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Concert photography

Concert photography involves taking photographs of "noisy" events such as rock concerts or political rallies, in which the sound of cameras shooting is not a problem.

Other events such as classical music concerts, dance shows or theatre, are similar in terms of lighting and composition, but the noise of the camera will not be tolerated there.

Authorisation and equipment limitations
Access to concerts nowadays is often authorised only without photographic equipment. Also, good concert photographs can often only be taken from areas closed to the general public. Hence, official accreditation is necessary.

Whenever authorisation is granted, it will be most likely under the conditions that no flash be used, and for a limited part of the concert - usually the first ten minutes, or the first three songs.

Photographers work from the "front stage": the area between the stage and the public. They are close to the artists and have an unobstructed field of view. The area is small, packed with security guards and safety personnel, and the photographers are usually quite numerous, so the area can become very crowded during the ten minutes. It is quite possible that all accredited photographers will not be able to access the area.

On stage
Concert photography is essentially portrait photography. It is impossible to photograph a whole stage with performers standing here and there, and obtain a photograph with any meaning. A detail of the scene, like an American shot or a closer portrait, will yield much stronger results.

Out of stage
Artists can also be seen backstage, walking to or from concerts, and giving interviews. These can be good opportunities to make "clean" portraits, with easier lighting and from a shorter distance. It may be possible to use flash in these circumstances.

Equipment
A high-end reflex camera is a must. One with a high rate of fire, about 5 or more frames per second, is preferable. It is advisable to have spot metering available and to use it.

A tele-zoom with a constant aperture of f/2.8 is a must. Preferably, one should choose stabilised equipment, which allows shutter speeds of 1/60th or 1/100th of a second to be viable options even at 200mm. Good candidates are the Canon 70-200mm f/2.8L IS USM, the Nikon 70-200 f/2.8 VR, or the Sigma 120-300mm f/2.8 for extra reach (the later is not stabilised and should be used on a monopod, given its long focal length).

Long primes are an option, but are much less flexible than zooms. In concert conditions, changing lens is almost out of the question. Using two bodies mounted with different lenses, on the other hand, can be.

One day of work in a festival will yield about 4 GB of data (in JPEG; Much more in RAW). When working on festival lasting several days, spare flash cards and portable hard drives should be considered. RAW images should not be used, as they saturate the buffer and slow the rate of fire of the camera after a few shots; large JPEG is preferable.

Two fully charged batteries of a semi-professional camera will allow one day of work. The large packs of professional cameras last longer. Festivals offer facilities for photographers where batteries can be replenished between concert days.

Legal and psychological aspects
Some managers will demand that a paper be signed before accessing the front stage, by which the photographer binds himself to use his photographs under specific conditions. These contracts should in no circumstances be signed, since they make photography for Commons impossible.

In such cases the photographer should decline access to the front stage and attempt taking photographs from a distance with a long focal. Expect an extremely high rejection ratio on photographs taken in this way.

This tends to occur with particularly famous bands, and the public can be expected to be densely packed. The best spot would be an area closed to the general public, from which the stage can be seen, and as close to the stage as possible.

title: Concert photography


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Museum photography

Museum photography involves producing photographic reproductions of objects on display in museums: utilitarian objects, 2D or 3D works of art. This is of capital importance for enriching Wikimedia projects, but involves difficulties of a technical, legal and psychological nature.

As it involves faithful representation of fixed objects, museum photography is close to studio photography, especially in the intended aim: a "perfect" image, as sharp as possible and as high resolution as possible. A slightly unsharp action photograph would be acceptable, but an unsharp museum photograph is best avoided. High quality museum photography is difficult without an appointment, special lighting and open displays, but it is possible.

Authorisation and equipment limitations
The position of museums as regards to photography varies over a large spectrum, but is generally characterised by a few rules and restrictions of photography.

Some museums forbid any form of photography. There is no need to argue in this case, since the personnel have orders and rules to enforce, have no say in the elaboration of said rules, and will throw you out if you don't comply with their orders. Photography is rarely allowed in temporary exhibitions, especially those containing objects lent from other collections. There are valid copyright concerns for works still in copyright.

Most museums which do not prohibit photography per se do so under the condition that you use no flash, or specify this in certain galleries. The interdiction is justified by:
 * preserving the comfortable experience of other patrons whose visit might be compromised by your flashing photographic strobe lights,
 * the possible deterioration caused by the broad spectrum, instantaneously powerful flash energy. Intense light may age pigments and chemically unstable substances, such as glue. Some of the photons of the flash's light excite electrons of the atoms on the surface of the object or just below and alter their chemical state, which accelerates aging.
 * historical reasons dating back to the time when flashes constituted an actual fire hazard.

In any case, accurate flash photography is a difficult art to master. In particular, the flashes of small cameras often yield horrendous results, as they throw their light from too close a point from the lens, and parallel to it, without diffusion. Hence, banning of flashes is not as much of a hindrance as is generally thought.

Most museums also forbid using tripods or monopods. This prevents you from appropriately stabilising your camera during longer exposure times than can be accomplished hand holding a camera. Selecting a camera with an appropriately tested anti camera / photographer shake compensation system may improve the clarity of captured images while hand holding the camera in indoor "available" light.

If you can't use a support, you can reduce camera movement considerably by:
 * standing perpendicular to the direction you are aiming, with your feet at least shoulder-width apart.
 * pulling your elbows in tight to your chest to form a cradle for the camera with both hands
 * remember "BRASS" -- Breathe, Relax, Aim, Squeeze the shutter release slowly, Shoot while holding your breath.

Exposure
Photography involves fixing a flux of light on a sensitive surface (a chemical film or an electronic sensor). We have control over three parameters:
 * Aperture or lens diaphragm size: the size of the hole that lets light into the camera
 * shutter speed duration: the amount of time the hole is open to let light in
 * ISO speed, film/sensor sensitivity: how receptive our capture medium is to recording the light that hits it

An ideal final image is as sharp and clear as one might observe in person, and has low noise (digital) and or grain (film), which suggests a lens aperture diaphragm size of about f/8 or smaller, and a low film/sensor sensitivity for low grain or noise. The duration of the shutter opening during exposure should be quick enough to prevent capturing any motion blur (subject motion or camera/photographer's motion due to shaking a hand-held camera).

Museum lighting may be insufficient to permit capture with the highest qualities, so some compromises may have to be made: Interiors of museum buildings are unusually dark by photographic standards, and museums are especially dark buildings.
 * hand-holding instead of a tripod,
 * available light instead of flash,
 * use of wider lens aperture and or
 * higher film/sensor sensitivity/settings.

In general, lack of light can be compensated in four ways:
 * Artificial lighting such as flash or studio lamps. This is usually forbidden in museums, and is difficult to use (see references below on light management).
 * Opening the lens aperture diaphragm wider. A larger aperture like f/1.4 will usually allow enough light through during an open shutter duration that is brief enough to reduce capturing subject or camera/photographer movement, even in the low lighting of a museum, but this may yield an unacceptably narrow depth of field focus, especially for three dimensional objects.
 * Higher-sensitivity film or sensor, but may yield more grain and or digital noise.
 * Slower shutter speed, which may require affixing the camera to be immobile during exposure. This is where museums that ban tripods becomes a problem.

Depending on the environment, you may need to employ one or all of the above tricks to capture a satisfactorily accurate exposure with minimum noise/grain. It is also possible to underexpose during capture and overdevelop later (film or digital - known as push processing), but be aware that this usually increases noise/grain.

Bidimensional works and diaphragm aperture
Bidimensional works of art, such as paintings, do not require a large depth of field. It is possible to open the diaphragm to around f/4 and gain some light. The light thus gained allows to lower the sensitivity of the sensor, and hence digital noise.

Paintings often reflect light. One way to overcome the problem is to take photographs from an angle, and correct the perspective in post-processing (this also works when using flashes).

Tridimensional objects: fixing the camera body
For tridimensional objects, it is capital to have a sufficient depth of field, to avoid cases like a statue with the tip of its nose sharp and its body blurred. This kind of case is especially problematic in proxiphotography. Even by raising the sensitivity of the sensor (and thus the noise level), little can be done to compensate the problem apart from fixing the camera.

In the absence of a tripod the camera body can be fixed upon many items in the museum: doorframes, tablets, stands or fences. The small fence masts which hold ropes in front of works make excellent stands for cameras. It is possible to orient the camera both in elevation and azimuth (vertical and horizontal angles).
 * Fixing the camera body

Most of the shaking of hand-held photography disappears when one of the three dimensions of space is constrained. Hence, a tripod is better than a monopod, but a monopod is much better than just holding the camera.

It is possible to press the end of the lens directly against displays. This will both cut out most reflections in the glass, and provide a stand for the camera. On the other hand, the distance to the subject is then fixed: the focal length and the minimum focusing distance must be adapted:
 * Display glass
 * a macro lens might be in order to achieve focus on close objects (either small ones, or details of bigger ones)
 * a wide angle lens would be needed to capture the entirety of a bigger object. In the case, beware the deformations induced by very wide angle lenses.

Beware of lenses which change their length when focusing or zooming. Ideally, you should be able to zoom or focus after setting the camera in place. It might be advisable to use a lens hood so that the end which touches the display does not move with respect to the camera body.

Another way to reduce reflections is to use a polariser. This will cost you one and half stops of light, so using a tripod may be necessary.

Equipment
If purchasing equipment for museum photography, get stabilized equipment whenever possible. Stabilization gains about three stops on the otherwise slowest shutter speed, making it possible to take images up to 1/15th of a second with negligible risk of vibration blur. Avoid using high ISO, sometimes advertized as "digital stabilization", as it reduces image quality.

Among interchangeable-lens cameras (SLR, ILC): Canon (IS), Nikon (VR), and Panasonic (OIS) systems have stabilized lens models, while Olympus, Sony, and Pentax systems have stabilized sensor camera bodies. Compact and bridge cameras are widely available with sensor or lens stabilization. Stabilization effectiveness varies from two to four stops, depending mainly on the manufacturer.

Fast lenses (large maximum aperture) are very helpful. Most interchangeable-lens cameras have affordable unstabilized 50mm prime lenses (fast and compact) that were historically the kit lenses of the respective film SLR systems. These work great, especially when mounted on stabilized-sensor camera bodies.

The focal range of choice for museum photography is the "standard" alias "normal" range. It is advisable to pack mild wide-angle lenses for large objects, since ability to move backwards is limited; and macro lenses, for smaller objects and for closer focal distance.

White balance
Learn how to set a custom white balance on your camera, and carry a white piece of plastic or cardboard for reference. Using a correct white balance will save considerable amounts of time during post-processing and help avoid possible errors. See, and  for examples and support.

House rules: legal and psychological aspects
Museums may have internal regulations, known as "home rules", which forbid any "serious" or commercial usage of images taken without a special permission. Hence, they do not authorise photographing for Wikipedia.

Prohibitions against photography (and publishing) are often inappropriate and unenforceable. In most countries, a work such as your photograph is owned by whoever creates it, and can be used as the creators see fit. So if your photograph is not a derived work of an artifact or artwork covered by someone else's copyright, then the photograph and its copyright are yours, and no one else has superior rights over your photograph. Commons does not enforce or support any museum's own "home rules".

In some countries, jurisprudence has explicitly ruled that possession of a good alone gives no right to its representation. Hence, while it is possible to challenge the publication of photographs in court if the publication compromises one's private life, there is no strong case merely if someone possesses the object photographed. But publication rules have nothing to do with your visit to a museum to make your own photographs.

Museum personnel may ask questions regarding future use of photographs, especially when one is using what may appear to be large or expensive equipment capable of making images with high qualities of clarity and precision, such as ... and so on. In no case should one feel compelled to answer these questions. Stating that one is taking photographs for Wikipedia will probably yield incomprehension, lengthy and disagreeable discussions, and interdiction of your photography, even confiscation of your camera, film, or memory cards. Limit oneself to saying that the images are for personal purposes. Try something like this: That your unsaid personal purposes may eventually involve offering the images to the public by putting them on Wikimedia Commons is none of their business. Indeed,
 * "What are you taking photographs for?"
 * "Are you publishing a book?"
 * "What are you going to do with those?"
 * "I'm so overwhelmed by all the beautiful things I'm seeing on my vacation, I want to cherish everything I see and remember these moments as long as I live, especially when I'm old and can't afford to travel anymore, like my poor grand parents, who blah, blah, blah ..."
 * someone in authority demanding answers to such questions is invasive (and impolite),
 * in most jurisdictions, museum guards have no rights superior to you as they are not police officers, and
 * the question stems from their erroneous premise that the museum can stamp a de facto copyright on public domain work. They may try to prohibit photography in their space, but their only remedy is to evict you for trespass. They have no superior rights to your images. They themselves cannot impose further restrictions on the subsequent use of your own copyright photographs since they have no ownership or copyright of your photographs, even if you make photographs in an area where someone else thinks photography is prohibited.

A museum employee may claim that an implicit contract, subscribed by purchasing the entrance ticket (Note that some museums are free and hence do not sell tickets), was broken when you photographed (read the fine print during a separate visit before the day you plan to photograph). However, the museum would probably have to prove to a judge that there was damage, especially if their "ban on serious use" is not clearly elaborated or made plain and comprehensible in writing.

Plan to avoid confrontation by separately (even anonymously or pseudonymously) If their guards are then forewarned not to harass photographers, your subsequent visit will go smoothly. Both we and the museums have a vested interest in these images being made, and shared, and some museums will be receptive to the idea.
 * getting any policies in writing before your visit, review them, and challenge them, if appropriate, as a separate encounter from your photography visit.
 * or plainly request special authorisation to take photographs for further publication on Wikimedia Commons. This way you may also be permitted to use a tripod.

On the other hand, many museums' anti-photography rules exist to prevent the objects in question from being damaged by being photographed. This is related to preservation, not intellectual property law. Unfortunately, it can prevent images of the objects from being uploaded to Commons. As for images of objects on display in museums found on museum websites, per c:COM:ART, images of 2D objects are okay to upload but images of 3D objects are not (without permission).

Documentation
It is important that every photograph be appropriately labeled. A proper label should include
 * the name of the work and a short description;
 * the name of its author, if known;
 * the date and location of its making;
 * its dimensions and the material out of which it is made, and
 * a museum reference number, an access line or the location of the display within the museum.

This information is often on display on labels next to the work itself. Photographs of these labels should be taken to allow further labelling on Commons. Such labels may be independently copyrighted and are often not suitable for Commons themselves. Rather, these labels are typically transcribed in the description of the relevant image on Commons.

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

title: Museum photography


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User talk:Rama

Welcome
Hello Rama, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; for it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may
 * Take a guided tour and learn to edit;
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 * Chat with other Wikiversitans on #wikiversity-en.

And don't forget to explore Wikiversity with the links to your left. Be bold, and see you around Wikiversity! --JWSchmidt 14:18, 21 December 2007 (UTC)

Nice pages
Hey Rama - I just noticed the pages you've added on concert and museum photography - very nice! Some more 'Commoners' here would be great - including how to make interesting graphics, as well as navigating the world of copyright.. Just a thought. And a belated welcome! Cormaggio talk 12:08, 11 May 2008 (UTC)

title: User talk:Rama


text:
User:Rama

 * Museum photography
 * Concert photography

title: User:Rama


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User:Alno

w:fr:User:Alno

title: User:Alno


text:
User talk:Alno

w:fr:User talk:Alno

title: User talk:Alno


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User:Jansegers~enwikiversity

Pieter Jansegers is a French teacher http://jansegers.atspace.com.

He tries to get ICT in the language classroom.

http://jansegers.classy.be

http://twitter.com/Frenchteachers

http://frans.startpagina.be

ICTTEACHER blog http://jansegers.blogspot.com

Minor contributor to some Wikipedia articles.

http://fr.wikipedia.org/wiki/Genre_%28grammaire%29

You'll find him on Twitter

http://twitter.com/jansegers

His current passion is microblogging:

http://knol.google.com/k/pieter-jansegers/microblogs/1m1bmti438m47/2#

title: User:Jansegers~enwikiversity


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Farsi 1

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto" Persian - 1
 * style="background-color: #eed153; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="2" |

Persian
 * style="width: 60%; background-color: #fffff0; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |
 * style="width: 60%; background-color: #fffff0; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

Persian 1
"Persian 1" is a course in the Persian Department. In this Beginner's course, students are introduced to simple vocabulary, how to structure a Persian sentence and some basic phrases for a simple conversation.

Persian Empire
 * rowspan="2" style="width: 40%; background-color: #efefff; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

The Persian Empire (Persian: امپراتوری ایران saying EMPERATURIE IRAN) was a series of historical empires that ruled over the Iranian plateau, the original Persian homeland, and beyond in Western Asia, Central Asia and the Caucasus.

The most widespread entity considered to have been a Persian Empire was the Achaemenid Empire (550–330 BC) under Darius and Xerxes (or Xerkes) — famous in antiquity as the foe of the classical Greek states (See Greco-Persian Wars) — a united Persian kingdom that originated in the region now known as Pars province of Iran/Persia.

It was formed under Cyrus the Great, who overthrew the empire of the Medes, and conquered much of the middle east, including the territories of the Babylonians (Asuristan), the Phoenicians, and the Lydians. Cyrus' son, Cambyses, continued Cyrus' conquests by conquering Egypt.

Most of the successive states in Greater Iran prior to March 1935 are collectively called the Persian Empire by Western historians.

Virtually all the successor empires of Persia were major regional and some major international powers in their day.

 * style="width: 60%; background-color: #eed153; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |
 * style="width: 60%; background-color: #eed153; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

Lessons

 * Page 1 :  Verbs
 * Page 2 :  When, While
 * Page 3 :  Why, Although, Despite
 * Page 4 :  Exhortations
 * Page 5 :  Usual words and common expressions
 * }

title: Farsi 1


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Farsi 1/Lesson 1

{|cellspacing="5" cellpadding="10" style="margin-left:auto;margin-right:auto;width:99%;background-color:inherit"
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You will learn ... / Persian...

 * Verb tenses
 * Subjunctive (be-)
 * Can, may, should, must
 * How to ask questions

Persian pronunciation
For help in pronouncing Persian words : Persian pronunciation

The prefix "be-" or "bo-"
The subjunctive marker be-/bo- is used:
 * 1. in the case of uncertainty (i.e. after shâyad (maybe), agar (if), bâyad (must) and the like.
 * 2. If there are more than two verbs in a sentence (no matter past or present) the second, third .... verb begin with be-.

So you see that when you have to use "to" before the second verb in English you have to use "be-" in Persian.

So the correct forms are:
 * "Mixahæm sibi boxoræm"
 * "Mixastæm sibi boxoræm"

"in the past tense, you can also say "Xastæm" instead of "Mixastæm" for "I wanted"

Xâstam and mixâstam are two different tenses.
 * Xâstam means "I wanted",
 * Mixâstam means "I used to want".

Adding mi- to the simple past tense makes it durative. For many verbs like "mi-did-am" you can always translate it in English as "I used to see" but for the sense-related verbs like "mixâstam" depending on the context both "I want" or "I used to want" can serve as English translation.

You can we use the prefix "be" in all the following examples(?):

and so on...
 * I like/love VERBing (for example "Zeban yad begirem dust daram" ("I love learning languages") (?)
 * I tried to VERB
 * I hate VERBing (for example "az benevisad moteneffer ast" ("he hates writing") (?) (I have a feeling that this is a little different)
 * I started/ended VERBing

 * I like/love VERBing ("Zeban yad gereftan dust daram". Gereftan is the infinitive.
 * I tried to VERB. (Sa'y kardam be-Verb-am).
 * He hates VERBing ("az neveshtan moteneffer ast"
 * I started/ended VERBing. (Shoru' kardam neveshtan).

As you see for VERBing we use normally the infinitive form in Persian.

Can, may, should, must
I already learnt these before, but now that I have a clearer picture of the usage of the prefix "be," I would just like to ask one example for each auxillary verb to make sure that I am using it right. Thanks in advance.

Can

 * "I can go to school" Is it "mitoonam beh medreseh beram" ?(from where I learnt, the prefix "be" was not used in "can")

 * "I could go to school" IS it "mitevanestem beh medreseh beravam" ??

Be- is used here because it is the second verb. (In literature and some instances of the spoken language be-can be omited, whenever you see a verb without a be- or mi- you can be sure it has been the be- which is omited thus it is subjunctive, mi- is never omited).
 * "I can go to school" is "mitoonam beh medreseh beram".

Like in English the present tense is used for "go".
 * "I could go to school" is "mitavânestem beh medreseh be-rav-am".

May, might
I know how to say "might have VERBed"

 * "I might have eaten that apple" should be "shayæd an sib ra xordeh bashæm" (is this true?, the website I learnt from does not use the prefix "be")

But I do not know how to say "might VERB":

 * "I might eat that apple" ??

xorde bâsham is the subjunctive from for the past tenses. In the past tense -bâsh- (historically be+ast) is used for making the subjunctive form.
 * "I might have eaten that apple" is indeed "shayæd an sib ra xordeh bashæm".

 * "I might eat that apple": "Shâyad ân sib-ra be-xoram".

Should, must
Again I know how to say "must have VERBed"

 * "I must have eaten that apple" Is it "bayæd an sib ra mixordæm" ? (the website I learnt from does not use the prefix "be" here.)

But I do not know how to say "must VERB"

 * "I must eat that apple" ??

 * "I must have eaten that apple" Is "bâyad an sib râ xorde bâsham"

 * "bayæd an sib râ mixordæm" means: "I had to eat that apple".

 * "I must eat that apple" is: "Bâyad âan sib râ be-xor-am.

If
Teshekkor mikonam. (thank you)

---
 * Agar in sib râ bo-xor-am ... (If I eat this apple ...)

The first be- is because of (uncertainty), the second because it is the second verb.
 * Agar be-xâh-i bo-xor-i. (If you would want to eat).

 * Agar mi-xâh-i boxori. (If you want to eat).

 * Agar xâsti boxori. (If you wanted to eat).

 * Agar mi-xâsti boxori. (If you always wanted to eat).

Past subjunctive:
 * Agar xorde-bâshi. (If you have eaten).

 * "if you don't go to school today, you will be punished" Is: "agar emruz beh medreseh na-rævi, tanbih xâhi shod".

Negation of subjunctive: The be- is replaced by na-.

 * How about the 2nd kind of "if" (subjunctive):
 * "if you ate the entire cake, you would get sick." is "Agar hame-ye Kayk râ mi-xordi (ehtemâlan) mariz mi-shod-i.

The durative past tense (mixordi) has as subjunctive the same form (mixordi). Ehtemâlan means possibly.

 * "If you had not eaten that cake, you would not have thrown up". is: "Agar ân Kayk râ na-xorde-budi, bâlâ ne-mi-âvardi.

Ne-mi-âvardi is the subjunctive of the durative (repeatetive) form mi-âvardi (you brought during a certain time). Bâlâ means up.

Tækrar (that means "again"(?)) teshekkor mikonæm. Correct form: Dobâreh (again) tashakkor mikonam.

Active voice:

Indicative --> Subjunctive

 * miravam --> beravam
 * xâham raft --> beravam

 * raftam --> rafte bâsham
 * rafteh-am (I have gone) --> rafte bâsham

 * mi-raftam --> mi-raftam

 * rafte budam (I had gone) --> rafte budeh bâsham

Passive voice:

Indicative --> Subjunctive

 * xorde mi-shavam (I am (being) eaten) --> xorde be-shavam
 * xorde xâham shod (I'll be eaten) --> xorde beshavam.

 * xorde shodam (I was eaten) --> xorde shode bâsham
 * xorde shodeh-am (I have been eaten) --> xorde shode bâsham

 * xorde mi-shodam (I used to be eaten) --> xorde mi-shodam

 * xorde shode budam (I had been eaten) --> xorde shode budeh bâsham.

Future perfect tense
How about the future perfect tense:

 * "By the time spring comes, he will have already left.

Is the second part is like "terk kerdeh khahed bud" ?

 * "By the time spring comes, he will have already left. gives :
 * "Bahâr ke be-ây-ad, u digar rafte ast/u injâ râ tark karde-ast".

We use just the tense based on "present participle" i.e. "rafte ast" for "Will have VERB-ed".

Why don't you say "Bahâr ke mi-ây-ad", but say "Bahâr ke be-ây-ad," in the example here?

 * "Bahâr ke be-ây-ad" means: "When (in the case/if) spring comes"

 * "Bahâr ke miâyad" means: "When (every time) the spring comes".

Imperatives
I have learnt that imperatives can be built in two ways: with or wihout the prefix "bo":

 * Go! --> Ro! or Boro!

Is this the case for all verb imperatives? Does the prefix "bo" have an additional meaning?

-- Basically all the imperatives are made as: be+present stem, whithout personal endings (except for 2nd person plural).

Using imperative without be- is found in literary works and in spoken Persian in the case of much used verbs be- is omited in combinations.
 * like: Behtar (be-)sho! "become better".
 * bâz (be-)kon! "Open"!

Next thing you should know is that under the influence of "o" in some frequently used verb stems preffix be- is pronounced bo- in standard spoken Persian. Thus: The same happens to be- becoming bi- in spoken language in some cases like:
 * Boro, Boxor, bokon but: begu, beshuy (Wash!), bedân (Know!).
 * bi-yâ (come!), bi-âr (be-âvar) )bring!) etc.

Ex 1 : Quiz
Go to the Quiz.

Ex 2 : Memory training
Write out the Persian words, section by section.

Have 2 columns, clearly separated, and write Persian and English. Then cover up one column (eg. English) with paper and write the corresponding words on the paper. Then try it the other way round, cover up the Persian, and write out the words using the English as cues. This will be a little bit more difficult.

Repeat all this after an interval, the more you do it the easier you will remember the words.

If you want to add words to this page, please make sure you put them into a sentense in Lesson 2 wherever you can.

Khâhesh mikonam (You're welcome).

 * }

title: Farsi 1/Lesson 1


text:
Farsi 1/Lesson 2

{|cellspacing="5" cellpadding="10" style="margin-left:auto;margin-right:auto;width:99%;background-color:inherit"
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You will learn ... / Persian...

 * Verb tenses
 * When
 * While

When, While
Are all the sentences that are constructed with "when" and "while" in English are expressed with "ke" in Persian? And do we place this particle right before the verb? (just like "Bahar ke beayed")

And do we always use the prefix "be" in sentences of "when" and "while" ?

Just two examples:
 * Present, future meaning:
 * "When you (will) come home, make tea!" Could it be "beh khane ke be-ay-i, (bo)saz chai!" ?

 * Past meaning:
 * "When he came home, he made tea" Could it be "be khane ke amed, chai saxt" ?

When is expressed in two ways:
 * Vaqti ke / moghe'i ke ....
 * .... ke .... (ke comes after the agent).

 * "When you (will) come home, make tea!" is: "Xâneh ke mi-ây-i châi dorost (be)kon". or: Vaghti ke be xâneh mi-ây-i châi dorost (be)kon".

 * "When he came home, he made tea" is: "Xâneh ke âmad, châi dorost kard". or: "Vaghti ke/moghe'i ke/zamâni ke/hengâmi ke be xâneh âmad châi dorost kard".

Ex 1 : Quiz
Go to the Quiz.

Ex 2 : Memory training
Write out the Persian words, section by section.

Have 2 columns, clearly separated, and write Persian and English. Then cover up one column (eg. English) with paper and write the corresponding words on the paper. Then try it the other way round, cover up the Persian, and write out the words using the English as cues. This will be a little bit more difficult.

Repeat all this after an interval, the more you do it the easier you will remember the words.

If you want to add words to this page, please make sure you put them into a sentense in Lesson 2 wherever you can.

Khâhesh mikonam (You're welcome).

 * }

title: Farsi 1/Lesson 2


text:
Farsi 1/Lesson 3

{|cellspacing="5" cellpadding="10" style="margin-left:auto;margin-right:auto;width:99%;background-color:inherit"
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 * style="border:1px solid #999999;background-color:#eed153;-moz-border-radius:8px"|

You will learn ... / Persian...

 * Verb tenses
 * Why
 * Although, Despite

Causatives
How would you, for example, build this sentence in Persian:

 * "I made him do his homework"

And how about this other kind of causative:

 * "I had the letter sent to your office"

For the causative you should use the causative forms of the verb stems. The rest is the same as normal. Causative form of a stem is made by adding -ân to the normal present or past stem:
 * -xor- (eating), -xorân (making to eat), xorând (made eating).
 * mi-dav-am: ("I run"), sag râ mi-dav-ân-am ("I make the dog run").

But you can not do that with just any verb. For many verbs you should use another verb which has the causative meaning of the same action:

(Vâdâr kardan means "making somebody doing something, forcing", the causative stem -kon-ân- does not exist)
 * "I made him do his homework" : "Vâdâr-ash kardam mashgh be-nevis-ad".

For the form "had him doing ..., we say in Persian "I gave ...":

(Literally: "I gave, they bring the letter to your office".
 * "I had the letter sent to your office" is: "Nâmeh râ dâdam be-âvar-and daftar-e shomâ".

Although, despite
The next question is about building sentences with "although" and "despite":

 * "Although I arrived at the station on time, I missed the train" and,
 * "Despite arriving at the station on time, I missed the train"

 * "Although I arrived at the station on time, I missed the train" is:
 * "Bâ inke/Garcheh sar-e vaqt be istgâh residam, qatâr râ az dast dâdam".
 * "Despite arriving at the station on time, I missed the train" Is:
 * "Bâ vojud-e inke/alâraghm-e inke sar-e vaqt be istgâh residam, qatâr râ az dast dâdam".

You can also say: "Sar-e vaqt be istgâh residam, vali qatâr rafteh-bud".

Ex 1 : Quiz
Go to the Quiz.

Ex 2 : Memory training
Write out the Persian words, section by section.

Have 2 columns, clearly separated, and write Persian and English. Then cover up one column (eg. English) with paper and write the corresponding words on the paper. Then try it the other way round, cover up the Persian, and write out the words using the English as cues. This will be a little bit more difficult.

Repeat all this after an interval, the more you do it the easier you will remember the words.

If you want to add words to this page, please make sure you put them into a sentense in Lesson 2 wherever you can.

Khâhesh mikonam (You're welcome).

 * }

title: Farsi 1/Lesson 3


text:
Farsi 1/Lesson 4

{|cellspacing="5" cellpadding="10" style="margin-left:auto;margin-right:auto;width:99%;background-color:inherit"
 * style="border:1px solid #999999;background-color:#eed153;-moz-border-radius:8px"|
 * style="border:1px solid #999999;background-color:#eed153;-moz-border-radius:8px"|

You will learn ... / Farsi...

 * Verb tenses
 * Exhortations

Exhortations
How would you say things like "let's verb!", "let me verb!"? For example with the verb "write"? Do you use the past participle ("nevesht") or the present particle ("nevis") for this kind of exhortations?

For the first form we use "Biyâ" (come). For the second one: "be-gozâr" (Let).

"*Let's write!" : "Biyâ be-nevis-im". "Let me write" : "Be-gozâr benevisam".

Ex 1 : Quiz
Go to the Quiz.

Ex 2 : Memory training
Write out the Persian words, section by section.

Have 2 columns, clearly separated, and write Persian and English. Then cover up one column (eg. English) with paper and write the corresponding words on the paper. Then try it the other way round, cover up the Persian, and write out the words using the English as cues. This will be a little bit more difficult.

Repeat all this after an interval, the more you do it the easier you will remember the words.

If you want to add words to this page, please make sure you put them into a sentense in Lesson 2 wherever you can.

Khâhesh mikonam (You're welcome).

 * }

title: Farsi 1/Lesson 4


text:
Farsi 1/Lesson 5

{|cellspacing="5" cellpadding="10" style="margin-left:auto;margin-right:auto;width:99%;background-color:inherit"
 * style="border:1px solid #999999;background-color:#eed153;-moz-border-radius:8px"|
 * style="border:1px solid #999999;background-color:#eed153;-moz-border-radius:8px"|

You will learn ... / Farsi...

 * Usual Words
 * Greetings
 * Other common expressions

Ex 1 : Quiz
Go to the Quiz.

Ex 2 : Memory training
Write out the Persian words, section by section.

Have 2 columns, clearly separated, and write Persian and English. Then cover up one column (eg. English) with paper and write the corresponding words on the paper. Then try it the other way round, cover up the Persian, and write out the words using the English as cues. This will be a little bit more difficult.

Repeat all this after an interval, the more you do it the easier you will remember the words.

If you want to add words to this page, please make sure you put them into a sentence in Lesson 2 wherever you can.

Khâhesh mikonam (You're welcome).

 * }

title: Farsi 1/Lesson 5


text:
User:Jakub Malinovský

http://jakub-malinovsky.blogspot.com/

de:Benutzer:Jakub Malinovský es:Usuario:Jakub Malinovský fr:Utilisateur:Jakub Malinovský it:Utente:Jakub Malinovský

title: User:Jakub Malinovský


text:
Wikiversity:Free license content

Wikiversity hosts free content created and aggregated by participants.

Two defining content submittal screens
Wikiversity content is explicitly licensed and defined by two submittal screens used by participants when uploading material to the Wikiversity servers.
 * 1) All Wikiversity markup text submittals are licensed under Creative Commons Share-alike and GFDL.  This is clearly stated by editing notification messages, which can be verified at  here or by clicking "edit" on any page (to return here after visual verification use the cancel button and your browser back screen function):
 * 2) the paragraph above the edit summary box on the submittal form:  "By clicking the “Save Page” button, you are agreeing to the Terms of Use and the Privacy Policy, and you irrevocably agree to release your contribution under the CC-BY-SA 3.0 License and the GFDL. You agree that a hyperlink or URL is sufficient attribution under the Creative Commons license."
 * 3) the paragraph below the summary box on the submittal form: "If you do not want your writing to be edited and redistributed at will, then do not submit it here. If you did not write this yourself, it must be available under terms consistent with the Terms of Use, and you agree to follow any relevant licensing requirements." Materials loaded fraudulently or erroniously are immediately removed upon detection or notification of specific problems.
 * 4) After clicking save on any page (after clicking edit), the following message is shown at the bottom of the page: "Text is available under the Creative Commons Attribution/Share-Alike License; additional terms may apply. See Terms of Use for details.". This message is also shown to anyone who visits the page.
 * 5) All uploaded media files other than wiki text are licensed as chosen by the uploader when they are uploaded. The upload file function Special:Upload is a menu item at the bottom left menu when your browser is on the Wikiversity site as it is now.  The license information selected by the uploader is attached to the media file and provided back to information users by Wikimedia Foundation servers when users they click on the served media files on the site.  These files may be hosted by another Wikimedia Foundation project such as Wiki Commons, a Wikiversity sister project.

For more detail about licensing of content on Wikiversity, see Terms of use - Licensing of content.

title: Wikiversity:Free license content


text:
Lunar Boom Town/ECLSS Supply and Service

Background Reading

 * http://isecco.org/
 * Biosphere 1 and 2


text:
User:I18n

This is an alias of. Please contact me at m:user talk:. Thanks! → :     special:Listusers/sysop version all messages Common.css Common.js Monobook.css Monobook.js wikivar Last update: [ ↺] validator.w3.org

special:Gadgets and MediaWiki:Gadgets-definition
The main purpose of this account is to test functions from special:Gadgets at various wikis:

 * FindMe:
 * Wikis with given User Name:

→ commons:special:Gadgets  commons:MediaWiki:Gadgets-definition  → commons:user:

→ search MediaZilla for « user: »

→ search MediaZilla for « Gadget »

012443
→ 012443 · "unable to activate the chekboxes in the « Gadget = #prefsection-10 » section in « special:Preferences » at Hebrew Wikipedia with Opera"

012680
→ 012680 · "the inclusion of « empty » special pages with should either generate valid or no code"

other open issues
...

title: User:I18n


text:
Category talk:Emergency Medicine

Emergency Medicine really should be over here at the School of Medicine
 * http://en.wikiversity.org/wiki/School:Medicine

Merge
I recommend a merge keeping the title EM rather than Em. Donek (talk) - Go raibh mile maith agaibh 18:42, 26 June 2008 (UTC)

Pre-Hospital Section
Perhaps the articles for EMTs, EMRs and Pre-Hospital Care should be given their own clinical section, since the scope of Emergency Medicine dwarfs that of the EMS, and could be potentially confusing.

Hepatomegaly 21:45, 15 August 2009 (UTC)

title: Category talk:Emergency Medicine


text:
User:Paymani

Welcome to Paymani's virtual office I'm M.A.Paymani a Power Engineering student currently at Shiraz Univercity.Iran

title: User:Paymani


text:
BCP/Iberis sempervirens

Iberis sempervirens

title: BCP/Iberis sempervirens


text:
BCP/Iberis sempervirens/Logs

This page contains recent bloom logs for the plant Iberis sempervirens (Candytuft).

Recent Logs

 * SB Johnny-LM April 16 2006 (from photographs)
 * SB Johnny-LM 00:00, 9 April 2008 (UTC)
 * SB Johnny-LM 16:00, 16 April 2008 (UTC)
 * --SB_Johnny | talk 10:34, 2 May 2008 (UTC)
 * --Anna reg 10:07, 17 April 2010 (UTC)

=====Archived Logs===== (If there are more than 5 signatures under the recent logs heading, move the oldest logs to under this heading (generally leave the 3 most recent).
 * (no archived logs yet)

title: BCP/Iberis sempervirens/Logs


text:
Category:Help (Social Entrepreneurship)

Pages providing help to educators and learners in contributing.

title: Category:Help (Social Entrepreneurship)


text:
Category:People Interested (Social Entrepreneurship)

People interested in Social Entrepreneurship - and contributing to this portal.


text:
Category:Events etc. (Social Entrepreneurship)

Events and other activities of interest.


text: Category:Research (Social Entrepreneurship)


text:
Portal talk:Social entrepreneurship/networking/Research

Move under Curriculum?


text:
Portal talk:Social entrepreneurship/networking/Research/more

This page needs to be more different from the Curriculum/Readings page(s). Ktucker 13:02, 22 December 2007 (UTC)


text:
Template:Film School Courses Content

 * colspan="2" align="center" style="background:SteelBlue; color:White" |  Courses in Filmmaking →
 * align="center" style="background:Lavender; color:black" | Course #1:
 * bgcolor="LightGoldenrodYellow" style="border: 1px Silver solid;" |
 * align="center" bgcolor="Lavender" | Course #2:
 * bgcolor="LightGoldenrodYellow" style="border: 1px Silver solid;" |
 * align="center" bgcolor="Lavender" | Course #2:
 * bgcolor="LightGoldenrodYellow" style="border: 1px Silver solid;" |
 * bgcolor="LightGoldenrodYellow" style="border: 1px Silver solid;" |

 * align="center" bgcolor="Lavender" | Course #3:
 * bgcolor="LightGoldenrodYellow" style="border: 1px Silver solid;" |
 * align="center" bgcolor="Silver" | Exercise:
 * bgcolor="LightYellow" style="border: 1px Silver solid;" |
 * align="center" bgcolor="Silver" | Future:
 * bgcolor="LightYellow" style="border: 1px Silver solid;" |
 * align="center" bgcolor="Silver" | Future:
 * bgcolor="LightYellow" style="border: 1px Silver solid;" |
 * bgcolor="LightYellow" style="border: 1px Silver solid;" |

title: Template:Film School Courses Content


text: Template:Courses in Filmmaking - Table - Plain


text:
User talk:You can't speak for me

Welcome
Hello You can't speak for me, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; for it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may
 * Take a guided tour and learn to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research activities;
 * Read and help develop our community policies；or
 * Chat with other Wikiversitans on #wikiversity-en.

And don't forget to explore Wikiversity with the links to your left. Be bold, and see you around Wikiversity! Erkan Yilmaz ( Wikiversity:Chat, wiki blog ) 13:36, 22 December 2007 (UTC)

title: User talk:You can't speak for me


text:
Help:Colors

 * Note : At Wikiversity, do not use numbers to select a color. Always use a name for a color.  Windows and Macintosh display different colors for the same numbers.  Colors numbers which Windows does not accept are printed in black which can be very ugly.

More complete color list
The list of web "X11 colors" from the CSS3 specification, along with their hexadecimal and decimal equivalents, is shown below, compare the alphabetical lists in the W3C standards.

Dutch Table
Here is a dutch view of color from Ellywa

title: Help:Colors


text:
Talk:Wikiversity (the rest of the story)

Discussions as learning resources
Check out "Liquid Threads" on WikiEducator (click on any "discussion" tab).

 * If you think it is worth using we could give it a try. I have been expecting it to see a major upgrade since it had some obvious limitations last time I looked at it. --JWSchmidt 15:14, 22 December 2007 (UTC)


text:
United States Law/Civil Procedure

Objective

 * Learn what is Civil Procedure, what you’ll study, and why it’s an important and interesting course
 * Learn the course goals and objectives
 * Learn the course policies and procedures
 * Learn about the scope and purpose of the Federal Rules of Civil Procedure by studying Rule 1 of the FRCP

What’s Civil Procedure?

 * CIVIL (not criminal)
 * PROCEDURE (not substantive)

Difference Between Civil and Criminal Cases
	Criminal cases are brought by the gov’t representing society 	Criminal cases result in punishment (usually fine or imprisonment) 	Civil cases can be between private parties and/or the government 	Civil remedies include financial compensation (damages) or orders to do or stop doing something (injunctions) and sometimes punishment (punitive damages) 	Different burdens of proof

SUBSTANTIVE LAWS
	Substantive laws (e.g. tort, contract, property) “are the part of the law that creates,defines, and regulates the rights, duties, and powers of parties” (Black’s Law Dictionary (7th ed. 1999) 	Example: tort law (trespass) says that an uninvited guest cannot intrude on another person’s land Definition of Procedure (from Merriam-Webster online) 	1(a) a particular way of accomplishing something or of acting (b) a step in a procedure 	2 (a) a series of steps followed in a regular definite order 	3 (a) a traditional or established way of doing things

PROCEDURAL LAWS
	Procedural laws are “[t]he rules that prescribe the steps for having a right or duty judicially enforced, as opposed to the law that defines the specific rights or duties themselves.” 	Thus, they are the rules that govern litigation. They are the rules that the parties must follow as they bring their case and also the rules for the court administration of the case 	Examples: who can bring case, which court can hear a case, enforcement Difference Between Substantive and Procedural Law Can Be Unclear 	Some rules that seem procedural have been deemed substantive by courts, such as statutes of limitations.

Why is Procedure Important in Law?
	The purpose of civil procedure is to promote the JUST, SPEEDY, and INEXPENSIVE resolution of CIVIL DISPUTES 	See Rule 1 of the Fed. R. Civ. P.

What Kinds of Procedures Do Courts and Other Dispute Resolution Bodies Need?
What Kinds of Procedures Do Courts and Other Dispute Resolution Bodies Need? These include: 	Rules for jurisdiction (over defendant, over subject matter) 	Rules for how disputes enter the court system 	Rules for how what’s in actually in dispute is determined (pleading) 	Rules for how disputes progress through the court (or tribunal) system 	Rules for pretrial fact investigation (discovery) 	Rules for how disputes are terminated (jury verdict? judge’s order? before trial? after trial?)

Sources of Procedure
	Legislation 	Rules promulgated by the courts (include federal rules of general application such as the Federal Rules of Civil Procedure, Federal Rules of Appellate Procedure; local rules for individual courts; judge’s rules; statutory rules in U.S. Code; state rules (in states’s statutes and/or as supplemental rules) 	Cases that interpret the rules

Federal Rules of Civil Procedure
	Originally promulgated by U.S.Supreme Court in 1937 under authority of Rules Enabling Act of 1934 	Original rules effective in 1938 and have been amended many times. 	Advisory Committee on Civil Rules recommends amendments to FRCP

Federal Rulemaking: FRCP
	If Advisory Committee initially recommends changes, there is a public comment period/public hearings. If AC then approves, goes to Judicial Conference Standing Committee. If SC approves, goes to Judicial Conference. If JC approves, goes to U.S. Supreme Court. 	After Supreme Court prescribes amendment, Congress has a statutory time period to enact legislation to reject, modify, defer amendment.

SCOPE of the FRCP
	Where do these rules apply?

SCOPE of the FRCP
	Where do these rules apply? 	Federal district courts 	Exceptions in Rule 81 include bankruptcy proceedings to extent provided by Federal Rules of Bankruptcy Procedure, where prize proceedings in admiralty, certain statutory review procedures like reviewing orders of Secretary of Agriculture, proceedings to enforce orders of National Labor Relations Board

SCOPE OF FRCP
	In some circumstances, FRCP supplements statutory procedural scheme 	What are some examples? Habeas corpus proceedings, quo warranto proceedings, admission to citizenship proceedings, arbitration proceedings, proceedings for enforcement/review under Longshoreman’s and Harbor Worker’s Compensation Act

The U.S. Court System
	Separate STATE and FEDERAL court systems 	Each STATE and D.C. has its own court system

How Will We Learn Civil Procedure?
	Using sample case files (in CB) as study tools, we’ll follow the path of a federal civil action from its beginning through trial, verdict, and enforcement of judgment 	We’ll read important Federal Rules of Civil Procedure and important statutory provisions and, sometimes, state rules 	We’ll read important court decisions (interpretation of rules/court-made doctrine) 	We’ll apply rules and cases to hypothetical practice problems, like those in Glannon

What topics will we study? See Assignments List
	1. Introductory unit 	2. Pleading 	3. Joinder 	4. Discovery 	5. Right to Jury Trial, Jury Selection6. Bypassing the jury: other types of adjudication 	6. Verdicts, Judgments and Bypassing the Trier of Fact 	7. Jurisdiction and venue 	8. Preclusion 	9. Wrapping Things Up: Forum non conveniens, Erie doctrine, review

Course Objectives/Goals
	Learn important civil procedure concepts 	Learn the procedural steps of a civil action in federal district court 	Develop effective learning techniques, including briefing cases and understanding rules 	Develop exam-taking and oral presentation skills 	HAVE FUN WHILE LEARNING!

WHAT WILL WE COVER TODAY?
•	Wrap-up of important points from last class •	Study tips for preparing for this class and law school in general •	The U.S. court system •	Important concepts relating to civil procedure

WRAP-UP OF CLASS OF
•	Difference between civil/criminal cases •	Difference between procedure/substantive law •	Purpose of the FRCP (just, speedy, inexpensive resolution of disputes – see Rule 1) – purpose guides construction •	Scope: apply in federal district courts subject to exceptions in R. 81

HOW TO STUDY AND PREPARE FOR CLASS
•	Read assignments carefully and critically •	Argue with the reading material •	Consider the procedural stage the case has reached •	Look up rules/statutes mentioned in cases •	Pay attention to the language of rules and statutes •	Focus on facts •	Bear in mind the historical/political context •	Make your own study materials •	Be patient and determined

The U.S. Court System
•	Separate STATE and FEDERAL court systems •	Each STATE and D.C. has its own court system

THE FEDERAL COURT SYSTEM
•	Article III of the U.S. Constitution establishes a separate judicial branch of the federal government. What are the other two branches? •	Art. III provides for the U.S. Supreme Court •	Pursuant to Art. III, Congress created several federal courts: •	Federal District Courts: Trial courts •	U.S. Court of Appeals: Appellate Courts •	U.S. Supreme Court •	Independence of the Federal Judiciary •	Life tenure •	Compensation

FEDERAL DISTRICT COURTS
•	How many federal judicial districts are there in Maryland? •	How many in Virginia? •	How many total?

FEDERAL DISTRICT COURTS
•	How many federal judicial districts are there in Maryland? 1 - District of Maryland •	How many in Virginia? 2 - Eastern District of Virginia, Western District of Virginia •	How many total? 94 (including outside 50 states Guam, P.R., V.I., D.C., Northern Mariana Islands). See 28 U.S. C. s. 133 •	Why do we care about judicial districts?

Federal Appellate Courts
•	Federal Circuits •	United States Courts of Appeals •	How many federal circuits are there? •	What circuit is Virginia in? •	What circuit is Maryland in? •	What about D.C.?

Federal Circuits
•	How many federal circuits are there? Thirteen - twelve regional plus the Federal Circuit •	What circuit is Virginia in? Fourth Circuit •	What circuit is Maryland in? Fourth Circuit •	What about D.C.? District of Columbia Circuit •	For a map of the federal circuits, please see: http://www.uscourts.gov/file/18039/download

United States Supreme Court
•	How many Supreme Court justices are there? •	Who are the current justices? •	Which president appointed each justice?

Current U.S. Supreme Court Justices
•	Roberts C.J. (Bush II) •	Thomas J. (Bush) •	Alito J. (Bush II) •	Sotomayor J. (Obama) •	Kagan J. (Obama) •	Gorsuch J. (Trump) •	Kavanaugh J. (Trump) •	Coney Barrett J. (Trump) •	Brown Jackson J. (Biden) •	See http://www.supremecourtus.gov

Civil Procedure Concepts
•	A hypothetical from a real case •	Vosberg v. Putney, 50 NW 403 (Wis. 1891) •	What does the citation tell us about the court?

VOSBERG HYPOTHETICAL
•	Assume that you’ve just passed the bar exam and you’re sitting in your law office •	Mr and Mrs Vosberg, the parents of a junior high school student, Andrew, need your legal assistance.

The Vosberg’s Story
•	“Our son Andrew was in class at school, sitting at his desk and minding his own business. Another student, George Putney, was sitting across the aisle from Andrew. George was gangly with long legs and pointy feet. George stretched those long legs and in doing so, kicked Andrew in the right shin.” Andrew’s injuries (according to the Vosbergs) •	Immediately after the accident, Andrew felt EXCRUCIATING pain in his shin and right leg, and started to scream in pain.

•	Andrew has been treated by several doctors. For reasons not entirely clear, the injury caused a full-blown medical disaster. Andrew can’t use, and is likely to remain unable to use, his right leg. Comments by George’s Parents to the Vosbergs •	Mrs Putney: “George never meant to hurt Andrew. Any harm to Andrew was an accident.”

•	Mr Putney: “Andrew’s making it all up. He wasn’t hurt at all. Why don’t you just get lost, Buck-o. Tell Andrew to stop his pathetic whimpering sniveling drivel and go back to school!” Assume the following: •	1. There is no such thing as a court system •	2. The Vosbergs did not take kindly to Mr. Putney’s remarks and want to do something about it. •	WHAT CAN THE VOSBERGS DO?

WHAT CAN THE VOSBERGS DO?
•	Resort to violence? •	Give up in despair? •	Try to get a friend to mediate? •	Persuade the school administration to expel or suspend George?

Fortunately, we have a court system!
•	The court system is one of our branches of government (the judicial branch) •	This course relates to procedures in the court system, specifically the CIVIL SYSTEM

The Rules of Procedure
•	For a court system, these rules govern how disputes enter and progress through the court system. •	DO PROCEDURAL RULES TELL US WHO WILL WIN THE DISPUTE BETWEEN THE VOSBERGS AND THE PUTNEYS?

Significant Concept: Difference between Procedural/Substantive Law
•	Do procedural rules tell us who will win the Vosberg-Putney dispute? •	No – SUBSTANTIVE LAW (e.g. tort) tells us who wins (liability) and what the winner gets (remedies) •	Procedure can’t exist independently of substantive law

Significant Concept: Difference Between Civil/Criminal Cases
•	If Andrew’s case was classified as criminal, who would be the moving party? •	What would be the main objective of the criminal action? •	What if Andrew’s case is classified as civil? Why Might the Vosbergs Want to Bring a Civil Case? Why Might the Vosbergs Want to Bring a Civil Case? •	$$$$$$$$$$$$$$$$

•	Criminal law will not compensate the Vosbergs, but would only punish George

Concept: Remedies
•	What civil remedies would the plaintiffs seek in Vosberg?

Common Civil Remedies
•	Damages (financial compensation) •	Injunction (order to do or stop doing something)

Reminder: Difference Between Civil and Criminal Cases
•	Criminal cases are brought by the gov’t representing society •	Criminal cases result in punishment (e.g., fine or imprisonment) •	Civil cases can be between private parties and/or the government •	Civil remedies include financial compensation (damages) or orders to do or stop doing something (injunctions) and sometimes punishment (punitive damages) •	Different burdens of proof

Significant Concept: Parties
•	In the Vosberg’s case, who would be the PLAINTIFF(S)? •	The DEFENDANT(s)? •	We will study JOINDER rules for adding additional parties or claims to a civil lawsuit •	Which party pays ATTORNEY’S FEES? •	What is a CONTINGENCY FEE?

Significant Concept: Jurisdiction
•	Personal Jurisdiction •	Subject matter jurisdiction

Subject Matter Jurisdiction
•	Not every court can hear every type of case •	Federal district courts have limited subject matter jurisdiction •	Two important types of subject matter jurisdiction: – (1) diversity (2) federal question jurisdiction •	State courts- some have GENERAL jurisdiction, some have LIMITED jurisdiction (e.g. tax courts, housing courts) Personal Jurisdiction •	The defendant must have sufficient MINIMUM CONTACTS with the state where the court is located that it would be FAIR to subject her to suit there. •	DUE PROCESS: 14th Amendment to the U.S. Constitution The significant concepts we studied today •	1. Difference between civil and criminal actions •	2. Difference between procedural and substantive law •	3. Remedies •	4. Parties •	5  Jurisdiction

Have a nice evening!
•	See you Friday •	We will cover The Stages and Essential Concepts of Civil Litigation

The Federal Rules of Civil Procedure as restyled
The Federal Rules of Civil Procedure (Fed.R.Civ.P.) were restyled into plain English and promulgated December 1, 2007.

===The Theory of Civil Procedure Law in United States federal law ===

Constitutional Predicate
Article III, Article IV and Amendment XIV of the United States Constitution.

title: United States Law/Civil Procedure


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