain the chocolate milk into another container, add the extracts, and whisk or blend until frothy.
 * 4) Transfer to mugs or heatproof glasses and serve.

title: Cookbook:Hot Chocolate (Orange)


text:
History of Islamic Civilization

''This wikibook concerns about the political, economic, scientific, and cultural developments of the Islamic world throughout the centuries. For the history of Islamic thought, see the History of Islam.''

The Islamic civilization is traced back to the Prophet Muhammad in the 7th century.

 * 1) /The History of Prophet Muhammad/
 * 2) Historical backgrounds of the Arabian Peninsula
 * 3) Biography of Prophet Muhammad before revelation
 * 4) Revelation and the Mecca period
 * 5) The Medina period and conquest of Mecca
 * 6) /The Formative Period of Islam/ (under the "four righteous Caliphs")
 * 7) Early conquests: the Levant, North Africa, Mesopotamia, Persia
 * 8) The empire and the establishment of the faith: Suppression of rebels, "false prophets," and the codification of Quran
 * 9) The Muawiyah-Ali conflict
 * 10) /The Classical Period of Islam/ (Umayyad and Abassid caliphates)
 * 11) /The Medieval Period of Islam/ (Mongol conquest and subsequent empires)
 * 12) /The Ottoman Empire/ (Conquest of Anatolia, destruction of Byzantium, and colonization of Eastern Europe)
 * 13) /The Pre-modern Period of Islam/ (European recovery and colonization)
 * 14) /The Modern Period of Islam/

title: History of Islamic Civilization


text:
Go

Go is thought to be the world's most ancient board game, with deceptively simple rules that lead to deep strategy. After centuries of play, new ideas about the game are still being developed on a regular basis.

The game is believed to have originated in China, and is still most popular in East Asia, particularly Korea, Japan, and China. In Korea, it is called 바둑 (Baduk), pronounced / pa.tukʰ /, Japan where it is sometimes known as 囲碁 (I-Go), pronounced i.ɡo, and China, the game's original home, where it is named 圍棋 (trad.) / 围棋 (simp.) / wéiqí (Pinyin) pronounced ueɪ2.tɕʰi2. Each of these three countries have professional associations that allow individuals to hold the status of a professional Go player. It enjoys a small but rising popularity in other parts of the world.

For consistency, the rest of the book will use the name Go, and use Japanese terms. Korean and Chinese terms will still be listed.

Introduction

 * 1) /About this book/
 * 2) /Why should I learn to play Go?/
 * 3) /Philosophical Beginnings/
 * 4) /How to Learn/
 * 5) /History/

Beginners

 * 1) /What you need to play/
 * 2) /Lesson 1: Step-By-Step Guide to Playing/
 * 3) /Lesson 2: Basic Rules and Foundational concepts/
 * 4) /Lesson 3: Basic Capturing Techniques/
 * 5) /Lesson 4: Life and Death/
 * 6) /Strategy/

Intermediate

 * 1) /Lesson 3: Fuseki/
 * 2) /Lesson 4: Joseki/
 * 3) /Intermediate strategy/

Advanced

 * 1) /Advanced strategy/
 * 2) /Tutoring/

Beyond the Guide

 * 1) /Glossary of terms/
 * 2) /Resources/
 * 3) /Contributors e.g. authors and editors/

Go Manual de Go Jeu de go 囲碁 바둑 ตำราหมากล้อม

title: Go


text:
User talk:217.162.41.84

Hi,

I was interested to notice your links to the Game of Go, which is a game I love - and even though I rarely get a chance to play, Go has played a vital role as one of my guides to strategy in life.

By the way, in relation to strategy in the world of wiki, could I suggest that you set up a user identity on wikibooks so that you can have a name rather than an IP address to identify your contributions.

Also another strategy I might offer - in the spirit on strengthing the connectedness between your moves on the wiki board - that when you make an entry such as Go strategy guide - that you include a link to the book of which it is a part - I have edited the page to create a link back to Board Game Strategies.

I also may take the opportunity to include some substantive editing of Go strategy guide in the near future.

In peace

Information Ecologist 15:42, 30 Apr 2004 (UTC)

title: User talk:217.162.41.84


text:
User:Perl~enwikibooks/Fahrenheit 451

The quality of information is a key concept in Fahrenheit 451. This wiki module is a thought experiment developed with the intent of causing the reader to think about the quality of information of a wiki while learning about Ray Bradbury's critically acclaimed novel. Please keep in mind the fact that any one of the pages in a wiki can be modified and try to reflect on how this relates to the many themes presented in the novel. I hope you enjoy this presentation.

 * Biographical background of Ray Bradbury
 * Characters
 * Themes
 * Conflicts
 * Review
 * Resources

title: User:Perl~enwikibooks/Fahrenheit 451


text:
User:Perl~enwikibooks/Fahrenheit 451/Ray Bradbury

Ray Bradbury was born on August 22, 1920 in Waukegan, Illinois. By the time he was twelve, he had already started to write stories on sheets of butcher paper. In 1926, his family started moving back and forth from Waukegan to Tucson, Arizona before eventually settling in Los Angeles, California in 1934.

While attending Los Angeles High School, Bradbury had originally wanted to become an actor. His teachers, however, became aware of his talent with the English language and persuaded him to follow a career as a writer. He took their advice and in 1938, the same year in which he graduated from high school, Bradbury published his first short story in Imagination!

In 1941, Bradbury published his first paid piece of literature, "Pendulum," in Super Science Stories. Four years later, in 1945, Bradbury's short story, "The Big Black and White Game," was chosen to be included in Best American Short Stories. While browsing books at a book store, Bradbury met Marguerite "Maggie" McClure (1922-2003), who was one of the clerks. They fell in love and were married on September 27, 1947. Together, they had four daughters. During the same year, Bradbury published Dark Carnival, his first collection of short stories.

In 1950, Bradbury published The Martian Chronicles which established his reputation as an extremely popular science fiction writer. Three years later, Bradbury published Fahrenheit 451, one of his best known pieces of fiction.

An Apollo astronaut named a hill on the moon "Dandelion Crater" after Bradbury's novel Dandelion Wine. Some of the more conventional honors awarded to Bradbury were the O. Henry Memorial Award, the Benjamin Franklin Award, the Aviation-Space Writer's Association Award for best space article in an American magazine, the World Fantasy Award for lifetime achievement, the Grand Master Award from the Science Fiction Writers of America, and an Academy Award nomination for his short film Icarus Montgolfier Wright.

Ray Bradbury currently lives in Los Angeles.

Next (Characters) >


text:
File:Playfair.png

the playfair tableau; i created this file

title: File:Playfair.png


text:
Cryptography/Playfair cipher

The Playfair Cipher is one of several methods used to foil a simple frequency analysis. Instead of every letter having a substitute, every digraph has a substitute. This tends to level the frequency distribution somewhat.

The classic Playfair tableau consists of four alphabets, usually in a square arrangement, two plaintext and two ciphertext. In this example, keywords have been used to disorder the ciphertext alphabets. In use, two letters of the plaintext are located in the plaintext alphabets. Then reading across from the first letter to the column of the second letter, the first ciphertext character is found. Next, reading down from the first letter to the row of the second letter, the second ciphertext letter is found.

As an example, using tableau above, the digraph "TE" is enciphered as "uw", whereas the digraph "LE" is enciphered as "mk". This makes a frequency analysis difficult.

A second version of the Playfair cipher uses a single alphabet.

SECRT - Your secret keyword, share among you and your receiver KYWDP LAFIZ BXCQG HUMOK

If the letters of a digraph lie at the corners of a rectangle, then they are rotated clockwise round the rectangle, SW to CK, AT to EZ.

If they lie in the same column or row they are moved one down or across, EA to YX, RS to TE.

The square is treated as though it wraps round in both directions, ST to ES, DO to IR

Both versions of the Playfair cipher are of comparable strength.

title: Cryptography/Playfair cipher


text:
Lucid Dreaming/Reality Checks/Mirrors

Presentation
With the mirrors reality check, you check to see if you look normal in a mirror.

You could do this reality check every time you see a mirror.

Examples of this reality check working

 * I walk into a bathroom, and notice a mirror on the wall. I look in my reflection, and see that my hair's purple. My first thought is that I must have dyed my hair purple, but then I can't remember doing that, and realize that I must be dreaming.
 * The image of me was blurry, and I didn't recognize my face.
 * I looked into the mirror and appeared normal. I tried to change my face and it worked. My face got larger and then smaller.

Examples of this reality check failing

 * I'm in a shop selling costumes. I walk up to a mirror, and see that I'm dressed like a clown. I figure I'm trying on a clown costume, and continue on my way nonlucidly.
 * I'm walking down a hallway on the upper story of a building, and the floor suddenly collapses and I fall into a room of mirrors. I notice in my reflection that I have green skin, and figure that must be because I was so scared from the fall.

Sueño lúcido/Test de Realidad/Espejos

title: Lucid Dreaming/Reality Checks/Mirrors


text:
Visual Language Interpreting

Visual language interpreting is the practice of deciphering communication in sign languages, which use gestures, body language, and facial expressions to convey meaning.

This book is being communally written (at least that's the idea) to fulfill what is seen as a gap in the literature on Visual Language interpreting. There are many erudite works on the interpreting process, and still others for those who are current practitioners. However, the current introductory texts all suffer from one fault or another: they are inaccurate, obsolete, poorly written, or otherwise faulty.

The solution proposed here is that material be written by practitioners, clients, and academics to produce a text that is both current (and designed to stay that way) and reflective of what is actually practiced by real working interpreters. In short, a text that is theoretically rigorous, unflinchingly realistic, and up to date. For this, we count on you, the reader, to help us build something which embodies our collective wisdom.

Contents
After each link there is an image with a subjective indication of how complete that page is. A blank box indicates that the content has yet to be written.

 * /Introduction/
 * /Tools of the Trade/
 * /Interpreting Process/
 * /Interpreting Logistics/
 * Interpreting in teams
 * /Interpreting Ethics/
 * /Private Practice/
 * Interpreting in Educational Settings
 * Interpreting in the Medical and Mental Health Settings
 * Interpreting in the Legal Setting
 * Interpreting in the Religious Setting
 * Other specialized settings
 * Working with Clients who are Deaf-Blind
 * Professional Development
 * Epilogue: The future of the field

Authors (alphabetically)
Trevor Blake is an interpreter based in Portland, Oregon, USA.

David N. Evans is pleased to be the second contributor, and a part of this work.

Dan Parvaz suggested the idea of this book to the online interpreting community, and is a regular contributor.

Roberto R. Santiago is an interpreter in Washington DC

title: Visual Language Interpreting


text:
User:Dparvaz

Dan Parvaz
I'm a PhD student in linguistics at the University of New Mexico and an RID-certified ASL-English interpreter. I contribute here on issues of human languages and linguistics.

I also work as a computational linguist at MITRE, Inc.

You can reach me via my home page.

title: User:Dparvaz


text:
Geometry/Trapezoids

A Trapezoid (American English) or Trapezium (British English) is a quadrilateral that has two parallel sides and two non parallel sides.

Some properties of trapezoids:
 * The interior angles sum to 360° as in any quadrilateral.
 * The parallel sides are unequal.
 * Each of the parallel sides is called a base (b) of the trapezoid. The two angles that join one base are called 'base angles'.
 * If the two non-parallel sides are equal, the trapezoid is called an isosceles trapezoid.
 * In an isosceles trapezoid, each pair of base angles are equal.
 * If one pair of base angles of a trapezoid are equal, the trapezoid is isosceles.
 * A line segment connecting the midpoints of the non-parallel sides is called the median (m) of the trapeziod.
 * The median of a trapezoid is equal to one half the sum of the bases (called b1 and b2).
 * A line segment perpendicular to the bases is called an altitude (h) of the trapezoid.

The area (A) of a trapezoid is equal to the product of an altitude and the median.
 * $$ A = mh$$

Recall though that the median is half of the sum of the bases.
 * $$ m = \frac {1}{2}(b_1+b_2) $$

Substituting for m, we get:
 * $$ A = \frac {1}{2}(b_1+b_2) h $$

title: Geometry/Trapezoids


text:
XML - Managing Data Exchange/VoiceXML

Voicexml examples
According to the W3C, "VoiceXML is designed for creating audio dialogs that feature synthesized speech, digitized audio, recognition of spoken and DTMF key input, recording of spoken input, telephony, and mixed initiative conversations. Its major goal is to bring the advantages of Web-based development and content delivery to interactive voice response applications."

Here are two short examples of VoiceXML. The first is the always fun example, "Hello World":

Hello world

The top-level element is, which is mainly a container for dialogs. The two main types of dialogs are forms and menus. Forms present information and gather input. Menus offer choices of what to do next. This example has a single form, which contains a block that synthesizes and presents "Hello World!" to the user. Since the form does not specify a dialog after "Hello World", the conversation ends.

Our second example asks the user for a choice of drink and then submits it to a server script:

Form example:

A field is an input field. The user must provide a value for the field before the next element in the form is referenced or executed. Here is an example of a simple interaction:

 * C (computer): Would you like coffee, tea, milk, or nothing?
 * H (human): Orange juice.
 * C: I did not understand what you said. (a platform-specific default message.)
 * C: Would you like coffee, tea, milk, or nothing?
 * H: Tea
 * C: (continues in document drink2.asp)

Menu example:

The computer, or receiver, recognizes the number and sends a message to trigger the next dialog, according to which number was chosen. Here is what a typical conversation would look like:

 * C: For Sports press 1, For weather press 2, For Stargazer astrophysics press 3.
 * H: 4
 * C: I did not understand what value you typed. (a platform-specific default message.)
 * C: For Sports press 1, For weather press 2, For Stargazer astrophysics press 3.
 * H: 1 “sports”.
 * C: (proceeds to http://www.sports.example.com/vxml/start.vxml)

The beginning of VoiceXML
VoiceXML began in 1995 as an XML-based dialog design language. It was mainly used to simplify the speech recognition applications in an AT&T project called Phone Markup Language (PML). After the creation of this language, some other companies worked on their own PML-like languages such as Lucent, Motorola (VoxML), IBM (SpeechML), HP (TalkML) and PipeBeach (VoiceHTML). Since 1998, The VoiceXML Forum has been developed by AT&T, IBM, Lucent, and Motorola to define a standard dialog design language that developers could use to build conversational applications. They chose XML as the basis for this effort because it was clear to them that this was the direction technology was going. By 2000, the VoiceXML Forum released VoiceXML 1.0 to the public and submitted it to the W3C to set the language as an international standard. This implementation allowed the release of VoiceXML 2.0, based on input from W3C member companies, W3C working groups, and all kinds of developers.

Introduction
VoiceXML is created to generate audio dialogs that allows the use of synthesized speech, digitized audio, recognition of spoken and DTMF(Dual Tone Multi-Frequency Touch-tone or push-button dialing.) In Layman's Terms, VoiceXML allows the use of computer speech, recorded audio, human speech, and telephones as input and output devices. Pushing a button on a telephone keypad generates a sound that is a combination of two tones, one high frequency and the other low frequency) key input, recording of spoken input, telephony, and mixed initiative conversations.

VoiceXML architectural model
The architectural model assumed by this document has the following components:

A document server (e.g. a Web server) processes requests from a client application, the VoiceXML Interpreter, through the VoiceXML interpreter context. The server produces VoiceXML documents in reply, which are processed by the VoiceXML interpreter. The VoiceXML interpreter context may monitor user inputs in parallel with the VoiceXML interpreter. For example, one VoiceXML interpreter context may always listen for a special escape phrase that takes the user to a high-level personal assistant, and another may listen for escape phrases that alter user preferences like volume or text-to-speech characteristics.

The implementation platform is controlled by the VoiceXML interpreter context and by the VoiceXML interpreter. For instance, in an interactive voice response application, the VoiceXML interpreter context may be responsible for detecting an incoming call, acquiring the initial VoiceXML document, and answering the call, while the VoiceXML interpreter conducts the dialog after answer. The implementation platform generates events in response to user actions (e.g. spoken or character input received, disconnect) and system events (e.g. timer expiration). Some of these events are acted upon by the VoiceXML interpreter itself, as specified by the VoiceXML document, while others are acted upon by the VoiceXML interpreter context.

The Goals of VoiceXML
VoiceXML's main goal is to bring the full power of Web development and content delivery to voice response applications, and to free the authors of such applications from low-level programming and resource management. VoiceXML sets an integration environment between voice services and data services taking advantage of the client-server paradigm. A voice service can be defined as a sequence of interactive dialogs between a user and an implementation platform. The dialogs are stored in document servers, allowing an independent structure from the implementation platform. These servers maintain overall service logic, perform database and legacy system operations, and produce dialogs. A VoiceXML document interacts with the dialogs from the server using a VoiceXML interpreter. The inputs from the user generates requests to the document server, and finally, the document server replies with another VoiceXML document to continue the user’s session with other dialogs.

VoiceXML is a markup language that:
 * Minimizes client/server interactions generating all kinds of interactions per document.
 * Shields application authors from low-level, and platform-specific details.
 * Separates user interaction code (in VoiceXML) from service logic (e.g. CGI scripts).
 * Allows multiplatform development, becoming a common language for content providers, tool providers, and platform providers.
 * Offers ease of use for simple interactions, and yet provides language features to support complex dialogs.

While VoiceXML strives to accommodate the requirements of a majority of voice response services, services with stringent requirements may best be served by dedicated applications that employ a finer level of control.

Principles of Design
VoiceXML is an XML application [XML]. These are some of the capabilities, or abilities VoiceXML carries:

 * The language promotes portability of services through abstraction of platform resources.
 * The language accommodates platform diversity in supported audio file formats, speech grammar formats, and URI schemes.
 * The language makes it easy to create common types of interactions.
 * The language has well-defined standards of wording and syntax that allows for the author's intent regarding the behavior of interactions with the user much easier.
 * The language recognizes semantic interpretations from all types of grammars and makes this information available to the application.
 * The language has a control flow mechanism.
 * The language enables a separation of service logic from interaction behavior.
 * It is not intended for intensive computation, database operations, or legacy system operations. These are assumed to be handled by resources outside the document interpreter, e.g. a document server.
 * General service logic, state management, dialog generation, and dialog sequencing are assumed to reside outside the document interpreter.
 * The language provides ways to link documents and submit data to server scripts using URIs.
 * VoiceXML provides ways to identify exactly which data to submit to the server, and which HTTP method (GET or POST) to use in the submittal.
 * The language does not require document authors to explicitly allocate and deallocate dialog resources.

Implementation Platform Requirements
This section outlines the hardware/software requirements to support a VoiceXML interpreter:

Document acquisition: The interpreter context is expected to acquire documents from the VoiceXML interpreter, requiring the support of the "http" URI protocol. There will be some cases in which the document request is generated by the interpretation of a VoiceXML document, but it can also be generated in response to events outside the scope of the language, like an incoming phone call. When issuing document requests via http, the interpreter context identifies itself using the "User-Agent" header variable with the value " / ", for example, "acme-browser/1.2"

Audio output: An implementation platform must support audio output using audio files and text-to-speech (TTS). The platform must be able to freely sequence TTS and audio output. If an audio output resource is not available, an error.noresource event must be thrown. These files are referenced by a particular URI.

Audio input: An implementation platform needs to find the way to detect and report character and/or spoken input simultaneously. It also needs to control input detection interval duration with a timer whose length is specified by a VoiceXML document.

 * Platforms must support the XML form of DTMF grammars described in the W3C Speech Recognition Grammar Specification SRGS.
 * It must be able to receive speech recognition grammar data dynamically.
 * It can support other formats such as the JSpeech Grammar Format or proprietary formats.
 * It must be able to record audio received from the user.
 * The platform should be able to support making a third party connection through a communications network, such as the telephone.

Transfer: The platform should be able to support making a third party connection through a communications network, such as the telephone.

Concepts
A VoiceXML document is a conversational finite state machine, in which the user is always in one conversational state, or dialog, at a time. Each dialog determines the next dialog to transition to. Transitions can be defined using URIs, which define the next document and dialog to use. When there are no more dialogs, or there is an element that explicitly exits the conversation, the execution is terminated. A VoiceXML document is primarily composed of top-level elements called dialogs.

There are two types of dialogs: forms and menus. A document may also have:

 * elements.
 * elements.
 * variable elements.
 * elements.
 * elements.
 * elements.
 * elements.

Forms define an interaction that collects values from a set of field item variables. Each field may specify a grammar that defines the allowable inputs for that field.

Menus display the information to the user with a choice of options and then transitions to another dialog based on the selected choice. Each dialog has involved a series of speech and/or DTMF grammars, which are active only when the user is in that dialog.

A subdialog is like a function call because it provides a way to creating and invoking a new interaction, and returning to the original dialog. Variable instances, grammars, and state information are saved and are available upon returning to the calling document. Subdialogs can be used to create a confirmation sequence that may require a database query, create a set of components that may be shared among documents in a single application, or possibly to create a reusable library of dialogs shared among many applications.

A session begins when the user starts to interact with a VoiceXML interpreter context, continues as documents are loaded and processed, and ends when requested by the user, a document, or the interpreter context.

An application is a set of documents sharing the same application root document. Whenever the user interacts with a document in an application, its application root document is also loaded. The application root document remains loaded while the user is transitioning between other documents in the same application, and it is unloaded when the user transitions to a document that is not in the application.

Grammars: Each dialog has one or more speech and/or DTMF grammars associated with it. In machine directed applications, each dialog's grammars are active only when the user is in that dialog. In mixed initiative applications, where the user and the machine alternate in determining what to do next, some of the dialogs are flagged to make their grammars active (i.e., listened for) even when the user is in another dialog in the same document, or on another loaded document in the same application. In this situation, if the user says something matching another dialog's active grammars, execution transitions to that other dialog, with the user's utterance treated as if it were said in that dialog. Mixed initiative adds flexibility and power to voice applications.

Events: VoiceXML allows the user to fill forms in the traditional way of user input and defines mechanisms for handling events not covered by the form mechanism. Events can be thrown when the user does not respond, does not respond correctly, or requests assistance. Similarly, the VoiceXML interpreter also can throw events if it finds a semantic error in a VoiceXML document using catch elements that allow the interpreter to trigger such events.

A link specifies a grammar that is active whenever the user interacts with it. If user input matches the link’s grammar, control transfers to the link’s destination URI. A link can be used to throw an event or go to a destination URI.

VoiceXML elements
For more information about the elements go to W3C page. http://www.w3.org/TR/2004/REC-voicexml20-20040316/

One Document Execution
Document execution starts with the first dialog by default. As each dialog executes, the next dialog is determined. When a dialog doesn't reference another dialog, document execution stops.

Here is the "Hello World!" example expanded to illustrate VoiceXML execution. It now has a document level variable called "hi" which holds the greeting. Its value is used as the prompt in the first form. Once the first form plays the greeting, it goes to the form named "say_goodbye", which prompts the user with "Goodbye!" Because the second form does not have a transition to another dialog, the document execution ceases.

Variables and Expressions
VoiceXML variables are in all respects equivalent to ECMAScript variables: they are part of the same variable space. VoiceXML variables can be used in a just as variables defined in a can be used in VoiceXML. Declaring a variable using var is equivalent to using a var statement in a element. can also appear everywhere that var can appear. VoiceXML variables are also declared by form items.

The variable naming convention is as in ECMAScript, but names beginning with the underscore character ("_") and names ending with a dollar sign ("$") are reserved for internal use. VoiceXML variables, including form item variables, must not contain ECMAScript reserved words. They must also follow ECMAScript rules for referential correctness. For example, variable names must be unique and their declaration must not include a dot - "var x.y" is an illegal declaration in ECMAScript. Variable names which violate naming conventions or ECMAScript rules cause an 'error.semantic' event to be thrown.

Variables are expressed using the var element:

Element
Attributes of include:

Element
A field specifies an input item to be gathered from the user. Some attributes of this element are:

Element
The element is used to provide a speech grammar that Some attributes of the element are:
 * specifies the expressions that a user may use to perform an action or supply information
 * returns a corresponding semantic interpretation such as simple values (strings), attribute-value pairs (day, month, and year), or nested objects.

Element
This element is a form item. It contains executable content that is executed if the block’s form item variable is undefined and the block's cond attribute, if any, evaluates to true.

The form item variable is automatically set to true just before the block is entered. Therefore, blocks are typically executed when the form is called. Sometimes you may need more control over blocks. To do this, you can name the form item variable, and set or clear it to control execution of the. This variable is declared in the dialog scope of the form. Attributes of include:

Element
This element controls the output of synthesized speech and prerecorded audio. Prompts are queued for play, and interpretation will start when the user provides an input. Here is an example of a prompt:

You can leave out the ... if:
 * There is no need to specify a prompt attribute (like bargein), and
 * The prompt consists entirely of PCDATA (contains no speech markups) or consists of just an or element.

For instance, these are also prompts:

But sometimes you have to use the tags when adding embedded speech markups, such as:

The element has the following attributes:

Exercises
1. Create a VoiceXML document in which you give the user three different options to choose from the keyboard. The user must choose one option between hotels, museums or restaurants. Use forms for this exercise. Hint: this exercise needs to use the option element tag Example:  Display name

2. Create a VoiceXML document in which you give the user three different options to choose from the keyboard. The user must choose one option between hotels, museums or restaurants. Use menu dialogs for this exercise.

title: XML - Managing Data Exchange/VoiceXML


text:
User:David N. Evans

Hello. I'm David, an RID-certified ASL/English interpreter in private practice in the Twin Cities of Minneapolis and St. Paul, Minnesota.

I'm new to this site but am thrilled by the idea of books-in-progress, written by the community of practioners!

title: User:David N. Evans


text:
User:William Trevor Blake~enwikibooks

Wikibook Pages I began (alphabetical):

 * Talk:Visual Language Interpreting

Wikibook Pages I have contributed to (alphabetical):

 * Visual Language Interpreting

See also:

 * http://en.wikipedia.org/wiki/User:William_Trevor_Blake

title: User:William Trevor Blake~enwikibooks


text:
Talk:Cryptography

Wikipedia -> wikibooks ?
Hello,

Isn't there much information on Wikipedia about Cryptography? And couldn't some of it be brought into this WikiBook?

 * Perhaps it would be better just to link to the wikipedia article rather then duplicating text, this would make it easier for editing. A text book about cryptograpy should probably be more about how these relate to eachother. Wikipedia could be more about the descriptions of types of cryptography. --RobKohr 17:14, 22 Nov 2004 (UTC)

 * I agree, there is no point in creating as many articles as there are in Wikipedia, then just copy text from it (which will miss all the subsequent updates). I think we should link to Wikipedia articles all the time, except when we are sure an article will soon have more material in the wikibooks article: indeed, some content, like precise and/or long guides or tutorials, are better off wikipedia, but would fit well here as I understood. Duplicating everything would not be only impossible in terms of manpower, it's also a pure waste of time. --ClementSeveillac 04:14, 2 Dec 2004 (UTC)

 * Is there a mechanism to link to Wikipedia articles? --216.8.14.88 17:58, 29 Dec 2004 (UTC)

 * How_to_edit_a_page. think this should cover it. --Peterw 18:59, 30 Dec 2004 (UTC)

 * Also Help:How_does_one_edit_a_page has another, perhaps superior way of linking from Wikibooks to Wikipedia. --DavidCary 02:25, 26 October 2006 (UTC)

I think one thing that should be added to this book that is not on wikipedia is lots of examples going through the processes of making and breaking encryptions. Lonjers 01:01, 15 March 2007 (UTC)

I think copy+pastaing the wikipedia articles is the best compromise because we can get good starting material without the downside of linking as linking would make it hard for someone to add detailed book-like entries. Does anyone have any objections to me doing that? If not I'll start copying the wikipedia entries later tonight. E0 (talk) 21:39, 11 March 2010 (UTC)

 * You shouldn't do this. If you want to bring the text of a WP article in here you should request the import here WB:RFI so the edit history can be maintained. Please don't copy and paste. QU TalkQu 21:41, 11 March 2010 (UTC)

 * Oh! That is an execellent idea. I will do that. E0 (talk) 21:46, 11 March 2010 (UTC)

 * I imported Diff and linear cryptanalysis here Transwiki:Differential cryptanalysis and Transwiki:Linear cryptanalysis

 * Shouldn't the purpose of Wikipedia be to document cryptography, with all its complexity, while this Wikibooks to be more of an introduction?--Charlesisbozo (discuss • contribs) 13:46, 3 May 2014 (UTC)

Dictionary attack
In addition to the brute force attack, isn't there also a method called dictionary attack, where you use a set of keys (in most cases, common words, from dictionaries) to test against the ciphertext? --DarkPhoenix 19:56, 21 Jun 2004 (UTC)
 * Yes.

Linking to HAC
It's not freeware, but the excellent _Handbook of Applied Cryptography_ is available online in PDF format. Would it make sense to link to that book from here? --John Kelsey

 * I don't see pages really needing such links at the moment (much of them are simply lesser versions of Wikipedia articles, but that's another problem ;-) . And it's already cited in important articles in Wikipedia such as cryptography, where I think people interested in cryptography will end up anyway :-) -- ClementSeveillac 04:20, 2 Dec 2004 (UTC)

On MD5 Hash
I was just looking into wikibooks for references/actualization on the MD5 problem and found none...

From /.

MD5 To Be Considered Harmful Someday http://developers.slashdot.org/developers/04/12/07/2019244.shtml?tid=93&tid=172&tid=8 "demonstrates the use of colliding datasets to create two executable packages with wildly different behavior but the same MD5 hash. The faults discovered are problematic but not yet fatal; developers (particularly of P2P software) who claim they'd like advance notice that their systems will fail should take note."

--Panic 07:04, 8 Dec 2004 (UTC)

 * Fixed. Added a link to MD5 considered harmful today --MarioS (talk) 20:08, 6 October 2010 (UTC)

 * Txs --Panic (talk) 20:54, 6 October 2010 (UTC)

WikiReader:Cryptography; improvements for existing chapters here
There is an active project to produce a WikiReader on Cryptography from articles on the Wikipedia. While it will not be, quite, a textbook, it may be that the articles proposed for it will be suitable for parts of this project.

In addition, several of the existing chapters/sections here would be improved by importation of more content from the parallel articles on the Wikipedia. Since those articles are GPL'd, they are freely available for use here.

Best wishes on the project. I'll try to look in from time to time and may be able to help with the occasional chapter. ww (from en.Wikipedia.org)

tools
It'd be nice to find some links to free tools one might need / want to use, incl. a short description of the security level (known weaknesses), license, encryption types etc.

steganography (?)
I'm not sure how it's written, but I mean hiding encrypted information inside other documents without influencing the usability of the host documents. IMHO this type shall be part of a crypto book, as it shows users how to make information even more difficult to get. One nice thing is SNOW which hides info in plain text and is open source, so ideal for learning.

steganography

 * I agree, Steganography is a very valuable part of classical ciphers, aswell as current, since it can lead to plausible deniability. Tinned Tuna (talk) 21:53, 8 January 2009 (UTC)

 * I see there is now a Steganography Wikibook. Should we move that entire Wikibook into a chapter of this Cryptography Wikibook? --DavidCary (discuss • contribs) 22:33, 19 January 2022 (UTC)

"simple" secure ciphers

 * http://c2.com/cgi/wiki?CipherJedi
 * http://metaweb.com/wiki/wiki.phtml?title=Pontifex

Is the "Pontifex" cipher important enough to be added to the Cryptography/Timeline of Notable Events ? Perhaps something like:
 * 1999: Bruce Schneier develops a way to allow field agents to communicate securely without having to rely on electronics or having to carry incriminating tools. Unlike all previous manual encryption techniques, this one is resistant to machine cryptanalysis. It becomes published in Neal Stephenson's Cryptonomicon (2000).

 * Probably not. People have found weaknesses with Pontifex/Solitaire . Moreover, I'm sure Schneier isn't the first to come up with a strong hand cipher; the spooks must have researched this heavily). And, of course, the one-time pad is a manual encryption technique that is resistant to machine cryptanalysis. Matt Crypto 12:54, 11 Mar 2005 (UTC)

 * People have found weaknesses. So? People have found weaknesses in the Data Encryption Standard (DES); are you going to take it off the timeline? As far as I can tell, Pontifex is *still* more resistant to cryptanalysis than any other manual encryption technique that I've ever heard of (except the one-time pad).

 * I'm sure Schneier isn't the first to come up with a strong hand cipher Nope. Schneier's method is the first to be published. (As far as I know -- I would be surprised and delighted to see an earlier method. Schneier and others seem to think it's never been done before). (I agree that it is likely that someone has developed some kind of manual cipher earlier and kept it secret. But such speculation is, well, speculation).

 * And, of course, the one-time pad is a manual encryption technique that is resistant to machine cryptanalysis. It's not merely "resistant". The one-time pad is completely impervious to machine cryptanalysis. However, Schneier developed Pontifex in response to a different kind of flaw in the one-time pad system. It's better than the one-time pad in some ways, worse in other ways. I hope the timeline entry makes that clear. (Any suggestions on how to make that timeline entry clear, yet brief ?)

Moving documents from Wikisource
Hi,

There is now a discussion about cryptography documents in Wikisource, which, I think, should be moved here. Yann 09:55, 25 September 2005 (UTC)
 * Cryptography/Prime Curve/Affine Coordinates
 * Cryptography/Prime Curve/Standard Projective Coordinates
 * Cryptography/Prime Curve/Jacobian Coordinates
 * Cryptography/Prime Curve/Chudnovsky Coordinates
 * Cryptography/Prime Curve/Modified Jacobian Coordinates
 * etc.

 * A short explanation of the pages refered to above: An elliptic curve over a finite field consists of a set of points, derived from a set of coefficients. For these points there exists an addition law. Due to this addition law the points of such a curve form an abelian group. There are several ways to represent the points of an elliptic curve and there are as many ways to perform the point addition efficiently. Months ago I compiled a collection of these representations together with the optimal addition routines and put them into wikisource. Because the semantic of "What does Wikisource host?" changed in the last week the Wikisource maintainers began to move the pages here, to the wikibook:cryptography.
 * To the wikibook:cryptography maintainers: how and where can these addition formulas best be included in your book? The following material is for disposition:
 * # 8 pages with different point representations / addition formulas
 * # 3 pages with coefficient sets
 * # 15 pages with test vectors (these pages are already lost, the maintainers deleteted them without discussion; but they can recreated, I still have got the original material)
 * Perhaps at least the test vector pages and the coefficient sets should be moved to an annex of this wikibook. I also see the 8 pages of formulas as some kind of "reference material". Where could it be put?
 * Any thoughts? --dm

Cool!
Nice looking book you got here. I'd like to see more done with it! -witerhawk writerhawk 15:55, 29 May 2006 (UTC)

Scope?
This currently covers only symmetric-key encryption, but misses out on a whole slew of other topics central to cryptography (public-key encryption and digital signatures, to name two). Perhaps the title should be changed?

 * Why don't you add the missing content ? The title "defines" the scope, missing content only demonstrates that there is still work to be bone... --Panic (talk) 08:55, 9 January 2009 (UTC)

Pontifex cipher
Hey. I saw that there's link named "Pontifex cipher" - if that page is gonna be about cipher described in "Cryptonomicon" by Neal Stephenson, then in my opinion it sould be called "Solitaire". Take a look at Solitaire (cipher) and Bruce Schneier's webpage about Solitaire. Sq7obj (talk) 19:02, 11 March 2010 (UTC)

 * ✅. Cryptography has enough difficult-to-understand concepts already. No need to be deliberately obscure in this book. --DavidCary (discuss • contribs) 14:36, 29 January 2013 (UTC)

title: Talk:Cryptography


text:
User:Thunderbolt16

see Wikipedia:User:Thunderbolt16

here I've added an amount to Programming:Python, and might add to Spanish

title: User:Thunderbolt16


text:
User talk:PrezKennedy~enwikibooks

KirbyMeister
Hey, if you could, you should try your hand on working on the SC4 concepts area. KirbyMeister 04:35, 1 May 2004 (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 PrezKennedy. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name PrezKennedy~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 23:37, 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) 05:23, 19 April 2015 (UTC)

title: User talk:PrezKennedy~enwikibooks


text: Template:Visual Language Interpreting

title: Template:Visual Language Interpreting


text:
Hindi/Basic Hindi

'''Please ensure that you are reading the Indic fonts correctly. For details in setting up your computer, please see w:Wikipedia:Enabling complex text support for Indic scripts'''

Common phrases

 * मैं तुमसे ज़रूर मिलूँगा, Maĩ tumse zarūr milūṅga (Hindustani)
 * मैं तुमसे अवश्य मिलूँगा, Maĩ tumse avaśyá milūṅgā (Hindi)

title: Hindi/Basic Hindi