text:
Movie Making Manual/Music

Putting music in your film can be potentially very complicated. There are several ways to go about this, but each depends on your skill, experience and budget. It is important to note that most professional composers will charge a lot of money for you to have their music in your movie. Many people do not understand just how important music is so you definitely need someone with experience.

Things to consider

 * What kind of film are you making, and what kind of music would fit in best?
 * How long does the music need to play during the scene?
 * How loud should the music be? Should it drown out any dialogue, or should it be strictly in the background?
 * Should it be constant?
 * What effect are you trying to convey?

The professional
Hiring a professional composer would probably be the easiest option in your array. These people know exactly what they are doing and have resources at their disposal. See the list of popular film composers in Wikipedia's Film Music. The downsides are that you must choose a composer who has experience in the genre you want. If you want orchestral music to play through your chosen scene, Trent Reznor would probably not be the best choice. It is possible that you may not be able to find a professional who will be willing to work on your movie without blowing most (or all) of your budget, however.

Doing it yourself
There are many ways for filmmakers to create a musical score on a personal computer.

 * 1. Live Musical Instruments
 * One way to create a film score is to use a DAW (Digital Audio Workstation) with live musical instruments.

 * 2. Midi Sound Modules.
 * Another method is to use MIDI with Midi sound modules (audio hardware) which is then recorded into a computer with DAW software.

 * 3. Software Musical Instruments
 * Yet another ways is to do the film score totally digitally using software instruments inside the computer and controlled by a MIDI controller.

1. Old-fashion Analog = DAWs
You can create a film score with a live musician playing a real musical instrument. Recording live musical instruments is very straight forward.

Multitrack recording When a motion picture is scored by the London Philharmonic, the orchestra conductor watches the movie screen and conducts the musicians who play real musical instruments, live and in sync with the action on the screen. This music is recorded via a microphone into a computerized DAW which works like a multi-track tape recorder. Later, all the tracks are mixed down and added to the film's sound track. This is very fast but expensive. Fortunately, you can do the same thing in a very simple way using your personal computer... if you have the correct software, a quiet computer, a professional-quality microphone which is connected to your computer usually through a tiny mixing board (or microphone preamp) which connects to the computer via USB, FireWire, or analog connection.

Using almost any computer (Windows or Macintosh), you can turn your computer into a DAW (Digital Audio Workstation), which is a very powerful multi-track tape recorder inside your computer. As an example, all Macintosh computers come with a free digital audio workstation program which is disguised as a music program called GarageBand. Try it!

Basically, all you need to turn your computer into a multi-track recording system for film scoring is a computer program, a professional quality microphone, and a preamp.

 * 1. The Software
 * The computer program must be able to play a movie clip (usually just one scene of your movie as a QuickTime movie or a AVI movie) while the program records a single track of audio. (Most modern music program are DAW programs.  Older programs only worked with MIDI but now audio recording features are included in almost all music programs.)  An example of a very simple music program is Apple's GarageBand.

 * 2. The Preamp
 * This can be a preamp or tiny mixer board which connects to the computer via USB, FireWire or directly to the analog audio input of your computer. A good example of preamp is M-Audio's low-cost USB device FastTrackUSB.  This works with Apple's GarageBand and is sold at the Apple Store.  However, the reviews of this product at the [www.apple.com/store Apple Store] are not all favorable.  Similarly the M-Audio MobilePre USB Audio Interface also has unfavorable reviews at the [www.apple.com/store Apple Store].  A more expensive interface for FireWire is M-Audio's FireWire410.  A typical analog mixing board is the Behringer Eurorack UB1202FX Mixing Board.

 * 3. The Microphone
 * And finally you need a professional microphone with XLR connectors. See Wikipedia's Microphone. Musician's Friend has a microphone buyers guide.  At the Audio Engineering Society's convention, you can listen to many different microphones.  The next AES Convertion is in San Francisco in October.

One track at a time. Unlike the London Philharmonic which has a hundred musicians, you will probably have only one musician. Hopefully, that one musician can play lots of instruments, one at a time. So rather than record all the musical tracks for a scene at one time like the London Phiharmonic, you will record one track with each pass through the scene until you build up a complete musical score. Each time you record a new track, the musician listens to the previously recorded tracks plus the audio from the movie and adds one more instrument to the mix.

 * Side Note
 * If you are a filmmaker with no skill with a musical instrument, try creating a humming score. Set up your computer so you can record audio in sync with your movie.  You can use programs like GarageBand, Final Cut Express or Final Cut Pro to record audio in sync with a movie.  iMovie also works but it can record only one track. To create a humming score, you watch your movie and make musical sounds with your mouth... including humming.  If you follow the usual procedures for creating a film score via a multi-track recorder, you will be amazed how good a humming score you can create.  To do this, start by recording a track with the melody.  An alternative is to start by recording a rhythm track instead of a melody.  Then simply watch the movie over and over again, adding more and more tracks as you make music with your mouth.  I know this sounds really dorky but it actually works well for a temp track and a guide for your film composer.

2. Midi Modules = External Hardware
External midi sound modules were very popular at one time. Unfortunately, the sounds produced by these modules (such as the Proteus) were not natural and the external hardware took up a lot of space. Now e-Mu sells a replacement for the Proteus which is software.

3. Midi with Software Instruments inside your Computer
Thanks to the advancement of technology, it is entirely possible to simply create a digital musical score yourself using musical instruments that exist only inside your computer. The cost of this method depends on what instruments you want to have in the music. As and example, GarageBand is free with all new Macintosh computers.

 * Digital vs. Analog vs. MIDI
 * Remember that while digital music is very easy to accomplish (using a midi keyboard and a guitar software instrument), if you wanted to have 'real' guitars or good-quality singing in your song, for example, you would have to purchase a USB interface, which would allow you to link up your guitar to the computer through it. You would then require some recording software such as Cubase. But also realize that another alternative is connecting a midi guitar to the computer via a midi interface (not analog) and use a software instrument which has the sound of guitar inside your computer.  You have lots of choices.

If you wanted to mix digital elements in with this, or even create an entirely digital song, you would need a program such as Reason and a Midi Keyboard. This method, while much cheaper than the previous, will still cost a fair amount of money - for a copy of Reason, Cubase, a USB Interface and a Midi Keyboard you could expect to pay around £580/£1097, Apple computers are costly as well. Like most things, however, a lot of money could be saved by not using things such as Logic Pro (which is the industry standard). There is no use having brilliant music if your film is terrible, as it is most likely to be after spending your budget. (Note: Apple's Logic is designed for musicians... which is great but filmmakers who are not musicians will find it awkward to use.  Robert Purser in Digital Puppet magazine (Winter 2006) found Logic Express (the lit version of Logic) to be extremely poor for anyone who is not an experienced musician with electronic gear.

Fortunately, all Apple Macintosh computers come with iLife software which has good resources, too, for digital music making and also for video editing. With GarageBand in iLife 06, you can create digital music using the built-in software instruments and your music will be in sync with your movie which you watch on the screen as you create your film score. One advantage of GarageBand is you do not need a MIDI interface or a MIDI keyboard. With the feature called "Musical Typing", you can use the Macintosh computer's keyboard (which is not velocity sensitive) as you play and record the music, one track at a time, and then later go back and adjust the velocity of each note (still in GarageBand). While this seems extremely awkward for musician, computer nerds who are filmmakers will find it rather easy.

Note: Robert Elliott of Wikiversity's free course in film scoring for filmmakers recommends getting the optional Jam Pack: Symphony Orchestra for GarageBand from Apple Computer. The natural musical instruments of the symphony orchestra are great for making musical sound effects which sound like a real film score. (There are similar packages from other manufacturers such as Mark Of the Unicorn.)

Film Scoring Theory
The purpose of adding music to a scene is to create a mood. That is the purpose of music in a film -- to create the moods that the director wants the audience to feel. Without the audience realizing it, your job is to get the audience to react to the movie as the director wants.

 * Special Note - Music from Speaking Voices
 * Every dramatic scene has music in it, long before you add a musical film score. The actors' spoken words have music in them.  If you do not believe me, try reading a script in a monotone voice.  Gifted actors will have a three octave range in their speaking voices.  Therefore, for many scenes with dialog, you do not need any music, as long as the actors create the proper mood with their speaking voices.

 * Look at very old classic movies which have no musical score such as Angels with Dirty Faces. When you hear James Cagney and Pat O'Brien speak, their voices are very musical... almost like stage voices - both beautiful and melodic.  Listen to how many octaves their voices range in a single sentence. Then look at more modern motion pictures which have a more natural style of speaking.  With the old classics, they do not need any additional music. But with modern movies with more natural speaking voices, much of the music of the speaking voice is missing... so much of the necessary mood is missing.  The mood can be added only by having a film score.

Correcting the Mood Also be aware that sometimes, the actors' dialog creates a mood... but it is the wrong mood. As an example, an actor might pretend to be happy but, in reality, he is crying inside. The words of the actors are the opposite of the mood the director wants in the scene. You must add music (or musical sound effects) to correct this and to create the proper mood. Your music tells the audience what the real mood is. Without your music in this scene, the audience can be confused.

Music Can Be Just Sounds
The most important thing to understand about film scoring is the music can be just sounds that create the mood. That is Musical Sound Effects. Music does not need a melody, a rhythm, or anything special. Since the music's only purpose is to create the proper mood, just one, two, or three notes is all you need most of the time. Try creating the mood with musical sound effects which has the same impact but a whole lot cheaper.

Try using GarageBand and Apple's Jam Pack: Symphony Orchestra to create moods. As an example, you can add a violin trill to a scary scene which give the feeling of danger, doom, and dread. Just one note played expressively creates all the mood you need.

Music Must Follow The Mood
The second most important thing to understand about film scoring is the mood in a scene changes from sentence to sentence. When two people are talking and new information is being introduced rapidly, the mood is continually changing. When the mood changes, the music must change to match the mood. Songs cannot do this because a song has only one mood.

 * Songs = One Continual Mood
 * When there is a conversation, you cannot use a song for film score. Songs have only one mood.  When the mood of the scene changes, a song cannot follow the mood changes.

There are only two times when songs are appropriate for a film score. If you have an action scene (with no conversation) or a montage scene, the film score will need only one mood for the entire scene. In this case, a song is ideal. So if you wish, you can hire a local band or you can use pre-recorded songs... if you can afford it.

Scoring for Background and Dialog
There are basically two kinds of music in a scene which has dialog -- background music and narrative music. Background music enhances the mood of the scene. Background music must be very soft and thin. It is heard faintly in the background. Warning: If you write loud music for a scene with people talking, when it comes time to mix all the audio together, someone (usually the director) will turn down the volume of your music and no one will hear it clearly. So when you write background music, make sure it is very simple (i.e., a single melody which is simple with no counter melodies and no strong rhythm such as drums). For background music, it must be just a simple melody played by only one or two instruments.

Narrative music is music which tells a story (think "Peter and the Wolf"). Therefore, narrative music must be inserted between the dialog of the actors. Normally, the only way you can do this is to add gaps between the dialog when you edit the scene.

When people are talking, your music must NEVER step on the dialog. The dialog is the most important part of the movie so when there is dialog, the music must be in the background. So if you want to add music which helps tell the story, there must be gaps between the dialog for you to add the narrative music. These gaps are usually only one to three seconds long. Once they are filled with music or musical sound effects, the audience does not notice the pause in the actor's dialog. It all seems natural. The music seems to become part of the conversation.

Therefore, it is best if the editor and the composer are the same person. With personal movies, this is not a problem. The same computer which edits the movie can help create the film score for the movie just by using different software.

Practical Experience in Film Scoring
Currently, there is no easy way to practice film scoring. You cannot go to a website and download a scenes which needs a film score so you can practice film scoring.

Today, many motion pictures are edited with Final Cut Pro or other editing software for personal computers. It would take only ten minutes to render a scene without music for people around the world to practice creating film scores with computer programs such as GarageBand.

This has never been done, even though it would be terrific publicity for a motion picture. There could be a dozen scenes on a DVD-Video disk. When budding film composers have completed a film score, they can post it on a website for other people to listen to and compare with all the other film scores for the same scene.

Creating your Demo Reel
If you want a job in film scoring, you need examples of your film scores to show film producers just how good you are. That makes perfect sense. How can you get hired doing film scoring of movies if you do not have any great scenes for your demo reel?

Currently, there are no websites where you can order scenes from television dramas and motion pictures that are all ready for you to score and then to put on a DVD-Video disk for your demo reel. There should be dozens of film distributors who offer this service. And since you are promoting their motion picture, they should offer this service for free.

Film Editing vs. Film Scoring
The editing of a scene and the scoring of the scene should go hand in hand. If you are curious about doing film scoring and film editing together, Star Movie Shop also sells a disk called "Blindman's Bluff" which shows how two scenes where edited and scored using just musical sound effects. The second scene on this disk is extremely short. By adding gaps between the dialog and adding narrative music, the entire mood of the scene changes and the scene becomes twice as long, yet all the dialog remains the same.

Local Bands
This is more of a sub-method than anything else. If you have no real musical talent, many local bands would be more than happy to write, record and perform music for your film in exchange for credit and a small amount of money.

Public Domain
Finally, it is possible to, like Ed Wood, use music that is in the public domain. This includes music from films or songs that were copyrighted before 1923. This site is a good read.

Spotting Session
When you are hired as a composer on a motion picture, you will probably sit down with the director and/or the producer who will tell you what emotions they want in the movie. This is called the spotting session. Never rely on what the actors say in the movie. The underlying mood is usually something different from the dialog. Only the director can tell you what moods you need to create.

The biggest problem that a composer has with the director (and vice versa) is the lack of communication. You need to ask the director what mood the audience is supposed to feel. Don't be surprised if you get a blank stare and the comment, "Isn't it obvious?". Directors have been working with their vision for the movie for the last three to five years. They assume that you automatically understand. Sorry, it doesn't work that way. Take a few minutes to find out EXACTLY what the director wants the audience to feel for each piece of dialog in the movie.

Usage of music
Okay, so you have your materials, your band is waiting and ready, your fingers are poised on your midi keyboard. What now? Well, before putting music into a scene it is important to think about what you want the audience to feel. Do you want them to be scared? Excited? If, for example, you have an action scene in which a juggernaut is speeding down a highway towards a roadblock, you would not usually wish to accompany this with soft classical music. A good idea when planning the inclusion of music into a movie is:
 * Watch the movie all the way through.
 * Stop the movie when you see parts that require music.
 * Note down the number of the starting frame.
 * Plan how long you would like the music to last.
 * Note down the number of the frame where the music stops.
 * Plan what kind of music you would like and how you would like it to behave - should it be low and constant, swirling in and out of earshot? Should it be loud, aggressive, constant?
 * If you get stuck on how the music should behave, go rent out some critically acclaimed movies and study how music is used.

title: Movie Making Manual/Music


text:
Cell Biology/Membranes/Proteins and channels

<< Semi-permeability and Osmosis | Proteins and channels | Hydrophobicity >>

Introduction
A common misconception is that the lipid bilayer is just that, a lipid bilayer. This is not true. The plasma membrane is filled with a group of proteins called membrane proteins. Some of these membrane proteins show only contact surfaces with either the inside or the outside of the cell and some of them stick out at both ends. Among other functions these proteins serve to anchor the cells cytoskeletal components to neighboring cells, can actively transport various molecules over the plasma membrane, receive signal molecules on the outside and relay the signal inside the cell. They form the connection with the outside of the cell. As is in the plasma membrane this feature is also documented in the membranes of cell organelles such as the endoplastic reticulum or the Golgi-complex.

Protein requirements for membrane incorporation
What distinguishes membrane proteins from other proteins? All proteins are formed from 20 aminoacids with varying side chains (hydrophilic, hydrophobic, negatively/ positively charged). When the RNA transcript is translated into the primary structure, the side chains of the string of aminoacids form non-covalent bonds with other side chains in the molecule thus reaching its 3D structure and biological activity. Now, the inside of the cell, including the compartments in the organelles, are water based. For proteins to be active in this area they must be readily soluble and thus hydrophilic on the outside. So the outer side chains of the 3D structure must be hydrophilic. The same holds true for membrane proteins. They will function in a area where part of the protein must reside in hydrophobic conditions, namely the inside of the lipid bilayer. Thus, part of membrane proteins have hydrophobic residues sticking out on the surface to facilitate incorporation in lipid bilayers.

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


text:
Cell Biology/Membranes/Hydrophobicity

<< Proteins and channels | Hydrophobicity | Self-assembly >>

Hydrophobicity literally means "fear of water". The opposite of this is hydrophilicity which means "love of water". These two terms denote the properties of molecules or parts of molecules to bond with water (hydrophilicity) or reject water (hydrophobicity). This effect is seen when one puts a drop of oil on water. The oil (hydrophobic) remains on the surface and sticks together instead of mixing with the water (hydrophilic). In cells these properties are essential. Most of the cell is hydrophilic but there are hydrophobic borders (membranes) which compartmentalize the cell into different spaces and hereby separate reactions. Of course there must be some sort of interaction between compartments and this is facilitated by membrane proteins (look here to read up on membrane proteins).

These membranes are formed with molecules with hydrophobic properties, such as phospholipids, cholesterol and membrane proteins. The phospholipids and membrane proteins also have hydrophilic properties which stand in contact with the cytosol or the extracellular matrix.

title: Cell Biology/Membranes/Hydrophobicity


text:
Cell Biology/Membranes/Self-assembly

<< Hydrophobicity | Self-assembly

Self-assembly occurs due to the thermodynamics, if the phospholipids are in a water (or other polar solution) the tails will want to be 'away' from the solution. The could all go to the top (like oil on water), or they could have the tails point toward each other. With the tails pointing toward each other, this could form 2 different formations.

First would be a micelle which would like like a ball with the phospholipid heads on the outside and the tails pointing together like this or in the form of a lipid bilayer:

title: Cell Biology/Membranes/Self-assembly


text:
User:DorianGray

dicoba-coba dulu..testing.. halo selamat malam semuanya

title: User:DorianGray


text:
User:Sbrools~enwikibooks

Umm.. I reall don't know what to put on this page...so...umm...yeah.

Right now my biggest project is working on the Runescape wikibook. That's about all I'm doing.

title: User:Sbrools~enwikibooks


text:
User:Camel

About
My name is Matthew Butler. I'm 23 years old, and have been employed as technical support for the past 3 1/2 years. In my spare time I am involved in various projects, including learning Esperanto and using Blender 3D. Currently, I plan on writing up some tutorials for Blender 3D: Noob to Pro to contribute to an excellent documentation effort.

Question or comments, feel free to e-mail me (from your toolbox on the left).

--camel 16:11, May 8, 2005 (UTC)

Plan

 * Create content for: Blender 3D: Noob to Pro/Mountains Out Of Molehills
 * Find other tutorials to work on for Blender 3D: Noob to Pro

title: User:Camel


text:
Cookbook:Green Bean

The green bean, also known as the snap bean or string bean, is a type of bean that is eaten with the pod. Green beans are normally eaten fresh or nearly fresh, not dried.

These beans are often called string beans because a fibrous string runs along the seam of the bean. The string becomes noticeable as the ends are snapped off. The snapping noise is the source of these beans' other name.

Fresh green beans are available all year, with a peak season of May to October. Green beans are also available canned and frozen.

Selection and Storage
It is best to hand-pick green beans from a market that sells them loose. To ensure uniform cooking time, select beans of similar size and shape. Choose slender beans (no thicker than a pencil) that are crisp and free of blemishes. The beans should be a bright green color. Do not purchase beans that are stiff or have the seeds visible through the pod because those beans will be tough.

Keep green beans dry in a perforated plastic bag in the refrigerator. They should stay fresh for 4 to 5 days.

Preparation
Wash beans thoroughly in clear, cool water. Beans can be cooked whole, cut crosswise or diagonally, or French-cut (i.e., cut along the length of the bean). If you want sweet tasting, crisp fresh beans, cut them as little as possible. Cut older, more mature beans in the French style (i.e., lengthwise).

Stir-frying is one of the easiest ways to prepare green beans. This method maintains more nutrients than other cooking methods. Whatever cooking method you choose, remember to cook beans as little as possible, using the least amount of water possible.

Boiling, steaming, and microwaving are other common methods for preparing green beans. When boiling, beans may release some nutrients into the water, so try to re-use the bean water to regain some of the nutrients lost. For example, you can use the water to boil rice.

title: Cookbook:Green Bean


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User:Moa3333

My page is on Wikipedia.

= Starting the Wikisolutions project = I started the project Wikisolutions on 8 Mai 2005 on Wikibooks in the How-tos bookshelf. You can go to to the project page to find more.

The project can now be found here.

title: User:Moa3333


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User:Kc9cqj

Hello! I'm pretty much the same guy that uses this name over at Wikipedia.

Feel free to give me a shout at kc9cqj(at)gmail(dot)com.

Current Wikibook Contributions

 * Scouting:Eagle Service Project

Eagle Scouts
There are quite a few resources out there for Eagle Scouts, however, most of them are few and far between. I am currently working on a complete resource for Eagle Scouts on this site. Please e-mail me at kc9cqj(at)gmail(dot)com if you're interested in assisting. KC9CQJ 20:57, 30 December 2005 (UTC)

title: User:Kc9cqj


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User talk:Kc9cqj

talk space for Kc9cqj at Wikibooks. blah blah blah.

title: User talk:Kc9cqj


text:
Talk:Blender 3D: Noob to Pro/Mountains Out Of Molehills

Creating it
I volunteer to create this tutorial (I'll start work on it when home and have blender to work with directly). However, I think subsurf edge creases, as detailed in Weighted Creases for Subsurfs, should be moved to an intermediate tutorial. But I can create this one as well if so desired. --camel 02:18, May 9, 2005 (UTC)

 * Great! Thanx for your help!  I wouldn't consider subsurf edges to be intermediate.  Since you're planning on helping out a bit around here, let me sort of explain what my vision is for the book.

 * Beginner Tutorials focus on learning how to use the tools, hotkeys available in the blender. this is mostly technical documentation

 * Intermediate Tutorials focus on the artistic use of the tools learned in the beginner tutorials. Some people say that you can't teach somebody to be an artist.  I beg to differ.  The ability to become an artist is in the desire.  Artistic modeling, artistic lighting, artistic scene creation, artistic animation.

 * Advanced Tutorials focus on the advanced functions of the Blender, such as python scripting for advanced animation, advanced modeling, etc.

 * If you can see my vision here (and if you can agree with it), then you'll see why I want subsurf edges to be in the Beginner Tutorials. Obviously a lot more tutorials will need to be created in the Beginning Tutorials part to make it comprehensive.  --Spiderworm 21:56, 11 May 2005 (UTC)

 * I didn't really see much effect from the bit about the subsurf creases . . . I'm not sure what was supposed to happen there. If this is an important tool, perhaps it would be useful to put in a tutorial page specifically dedicated to it? -- Glasnerven

Great Work
I haven't been around for awhile, but I popped my head in today and saw this. I want to congratulate those have have been working on this tutorial. It looks great so far. Keep it up! --Spiderworm 14:48, 6 Jun 2005 (UTC)

 * I agree. Nice tutorial.

Suggestions
The article says "On our Sharp Falloff mountain, the second one we did, select the first two edges on the right (starting from the point down)." Maybe it's just me, but I find this sentence confusing and I don't know which edges it means. I suggest it be accompanied by a screenshot. I understand the page isn't finished, I just thought I'd suggest that. 68.126.1.251 19:57, 30 October 2005 (UTC)

 * I Agree. Some clearification would be appreciated. 217.212.250.6 16:56, 29 June 2006 (UTC)

 * Make sure you are in side view NUM3 and then its easy to see which two edges, i.e. starting from the top point of the mountain select the first two edges on the right side (in side view there is only a "left" and "right" side of the mountain). --203.144.160.243 12:08, 25 September 2006 (UTC)

New version out- whole thing out of date- remove or re-do the choice is yours.

First mountain & Shaping the World sections.
I'm trying to change the radius of influence but NOTHING seems to be working. This is very frustrating because I went through this part of Noob-to-Pro many versions back and this part went smoothly. I'm pressing Gkey to grab the vertex, then rolling the mouse-wheel, pressing pgUP, pgDN, nothing is working. Yes, proportional edit falloff is on with 'smooth' selected. I've tried what the other note says also (ALT + NUM+ pgUP/pgDN) and that doesn't work. Could I get some clarification here? ***I fixed the problem by restarting blender... ***

 * I had the exact same problem and restarting blender fixed it. I'll write this into the main article.  Khono (talk) 21:15, 25 August 2009 (UTC)

In the 'First mountain' section I think the radius of influence acts as a sphere rather than a circle, which if correct would be worth mentioning as sometimes vertices aren't affected as you would expect within the radius of influense from the 2D views, especially when playing around with a larger radii. This is, therefore, due to them not actually being within the 3D 'sphere of influence'.

I cannot make the radius of selection thing do a thing. Not with ALT or whatever. Not after a restart either. Nothing, nada zilch.

Miscellaneous Comments
The 'Shaping the World' section doesn't seem very clear, i.e. we don't seem to be trying to acheive anything useful on the model. Perhaps a picture would help here. Maybe as an explanation the author could say he was aiming to make the moutains look a little more 'real' by making the vertices/edges less uniform through rotating them.

Great tutorials in general, very much appreciated by me & I'm sure many others. [user: mr_spoon, entry: 2/Jan/06].

I am enjoying this tutorial but would have appreciated something more on what to do with our hat wearing figure and the mountians. Such as how do we place it in the "mountain range". I don't want to edit anything as I am SUCH a n00b right now (ie: went and bought a multi-button mouse for my mac last night!).

I would like to second that last point..(I am a complete Noob too). It woul be great if there were instructions on how we could insert our man/hat inot the mountain scence :)

 * I took the first line to be a segway only (kind of a joke), not meaning that we would actually insert the man into the scene. --203.144.160.243 12:08, 25 September 2006 (UTC)

8-Bit?
Actually, anything 3D would be to powerful for an 8-Bit console. Even something as chunky as that. - A Guest that'll probably never post again

Smoothing things out
"On our Sharp Falloff mountain, the second one we did, select the first two edges on the right (starting from the point down)." Which point down? Top? This is a bit confusing.

Also, it seemed impossible to drag to get a value of 1 for the crease, no matter how far I zoomed out I couldn't get 1. Typing 1 worked fine though. Correction -- when using the menu that comes up when you hit space, the location of the mouse pointer is wherever the last menu choice is. So if you choose space->edit-edges->crease subsurf the mouse might be far away from the relevant edge. This will cause the effect of the mouse motion to be less pronounced, and more fine-grained, and it may not be able to get to the value of 1.

Great tutorial in general! Thanks for all the hard work.

Help him with changing radius of influence
Someone put this in the main page....

02:37, 18 August 2007 12.183.160.70 (Talk) (14,027 bytes) (→Peaks vs. hills)

"I do everything you say and the radius circle dosent show up how will I get it to show up?

Here is a picture.

http://i191.photobucket.com/albums/z148/purgarus/help.jpg"

--Pedro Fonini 21:44, 30 September 2007 (UTC)

It took me a while to get the radius to change too. What I didn't find clear from the page was the exact order of events: Bob Dowling (discuss • contribs) 07:36, 3 January 2013 (UTC)
 * 1) Select vertex/vertices
 * 2) Specify operation (e.g. G)
 * 3) THEN use the mouse wheel to adjust the radius of influence
 * 4) Make the operation (move the mouse, specify axis and amount, etc.)

Naturalness?
At the very beginning of this section, you say "select the second vertex from the top in the center". Could you just explain a little more which vertex you mean exactly and on what mountain (the one with the smooth falloff, or the one with the sharp falloff) this vertex exists? I think a picture for the vertex that should be selected may be a great help.

About newbie notes
I'm starting to think that "newbie notes" should instead be called "pro notes". The tutorial is meant for newbies anyway, so why call advanced tips "newbie notes"? Some "newbie notes" I've encountered also tend to confuse newbies rather than enlighten.

Considering the books "Noob to Pro" aspect, I think Pro notes would be better for any kind of note that adds insight to a concept, or presents another way to do something. A few other tutorials I notice use the "Noob Notes" but I think the title best fits a note that highlights a common mistake made by newbies. --Vi3gamehkr (discuss • contribs) 20:15, 26 February 2011 (UTC)

Append/Link
Some more clarification on appending/linking to the new project would be nice. I can't seem to get it to happen.

I agree, I've followed the steps multple times and nothing seems to happen when I click load library.

Smoothing things out
''Noob Henry: What I do is take the mountain, and then set a subsurf level of two. Then, I hit the 'set smooth' button, and use the individual vertices to make it look authentic.''

Shaping the world
[Noobie Roy says: Huh??? I don't understand what I'm supposed to be achieving here. What is supposed to happen when I rotate? As far as I can see, nothing at all happens. Can you maybe show us a before and after screenshot? Or maybe explain in more detail? Thanks!] [Noobie Sean says: Roy, you made the mountains by using proportional editing with grab/move. Moving one vertex moved its neighbours, within the proportional circle. Rotate and scale also use proportional editing to rotate or scale about the selected vertex much like the grab/move operation.]

[Noobie Larry says: I tried rotating just that one point but nothing happens]

[One thing to watch out for is the range of affected vertices. If the range is too small, then rotating will affect just the selected vertex. If the range is too large, it will rotate everything together. You can adjust the range by scrolling.]

[Dusty says: To answer Noobie Roy, the reason nothing may happen, is that the circle of influence may be only including the vertex that you have selected when you first hit R. After pressing R scroll the mouse wheel to increase the circle include the other vertices next to the one selected, then type 90 and you'll see the effect. Scroll the mouse wheel further more (to include more vertices) and you see the effect spread out.]

[Another newbie says: two things to keep in mind here: really weird things will happen here if you set the rotation/scaling pivot to "3d cursor" at this point (I assume the intention is to rotate around the single selected vertex, so the other pivot modes will all work, I think), and (as Dusty says) you must increase the effective radius quite a bit (use the scrollwheel after pressing RKEY, just keep going until you are affecting half the plane to see what's going on). What makes it a bit confusing is that some vertices seem to be inside the initial affected region (with the radius you used to create the previous mountain) in the two-dimensional side view, but that affected region is actually a three-dimensional sphere, so you cannot tell from just that side view what vertices are inside the affected region. I am not explaining this very well, but it helps to have more than one 3d view open so you can see that every vertex is outside the affected radius in at least one view (try splitting the main view into 4 equally sized parts so you can have a top, front, side and "free" 3d view open all at the same time).[Yet another noob says: if you are following the tutorial exactly, your proportional edit falloff will be at sharp at this point. This makes the effect of the rotation hard to see unless your circle of influence is quite large.]

[Dbproguy mentions: From what I am seeing, this effects the texture of the mountain, so it's not so plain.]

[hendric: Newbie, but I think I got the tutorial demonstrating what it should be doing. I added screenshots of my full workspace and changed the wording to explain a little better. I am wiki-illiterate so any changes to prettify it are welcome.]

 * First, thanks for working hard to create this tutorial, I really appreciate it, but I had some difficulty following this section. When we're told to rotate -90 degrees. I think it would be helpful to know which axis you're talking about, I assumed (based on the text) it was the side view (thus around the x axis), however the screenshots look more like it was rotated around the y axis. Also, Did the height of the mountains change somewhere? I cannot seem to get my view to look like yours no matter what combination of + or - 90 degrees around the x or y axis I try Lxxxv (discuss • contribs) 22:08, 16 September 2011 (UTC)

14 Adding the Hat Guy, for noobies reading the book.
I followed the previous tutorials on modeling the simple person and his hat and his armature. This file is saved separately as suggested by this tutorial and commenced work on a new one. Later, when I bring in the hat guy into another layer, your tutorial needs to mention: a. The person 'cube' as he's called, b. The hat, called 'circle' c. His armature, all three have to be imported, and the parent-child relationship between the hat and the head need to be re-defined. Then, the parent-armature relation has to be defined too. However, since the simple person is drawn at rest position and the armature is in a pose, the import brings the two cutting-through each other. Thus, a parent>armature creates ugly and bizarre appendages to the limbs and other areas.

The section of appending the hat-person has to be expanded. You need to mention a pre-append stage, where the armature has to be kept at the rest position before appending. Then, a post-append stage mentions the simple step of how to move the three components into a new layer, and then how to re-establish the parent>child and parent>armature relationships. Finally, switch on the view on both layers, scale and shift the person to correctly stand on the terrain, and add salt and pepper to taste.

regards niyam bhushan

Naturalness - Proportional Editing
I noticed in a "noob note," a comment about proportional editing settings. First off, if it is more efficient (doesn't create more vertices/mesh) why don't we just change that section of the tutorial to use it. Secondly, where are the "proportional editing settings?" --Vi3gamehkr (discuss • contribs) 20:20, 26 February 2011 (UTC)

The Append Button
Where can you find the 'append' button. At the last bit you press Shift + F1, but i see no 'append'. I do see the 'link' button. A picture would be nice :)

Keys
Do you seriously have to format the alphabet hotkeys like *KEY? Up until this tutorial, if you wanted to scale, it would have been just "S" not "SKEY". I think it's really annoying.

 * Yes, it was. Triggered me so hard I changed it all. Couldn't find any specific phrase to use for Page Up and Page Down so that would be useful. Also removed the Editing the Hat Guy in section, as it seems irrelevant and also people seemed to have major trouble following it anyway. MS10EL (discuss • contribs) 21:34, 8 September 2016 (UTC)


text:
User talk:Camel

Tutorial Authors Wanted on Official Blender MediaWiki!
The main Blender documentation and tutorial authors are now working on the Official Blender MediaWiki. If you're considering helping write Blender tutorials or documentation, please consider helping us at the official wiki instead.--Popski 18:04, 18 July 2006 (UTC)

proportional editing
Your plan for doing that tutorial sounds great! Thanx from everybody! --Spiderworm 02:31, 9 May 2005 (UTC)

title: User talk:Camel


text:
Cookbook:Pistachio

The pistachio is a green nut. Ripe ones have shells that pop open.

Recipes featuring pistachios include

 * Kashmiri Pulao
 * Pesto
 * Ma'amoul

title: Cookbook:Pistachio


text:
Cookbook:Baba Ganoush

| Middle Eastern Cuisine | Mediterranean Cuisine | Vegan Cuisine

Baba ganoush is a common Middle Eastern and Mediterranean dip with a creamy, somewhat smoky flavor. It is usually eaten with pita bread although naan or a crispy flatbread also work well.

Ingredients

 * 1 ea. (1 to 1½ pounds) medium-large eggplant, any variety
 * 2 tablespoons raw tahini
 * Juice of 1 lime or lemon
 * 1 clove garlic, crushed
 * 3 tablespoons olive oil
 * ½ tsp salt
 * Paprika or cayenne pepper, as a garnish

Procedure

 * 1) Roast the eggplant. This can be done in a variety of ways, but the flesh should be fully cooked and the skin should be burned and falling off easily. An effective method is to prick the eggplant and place it a few inches under a broiler, turning it as the exposed skin blackens, about every 3-4 minutes. Place a pan underneath to catch the juices, and discard them.
 * 2) Scrape off the eggplant skin. It's alright if you miss a few burned bits.
 * 3) Finely chop or blend the eggplant flesh with the rest of the ingredients. The consistency should be smooth. Reserve a bit of the olive oil, and drizzle that over the top. Sprinkle with some paprika or cayenne.

title: Cookbook:Baba Ganoush


text:
User:BradBeattie~enwikibooks

 * 1) REDIRECT My wikipedia user page

title: User:BradBeattie~enwikibooks


text:
User talk:24.218.202.115

don't delete content from modules just because you dislike it. Gentgeen 05:30, 9 May 2005 (UTC)

title: User talk:24.218.202.115


text:
Script Languages Synopsis/if

if/unless control structure
Bash: if list; then list; [ elif list; then list; ] ... [ else list; ] fi

Perl:

if (expr) {block} [elsif (expr) {block}] [else {block}]

unless (expr) {block} [else {block}]

Ruby:

In Ruby, an if block is an expression, i. e., it returns the last evaluated value. The then keyword can be omitted, if a new line starts at this point.

if expr [then] expr... [elsif expr [then] expr...]... [else expr...] end

Example: points = if outcome=='gewonnen' then 3 elsif outcome=='unentschieden' then 1 else 0 end

Python:

if expr: block [ elif expr: block ] [ else: block ]

if modifier
Perl:

statement if expr

statement unless expr

Ruby:

expr if expr

title: Script Languages Synopsis/if


text:
Script Languages Synopsis

The Script Languages Synopsis is a quick reference to the syntax and standard libraries of the popular script languages Bash, Perl, Python, and Ruby.

This synopsis is written for programmers who use more than one of these languages and who need to lookup trivia such as elif, elsif, or else if.

Control Structures

 * if, unless

Standard Classes: String

 * regular expression matching

title: Script Languages Synopsis


text:
Cookbook:Pawpaw

The pawpaw (also paw paw or paw-paw) is a fruit that is 3 to 5 inches long. The pawpaw tree, Asimina triloba, grows in the non-coastal parts of the southeastern quarter of the USA. The pawpaw is related to the cherimoya and soursop, not the papaya. Pawpaws taste and feel somewhat like bananas, and can generally be used in recipes calling for bananas.

Pawpaws are nutritious fruits, better in most ways than bananas. Pawpaws have more protein, fewer carbohydrates, more fat, and about the same amount of potassium. The fat is better, being more monounsaturated and less saturated. Pawpaws have much more iron, zinc, phosphorus, calcium, copper, and manganese. Unlike most plant foods, pawpaws contain all of the essential amino acids.

Fresh pawpaw is very perishable, lasting no more than 3 days at room temperature. It will keep for about three weeks at a temperature of 4°C to 7°C (40°F to 45°F).

Seasonality
Pawpaws ripen during a four week period in August/September, after which they are harvested, making them available from late August to October.

title: Cookbook:Pawpaw


text:
When It Hits the Fan/Rebuilding

Basic Assumptions
This section was created as to permit the analysis of hypothetical situations that one, and possibly an indeterminate number of people, may face when faced with general survival situation, in a somewhat insulated set-up. Stranded in a what may be an uninhabited remote place (e.g. an island, new unexplored landmass, specific will covered to provided for any plausible alternative) that has may have edible vegetation and possibly animal life.

Do not automatically assume that access exist to any man-made objects other than (perhaps) the clothes on ones back, a common objects most people carry around in daily life. As we covered in previous sections, it may make note of small advantages given by items and knowledge that you may and should have on your person (such as pens, paper, keys, the contents of your wallet and so on), but will not require these elements. When standing next to a wreck (plane, car, ship or bus), consider it a major bonus and a source of useful material.

Your safety first
Before anything else, make sure you are safe and well. That means making sure the ground is stable and that nothing is about to fall on you, that you are physically well and that any situation-specific hazards have been taken care of (e.g. the boat is not about to capsize, the plane that you may have crashed in is not on fire or that you are not in it).

Others
If you were injured, assess the gravity of the situation and call for help, don't move unless you are forced to, don't make demands of others or be hysteric, if it hurts scream, consider that others will only help you if you are indeed in need of help. As others can be useful to you, you are also useful to others. If among strangers take in consideration that this will be your first impression on them.

For those who are conscious, obtain name, current physical/emotional state and any important information (medical conditions, allergies, etc.). Keep track of this information for future reference. Write it down if you can, this information will be useful for future relations and decision making. Avoid adding in writing any personal remarks or negative observations, if you need to do it in a short-form code that you understand by that others reading it will not take offense or use it against you at a later date. Keeping a log of events is extremely useful not only to keep one's sanity but for future rescuers, at times it can even serve as a distraction from an asher reality. It can even be the basis for a best selling book, plenty of examples abound.

Other survivors are a resource, sharing the same goal, but also rely on the few resources available. So after you attend to your personal safety you should determine how many people are with you (naturally, if you are still doing triage you may want to hold off on the headcount, as you may have less people later if adequate medical attention cannot be provided), and if they need immediate help. Don't put yourself at risk of injuries, at this point you are on your own, no social structure exists, be as helpful as you can without entering in conflicts and becoming emotional, the other survivors are strangers to you, assess priorities according to how useful others will be to you later on. Don't give orders, but request help and work in tandem by joining efforts with other fit survivors to bring safety to all.

Shelter
Finding or making shelter is important because it allows a person to stay protected from the elements, and even wildlife. Depending on the environment shelter may be the number one priority.

There are however two major possibilities where the threat of the environment may not be readily apparent:
 * 1) Warm or arid environment.
 * 2) Contaminated or radiated environment.

A warm climate may feel relatively comfortable and will not be an immediate problem, but it may also cause you to lose a lot of body fluid - if water is not nearby this could be dangerous and shade would be a good idea. Consider risk of searching for water against the level of dehydration (time of day, dry wind etc).

If the environment is partially dangerous be careful with the food and water you take in even if it means going hungry and watch the wildlife for signs something is wrong. If a place makes you feel even slightly bad leave it for a vastly different kind of place, for instance you might go from low grounds to higher grounds or the other side of a mountain.

Consider also the fast cyclic environments, that may surprise you with storms or vastly different conditions during day and night or summer and winter. However you may find warning hints to this in the environment itself - if dead leaves cover the ground its because cold winter comes around every year or if the air is not very moist it can mean rapid changes in temperature come nightfall or dawn etc..

The next priority after finding shelter is water.

Water
It is your most critical resource as a human may potentially survive only hours without water, but easily days or a month without food. The length of survival mostly depends upon climate conditions and physical exertion.

Water may usually be obtained from places of condensation like mountain tops and glaciers, vegetation or deep from the ground through wells.

Procuring resources may also help elevate you to a position of leadership through your obvious contribution and the trust it creates or through the raw power the resources give you. From this position you can then continue to help the group.

If the weather is harsh for instance because of arid conditions consider sleeping in the shadow in the day and working and traveling only at night.

If the water may be contaminated fresh but potentially poisonous fluid may be obtained from plants and animals, water may be filtered through old and flayed clothes or water may be boiled for 10 minutes.

Food
Food is also essential for survival. This is especially important during winter, as one has higher calorie-burning needs.

After a while food begins to claim your attention. You want to be ready before that if possible since it may take time to grow crops or find the non-poisonous fruits. Remember that finding one nut is not the same as feeding the entire group for an extended period of time. You need to find and secure a large area for foraging or a slightly smaller area for growing foods.

For longterm survival you will need to get to know the area and environment, in the short-term you may be able to hunt or gather plants for feeding. Plants may be poisonous, to test this use the look, rub, taste and eat procedure:

 * 1) Look at the plant - does it look fresh and are other animals willing to eat it? If not do not eat it.
 * 2) a Bright warning colors may also indicate a poisonous plant.
 * 3) Rub a small amount of sample on your skin.
 * 4) a Observe the patch for minimum 3 hours, if there is any discomfort or rash do not eat it.
 * 5) Now you may taste a small piece of the plant, do not eat or swallow.
 * 6) If the plant tastes foul, bitter or just a little strongly - do not eat it.
 * 7) You may now eat a small bit of the plant.
 * 8) Wait 8 hours minimum and if there is no discomfort you may try larger portions.

Do not let the group eat the same unknown plants, if you must get yourselves poisoned by your ignorance there is still no reason to kill or discomfort everybody at the same time - although it surely would seem hilarious in those last flower induced death.

Moral
It should not be overlooked what the will to live means in a life and death situation. Stories of heroic feats of survival by regular people with little or no training are not uncommon. Even with a strong understanding of the way we may be mentally affected, even a trained survival expert may feel the crushing effects of psychological strain during duress.

Understanding the effects of stress will reveal that while it may not always seem like it, stress is a necessary evil and belongs not only for malice but for good as well. It serves as a measuring stick for our success, it presents one with challenges, and it is a good way to show us how far we can bend and not break.

Reality sometimes has a nice way of pointing out that things could indeed be much worse. On the flip side of the coin too much stress can be a awful thing. The carnage that stress can breed within a human being is almost without limits. Too much stress can lead to forgetfulness, increased propensity to making mistakes, lessened energy, outbursts of rage, and carelessness.

Emotions are hard wired into our brains. Survival situations are bound to invoke strong emotional reactions from anyone involved. There are a few emotions that most often accompany this type of event. They drastically lessen our ability to combat the situation. It is not something that initially comes to mind when thinking of surviving but they are as important as any other survival skill.

There are 6 emotions that must be overcome to allow a chance at survival and have a good time, in general.
 * Fear : Once placed into a survival situation one of the initial reactions for anyone is fear. It is a perfectly normal reaction, however fear is the enemy. It drastically lessens our ability to make clear decisions, which ultimately will lessen the chance for survival. In an effort to minimize our fears, we can train in realistic situations to condition ourselves to have the mentality needed to increase our confidence and more effectively manage fear.
 * Anxiety : Typically anxiety and fear run hand in hand with one another. It may start as a uneasy feeling in the pit of our stomach but by the time the mind is added into the situation it may quickly spiral out of control. Anxiety will oftentimes take over the mind and quickly make it difficult to make decisions with any clarity. Anxiety must be fought through in order to focus on the tasks at hand. Typically once some of the critical survival needs have been met, anxiety will be easier to keep at bay.
 * Anger : It is inevitable that in a survival situation there are going to be problems. With the endless possibilities of things that can go wrong and probably will, to imagine that tempers may flair should not come as a surprise. Anger can sap one’s drive necessary to want to survive. Finding other ways to channel this emotion will prove more useful than losing ones temper.
 * Depression : An overall sense of malaise is not uncommon in wilderness. Being alone in the wilderness trying to survive is almost certainly bound to bring about a depressed state. Overwhelming depression can lead to the body shutting down and not unlike anxiety can also cause a human being to give up hope. Staying positive can allow one to combat this.
 * Guilt : Often accompanying a survival situation is loss of life. The guilt may not even come from someone taking responsibility for the person’s death, rather a sense of guilt as they are alive and the other person is dead.
 * Boredom (and Loneliness) : An often unanticipated side effect of being in a survival situation. Boredom and loneliness can both contribute to lowering morale. It is important to be able to keep your mind busy and your spirits up. It may be one of the most critical skills to survive.

The Roster
For future reference, and in case of an emergency, you need to find out who your "go-to" guys/girls are. You will need to figure out who are your fighters, who your nature boys and girls are, and the smart guys/girls. Considering your position you may be one of the above mentioned three.

A fighter would be a person who is skilled in some kind of combat, any kind of weapon (if you have any such weapons) or is just a relatively strong/able person. You'll need him/her to help keep watch over the camp at night, scout the island, and just handle any kind of danger to the rest of the population.

A nature boy/girl is a person who understands nature and is used to working in the wild. The nature boy/girl should have knowledge of animal behavior, plants, and wilderness survival. You'll need him/her to find food, help organize the camp site and in many cases the nature people can be just as useful for the camp's defense as the fighter.

The smart boy/girl is necessary to the group just as the mind is necessary to the body. The smart person or persons should have a vast knowledge in engineering and technology, and can design and build just about anything the group needs. You'll need the smart people to help build the camp as well as to eventually find a way to get back home (if that appears to be possible - this manual does not guarantee such an occurrence).

Although less important, it may be helpful for future reference to know who does not have any any of the above three traits.

The unskilled laborer is anyone with no specialized survival skills for this situation, at least in the early days of rebuilding civilization, such as an accountant, lawyer, or nuclear physicist (at least until complicated finances, complex law, and nuclear power plants are rebuilt). These are common, and you are likely to have a couple in your group of survivors. To keep them busy and to free up time for those with more important skills, these laborers should be used in tasks which are easy to teach but time consuming. Primarily, they should be used for gathering firewood, gathering building materials, and testing edible plants (as explained in the Food section), after given specific instructions on how to acomplish these tasks, by those with knowledge regarding those subjects.

Scouting the Area
After the incident is over (the plane crash, shipwreck, etc...) and all the injured are being taken care of, the first thing you need to do as leader is to put together scout team(s) to gather knowledge of the area, to find ways to gather things in the area such as food (fruit, vegetables, edible animals, etc.), water, possible building materials for the future and to look for any nearby dangers. If you have a useful skill or trait (like being able to identify plants or being relatively strong), you may want to join the scout team. The scout team may also find something important that may or may not be beneficial to the group: like an aggressive tribe or a hidden hatch, either way it is important to mark all things of that nature.

It may be useful to mark the path you take (trailblazing), so that the scouting party can find the base camp again (rather than getting lost further and further away from base camp, or getting stuck going around and around a big circle). Also, if you find something useful that cannot immediately be carried back to camp by the scout team, the trail marks can help you find it again.

Reminder: Always use the buddy system when leaving the camp, and tell others where you are going and (if possible) roughly when you plan to return.

Setting Up the Base Camp
While the scouts are looking for food and materials, those left at the camp should start by trying to create a camp fire. The fire is needed: to keep the camp illuminated at night, (depending on where one is) to keep warm when it gets cold, also to ward away aggressive animals. As an added bonus it will create a large amount of smoke that could get the attention of nearby ships and planes. If you are fortunate the ship/plane you came in on may have some dry matches left behind. If the wreck you came in on is extremely serious you may want to use the broken parts as fire burning material however you may want to leave the plane/ship alone on the off chance you can repair it later (Note: this assumes that you have access to a ship/plane wreck. This manual does not guarantee that.). If your skill sets involve building or cooking then you may want to stay to set up camp.

Rather than have the one person who knows how to tie knots do all the knot-tying from now on, encourage that person to teach everyone the more useful knots.

Another idea, once the camp is established and the immediate necessities taken care of. A base perimeter should be made. Think of this as a safe zone from animals, who may try to steal your food, or other predators (man or animal).

Find the highest ground available, and set-up a signal fire, ready to be set a blaze at the first sign of rescue. You may also use that mirror from the make-up compact now to reflect light at the cockpit of the vessel you see.

Organizing Supplies
That is, stockpiling weapons and ammunition you may have, storing spare parts and such (canteens, backpacks, paper, books, writing utensils, eating utensils, etc.), and so on. Part of this may include requisitioning supplies. DON'T FORCIBLY TAKE POSSESSIONS. People should contribute for the good of the group. Doing otherwise will not help you make friends and influence people. And having friends in this situation could save your life.

A better way to put this is to take a an inventory. Your wife's mirror in her make-up compact has now just become a signal mirror and 1/2 of a periscope. Nothing is insignificant, and when there is no WalMart nearby, nothing should be wasted.

This may be better served being done immediately after taking a health assessment of the group. As stated before, all contributions should be voluntary, while explaining that there is power in numbers and sharing resources, rather than "strking out" on one's own to fend as an individual. Those who choose to remain independent and not share are simply nailing their own coffins shut. Their choice is their own, remind them.

Lighters, pocket knives, keys, leather belts, strong prescription vision glasses, all now have alternate uses for survival.

Later Days and Secondary Projects
After having a basic campsite built with roofed shelters, a campfire going (with the necessary fuel to maintain it), water security (even storage) and there is an organized method of collecting or hunting for food, you may notice that there is a large increase in down time. Although it is good for your fellow castaways to get their rest, too much downtime can lead to depression, boredom, hopelessness and possibly a dangerous amount of unrest. It may sound mean but the leader must keep the castaways busy to reduce the problems mentioned above. A wise man once said “if you can give a man one thing give him something to love, if you can't do that give him something to hope for, and if you can't even give him that, give him something to do” this saying can mean a lot in this kind of situation.

The effort and planing may depend on the situation, specific project and resources, consider the urgency and expenditures before selecting a new task.

Extended Exploration
After things have settled down, you may wish to conduct extended exploratory trips to gain information about your surroundings. This could mean, but does not necessary implies a travel by sea, week-long hiking trips, and so forth.

Governance
Governance is about establishing and maintaining a lasting leadership structure. Even if you have a fairly small group of people (say, less than 10), you may need a form of official government. This goes especially if the group is anything but close friends. Its tempting to think we are evolved enough to do everything by consensus and there is no need for the rigidity of formal structures. Keep in mind that once people settle into a habit they develop a certain resistance to any change so while getting that water may seem really important right now, this issue is no less immediate.

Leadership is absolutely essential for survival (short-term and longterm), without it there won't be any rebuilding of civilization as much as there will be back to scratch. Leadership, mind you, does not mean that a guy is in command; if you end up putting the emotionally charged but charismatic/strong fool in the seat you might as well have anarchy.

Giving power to the alpha males and/or females of the group means the quieter voices don't get a fair say. Structure does not have to mean hierarchy. Of course democracy creates politics but until we are all in perfect harmony it is the best system possible.

The "leader" doesn't have to have dictatorial powers though, but he may be the guy who is told to think on a plan while the rest scouts and take responsibility for the outcome. One should try not to get too much status from the function and think of it as a necessary duty, even sacrifice for maintaining social order and moral in face of failure.

Governance is a *hard problem* as proved by the struggle so many countries, communities and societies have with it. Democracy has however evolved and there are some good new styles of democracy which would work well in a community.

Most people know only two kinds of system, the one where the strongest are in command or the one with the more popular guy (democracy) - considering your situation the prevalent system structure may have proved to be catastrophically flawed, maybe you should adopt a new one.

One such style is Direct democracy which comprises a form of democracy and theory of civics wherein all citizens can directly participate in the decision-making process. Direct democracy in its traditional form is rule by the people through referendum. The people are given the right to pass laws, veto laws and withdraw support from a representative (if the system has representatives) at any time.

The main objection to Direct Democracy is that deciding all or most matters of public importance by direct referendum is slow and expensive, and can result in public apathy and voter fatigue. The solution to this is Delegated Democracy.

In delegated democracy all people have a vote on all issues as with direct democracy but they can delegate their vote in any area to any other person. If I vote on a topic my vote is counted if I do not bother to vote and I have delegated votes in that field to someone else then my vote is added to their tally.

Some examples: - Nina is a great cook and nutritionist and I trust her with regards to running the kitchen and feeding us. Therefore I delegate my votes on food buying and cooking to Nina thus if there is ever the need to vote in this area Nina will cast my vote on my behalf. - My friend Naoise knows a lot about money and is trustworthy and I think has a good balance between investing and being too cautions. I would delegate my investment votes to him in most instances. - If friends decided to delegate their votes to me on certain areas where I feel confident (community, governance :-), education) I would be honored to vote on their behalf.

Remember you can always still vote yourself and you can always move your vote from one person if you feel they no longer adequately represent you.

Inventing a new system (one that has not been tested so far) is a very hard preposition but making a point may be required, to do so use science, when the group has time to spare organize two equal teams with each their command structure/command rules and see who wins at at a friendly game - work from there.

Indeed more importantly the system you begin now may stand for the next hundred years, think of your responsibility to the future and the precedence you set for it.

Communal Living
Living communally was the first social structure that emerged from human social interactions, it can be beautiful but it has its costs in terms of restriction to individual freedoms. In a fully participated community the good of the many will always surpass the good of the few. Yet the alternative of each of us living alone and alienated is just as unsatisfactory. For tens of thousands of years humans lived together in tribes. Mimicking small scale biologic evolution, from single cell to multiple cell animals these social structures arose from the benefits to the survival of individuals in a hostile environment, permitting large gains and opening the door to specialization and the conquering of the environment.

The cornerstone of any organisms is reproduction, an extension of the biologic imperative for the survivability of the gene-pool. Even today the basic social unit is still the family. The sixties and seventies with the a sexual revolution and civil freedoms saw the first wave of experimental modern communes, a rediscovering of the tribal life. Many of these failed as individuals had become acculturated to a different set of priorities and appealing ideologies that had started to arise from in the 20's (World War 1) that were only possible in a industrialized and consumerist society. The reasons for failure in this attempt to revive more closely netted social structures are many. Competition with the outside, the legal frameworks had evolved toward a different structure permitting and empowering complex politic power games, endangering established hierarchies and ownership structures.

Living communally is more efficient in all regards, the imperative to share, save and to think ahead to needs of future generations emerges as part of the mutual preservation spirit, something that has been lost in the present mainstream social setup that is mostly about the selfish self to a point that it is putting our Planet's at risk, especially in face of the demographic pressures created by industrialized lifestyles that have lost any contact with the natural world.

In a community an appliance can be shared among many people - do 20 people really need 20 dishwashers. We can share cooking, cleaning, childcare and can create together.

Ownership
After watching many communes go down the tubes and seeing past effort go to waste many are understandably reluctant to commit energy and money to something without a clear idea of what might happen to it. This is what makes communal ownership so important.

If the commune is incorporated as a Limited Liability Partnership all those involved in it can legally have a share of it. That way if one wishes to leave one can sell out or if it does not work and needs to be wound up any assets will be shared out among those who contributed.

Shifting cultivation
Shifting cultivation here means the cultivation of hominids and crops for human consumption on freshly burned vegetation area or forest within a fewer number of years than the time that area is left to natural regeneration. This is the oldest form of food production as proto humans have developed it over millions of years. During this long span of time, shifting cultivation developed into a complex process, requiring the coordinated interaction of larger groups of people. This way of life can be traced back to Africa and / or China, where the forerunners of Homo erectus (the erect man) had a nascent rise more than five million years ago. Later they spread out across the world, including northern Europe, less than one million years ago. But it is much less than one million years ago that Homo sapiens (the man who knows and can) came from Africa to Eurasia. They were knowledgeable and experienced people already. Shifting cultivation is highly community-forming. The smallest unit was the clan – the cultivation team – and often several clans would cooperate with one another. The manager, or Kuningas, had many functions. It was not only practical, but also political and religious. Cultivation was mobile; the clan moved to new forests to burn and grow food crops. They had no monumental construction. It is therefore difficult to trace them archaeologically, even from the study of Terra Preta (charcoal-rich soil). The swidden ranged from single ones onsite to periodic settlements, punctuated by moderately long abandonment. This rest period was required for necessary forest regrowth. Surveys of mountain caves and other natural settlements have revealed many cultural layers upon one another with natural forest regrowth in between. This stratigraphy indicates cultural development. Here in random order I will mention a few such places: Catalhöyük in Turkey, Altamira in northern Spain, Jericho in Israel, Kostenki Voronezh in Russia, Skara Brea on Orkeney, and the cave Vistehola at Jæren in Norway. Nowadays we are accustomed to excess in stationary conditions. We are trained and raised in the European tradition, which considered shifting cultivation as a simple, primitive form of life without significant cultural organization. This attitude is probably the reason why researchers have thoroughly investigated shifting cultivation. There are many characterizing features of shifting cultivation that are widely considered “primitive” and “self-taught”. They were nomads who want to have a few things to carry, for their skill and knowledge was not a heavy load. Shifting cultivation is the foundation of today's society: our values, customs, ideas, and conventions. Arable farming is too young to have influenced the development of mankind's history to any significant degree, yet we still feel its effects in our daily lives. The declining tropical rainforest is the site of most of today’s shifting cultivation practices. “The oldest of all farming methods is shifting cultivation. It has been in Sweden since old times and it seems to permeate every subject the further back in time we go. It is the oldest of all cultivation systems, at least in forested areas” ref>Arenander E.O. 1923, Germanemas jordbrukskultur ornkring KristifØdelse // Berattelse over Det Nordiska Arkeologmotet i Stockholm 1922, Stockholm. "Kauran Karjalan ahoille, Rukeheni Ruotsin maalle, -Vehnät viskoan Virohon - Kylvän ohrat Suomen maalle - Hernehet Hämehen maalle - Jost Vilja virtoavi - Vilja vierahan kätehen" ; Oats in Karelia svedjer - Rye on Swedish land - Hveat returns Estonia – Barley grows on Suomi fields - peas on Hämä fields, - Here the grain flows, - The grain is always next.

The extended family was the normal social structure of the Vikings, but has since become uncommon in most parts of the Nordic countries It has since remained where shifting cultivation was still the dominant means for nourishment, some still exist in some remote places in Karelia. (Eastern part of Finland where the Finns kicked out the Soviets communists, who tried to invade Finland, before the 2.WW.) http://www.youtube.com/watch?v=0S7LTbJ-ErQ

Multipurpose Center
If you are going to set up a village-type camp, it may prove beneficial to construct (or designate, in the case of a cave or natural open area) a large multipurpose center. This can be used for "camp" meetings, spirituality and organized sports and recreation activities (such as soccer or dancing).

References:
http://www.youtube.com/watch?v=0S7LTbJ-ErQ. See also https://en.wikisource.org/wiki/Slash_and_burn

title: When It Hits the Fan/Rebuilding


text:
Talk:Rhetoric and Composition

About

 * Started: 27 April 2005
 * Size: 86,000 words. (22 August 2008)
 * Headings Case: title case.
 * Headings Case: title case.
 * Headings Case: title case.

Project information
For background information on the start of this wikibook, read this first blog or the second one by MattBarton.exe on Kairosnews. As best as I can see it, it started as a class collaboration. liblamb 18:25, 23 September 2005 (UTC)

We are also discussing this project at the computers and writing forum at mattbarton.net.

Project Discussion
~I am thinking a handbook would be the place to start. After rifling through about a dozen of them, I really can't stand the thought of students paying 50 and now sixty bucks for these things. It only looks like it's going to get worse...

And I agree with Matt that it will be easier to put the theory aside for now and just work with the mechanics.

After some sifting then, I found a couple that had interesting ways of organizing or presenting
 * The Everyday Writer by Andrea Lundsford
 * Prentice Hall Reference Guide by Muriel Harris
 * {other that are in my office, will post soon}

These seem to be the super-sized handbooks (they more resemble textbooks)— maybe more than we need to cover, but maybe not

Boy, wouldn't it be great to have them involved in our project? Which reminds me, we do need to get a woman's voice in all of this, the sooner the better.

~v

Front-page image
New image seems to be taking. No complaints as of yet. - Luke

I think I speak for the class when I say that we want the front-page title image to stay. Some of the comments people in class have made are:

-It is a great introduction for the book. -It sets the book apart from others. -Makes the book more visually appealing. -It defines the goal of our book.

I am putting the image back up.

 * I personally, despite liking the Wikibook, thought the cover was cheesy. For a better cover, perhaps you could scan a sheet of paper, switch to Courier New, and type out the title?--Cyberman 00:08, 3 August 2006 (UTC)

Currently, the following two images are being used. The light one is used in the print version of the book, the brown one on the front page. --Dan Polansky (talk) 10:57, 9 September 2008 (UTC)

I propose a different image: Link I made it using Inkscape, so there's an SVG source to it, and the pen is a public domain image from openclipart.org. If anyone's in favour of using it, I'll put up an SVG version in the public domain. --Rotw (talk) 17:21, 31 October 2008 (UTC)

Suggestions
~ I've noticed that this project doesn't seem to be paying attention to the recent moves I've seen in composition away from writing prose that will earn an A in History 201 to really interrogating how we compose--always within a rhetorical context for an envisioned audience and not most effectively in the five-paragraph theme. Why not make a move toward looking at multimodal composing from a rhetorical standpoint at least in addition to your current presentation? ~

Discussion about the body who created this project
This is a really interesting class project. I'm wondering, what kinds of follow-on writing or discussions are you all having as a class? Electricbody 05:05, 30 November 2005 (UTC)

We've been discussing it in class quite regularly. Many of these discussions have been quite interesting and insightful, ranging from design issues to matters of tone and clarity. --Mattbarton.exe 18:27, 30 November 2005 (UTC)
 * This is absolutely fantastic. Thanks for all your work, and organizing it. This stage of the work may be even more interesting. How can your next class improve the work to an even higher level? Improving something that is already pretty good is more challenging than bringing something up to decent. Can a class, working together create a book better than any of the expensive textbooks out there? So far the results look great, without reading through the whole thing. Keep up the great work. - Taxman 16:25, 2 March 2006 (UTC)

--I sure hope so, Taxman. Only time will tell! Mattbarton.exe 19:37, 13 March 2006 (UTC)

Critiques
Bravo. I liked this Wikibook. I read a few pages and skimmed through. I instantly saw it had something more intelligent to say than other books on writing. --Cyberman 00:03, 3 August 2006 (UTC) (AKA: Kamisama@Writingforums.com)

Page numbers on PDF version
The PDF version does not have page numbers. It is not part of the writing process, but still would be nice to have, if possible, thanks. Ervinn 14:39, 10 October 2006 (UTC)

PDF version seems corrupt
Repeated attempts to download the pdf gives only a 0 bytes file. This is the only book which I tried which did that.--Motorhead 04:07, 23 October 2006 (UTC)

AP English
this is designed for first year college but would it work for me in AP English? Ugluk 03:07, 23 November 2006 (UTC)

I don't see why not. Might work even better in that context. --Mattbarton.exe 16:51, 16 August 2007 (UTC)

Another module to merge here
It seems that Media book:Writing a Press Release might be a good fit here. Uncle G 16:29, 6 December 2006 (UTC)

PDF version seems corrupt
This book's PDF version doesn't work. It's a good book, so please do something... do anything!NOt registered 15:51, 1 July 2007 (What is UTC?!)

I downloaded it recently, and it seemed to work fine. What's the problem, exactly?--Mattbarton.exe 22:05, 27 August 2007 (UTC)

New Parts of book
I've added some new sections that will hopefully be completed soon. The teacher's handbook is meant to explain how to use this wikitext with students as well as general concerns about teaching writing. The Writing for the Web section should talk about blogs, discussion boards, and wikis, as well as more general advice about making web pages. It won't be specifics about how to use Frontpage or HTML code; just an introduction to these environments.--Mattbarton.exe 21:08, 4 October 2007 (UTC)

SUGGESTION
I have been teaching composition and rhetoric at the college level for 15 years. I am sick of the expensive and, usually, old school approach of many writing/reader textbooks. So, I am interested in using this wikibook next fall for my two english composition courses. However, I use the writing as process with a portfolio, and I am trying to move to the e-portfolio to cut down on paper. I noticed, however, that you don't have a section on portfolios. Can you add a section on the portfolio in composition, but also as a learning assessment tool for any course? I would love to help put it together. Thanks, Rebecca

Issues
Issues: I am adding a table for issues in the book to be solved, and entering an issue in there. --Dan Polansky (talk) 14:21, 5 June 2008 (UTC)

Heading Case
This book uses title case in its headings, in preference over sentece case, all caps, and small caps. --Dan Polansky (talk) 09:13, 6 June 2008 (UTC)

Intended Audience
The intended audience of this book - a textbook - is the college writer - a college student in his freshman course of English composition.

Please, correct the previous paragraph if I'm wrong. It seems that some of the chapters go beyond this audience. --Dan Polansky (talk) 10:27, 6 June 2008 (UTC)

Related Books
None of the listed books matches in quality and scope Rhetoric and Composition. However, some have a different focus and different coverage. --Dan Polansky (talk) 10:19, 9 June 2008 (UTC)

Size
The book has currently some 86,000 words. --Dan Polansky (talk) 10:52, 22 August 2008 (UTC)

Editing and revising
There has been a shift in the definition of the contrast between editing and revising. Quoting the current introductory chater[1]:

 * You can't edit what hasn't been written. That's why editing comes after drafting. For our purposes, it's important to distinguish between deciding what needs to be improved and actually making the changes. We'll call the decision-making process "editing" and making the changes the "revising" process.

As I understand it, here, editing refers to the process of collecting issues while revising to the process of fixing issues.

The current setup of later chapters has a different concept, one, in which editing refers to making stylistic changes within the scope of single paragraph, including the choice of words and sentence structure, while revising refers to making larger changes such as changing the order of chapters, their division or focus.

Yet another section of the book has three level model:
 * revising - audience, organization, content, support, concision
 * editing - usage, word choice, transitions, mechanics
 * proofreading - spelling, punctuation, typography

Whatever the preferred concept, the parts will need to be aligned at some point.

--Dan Polansky (talk) 08:12, 9 September 2008 (UTC)

Merger of Writer's Handbook
From what I understand and can see in the page history, Writer's Handbook has been merged around December 2005 into this book, after this book has been written. It seems like an unfortunate decision to me, but what do I know.

The focus of Rhetoric and Composition was on the college writer, as suggested by the title, while the focus of Writer's Handbook was on anyone who writes for living, isn't it? There are overlaps between Rhetoric and Composition and Writer's Handbook. While the content of Rhetoric and Composition is outlined in detail on the front page, the Writer's Handbook, containing valuable material, is mentioned only as a single item.

I find it hard to imagine that someone would have the skill and time here to really merge and integrate the two materials together, instead of just concatenating them, one next to the other.

I don't know whether I should propose to divorce the two books again. In any case, even without the divorce, these two books are best viewed as separate ones. What I can imagine is that instead of the concatenation, the books can be continually enriched from one another, as if they were two forks of a past project, but each keeping its own structure.

Admittedly, though, Writer's Handbook has the coverage of mechanics, including grammar, punctuation, comma splice and the like, which Rhetoric and Composition does not have. So they indeed seem kind of complementary.

Well, said enough. I wonder what other views there are

--Dan Polansky (talk) 10:05, 9 September 2008 (UTC)

 * Looking again at Rhetoric and Composition/Detailed TOC, the Writer's Handbook could be renamed to Grammar and Mechanics, and given the space on the front page that it deserves. --Dan Polansky (talk) 10:13, 9 September 2008 (UTC)

 * As regards the proposed renaming, given mechanics refers to spelling and punctuation, we can safe the reader one new word to learn and name it Grammar, Spelling and Punctuation, or Conventions, as it is called somewhere, although I do not rememer where.

 * This renaming would encourage a moving of the section on Citations and the section on Giving Feedback from the Writer's Handbook to the Rhetoric and Composition proper. --Dan Polansky (talk) 10:32, 9 September 2008 (UTC)

Renaming of "Writer's Handbook"
I have renamed the "Writer's Handbook" part to "Grammar and Mechanics", to let the title tell more about its contents. From what I understand, "Writer's Handbook" was the title of the part when it was a separate book, before it was merged into Rhetoric and Composition. --Dan Polansky (talk) 12:11, 15 September 2008 (UTC)

Featured book
This book has been a featured book for some time.

Granting the status of a featured book:
 * It has been a book of the month of October 2006.
 * It has been switched from a book of the month to a featured book on 18 April 2007.

Removing the status of a featured book:
 * Nominated for removal by Geoff Plourde on 7 August 2009
 * There is a conversation on removing the featured status at Wikibooks:Featured books, as of 1 July 2010
 * The status of a featured book has been removed on 1 July 2010

--Dan Polansky (talk) 09:53, 26 September 2010 (UTC)

Ideas for New Sections - ENGL 656
In looking at the big picture of this e-book, I wondered what everyone would think of adding more genres. Specifically, I think it would be valuable to add the topics of memoirs, reviews, commentaries and proposals. Within one semester, I will not be able to tackle all of these sections, but I could begin to develop skeletons and suggestions for each topics content. What do you think? --63.230.83.127 (discuss) 03:20, 24 September 2012 (UTC)

Project abandoned?
Has development on this wikibook stopped? I'm looking at teaching composition next year, and I'd much rather use a free text than ask my students to shell out fifty bucks or more for a book they'll never finish anyway. I'd been hoping to use this book for my courses, as it's the best one I've found so far, but it's been "incomplete" for a long time now, and it looks like no fresh edits/revisions have been made within the last two years. Should I start looking elsewhere?

74.194.183.109 (discuss) 14:54, 3 August 2014 (UTC)

title: Talk:Rhetoric and Composition