text:
Anthropomorphic Robotics Project/Brainstorming/Artificial intelligence and cognitive systems

Suppose you wanted to design a robot to farm. Suppose you wanted to have an organic farm, so you build yourself a robot with the millions of dollars and hours of time you have to do such a thing.

You build this robots mechanical systems and now you need to program it.

You tell the robot, "Dig a circular hole four feet deep and 10 feet in diameter on the north east corner of our property no closer than 10 feet to property boundary. Put the dirt in trucks that we will bring in as needed." (you want to make a pond to house coy but you are too busy building more robots to actually dig the hole yourself)

So we contract with a group to monitor the robot and bring big trucks in as need to haul away the dirt.

The robot will then have to decode and execute the instructions. This presumes that the robot can walk and knows how to use its body and has somewhat complex motor control.

The robot tells itself:
 * Okay. Act...
 * Act when? I only act during the day when there is light to act.
 * Could I act now in the dark? What would I need to act now in the dark?
 * I would need light. Do I have a way of providing light? Yes. I have infrared vision. I can see in the dark.
 * "Dig a circular hole four feet deep and 10 feet in diameter on the north east corner of our property no closer than 10 feet to property boundary. Put the dirt in trucks that we will bring in as needed."
 * Dig. What is to dig? I will look in my knowledge database....
 * So the robot checks its Wiktionary database first. It either does this through a wireless connection it has to a computer in the barn (or house) (or where ever), or checks its local copy of the data base and finds after parsing the page:

Verb

 * 1) To move hard-packed earth out of the way, especially downward to make a hole with a shovel.  Or to drill etc. through rocks, roads, etc.
 * They dug an eight foot deep ditch along the side of the road.
 * In the wintertime, heavy truck tires dig into the road, forming potholes.
 * If the plane can't pull out of the dive it is in, it'll dig a hole in the ground.
 * 1) "dig into" - To research a particular subject.
 * She is going to dig into Egyptian basket-weaving this semester.
 * 1) as slang - To appreciate, or like.
 * Baby, I dig you.
 * 1) as slang - To understand or show interest in.
 * You dig?

So using modeling it asks itself: Is what my owner meant by "dig" most likely that he wants me "to like a hole"? Looks up like... "like" is positivly correlated with "positive emotional valance" but positive emotional valance is very weakly associated with "farm" and "dig"... this is a farm... I do not see "positive emotional valance" correlated with "farm" and "dig".. I do see that "farm" is correlated more heavily with "hole", "pond" and with "plant" which is correlated with "dig" No... he wants me to move hard packed earth.

What do I need? My database tells me that shovels, and heavy equipment are useful for digging. What do I have access to? I have access to a shovel in the barn. What does a shovel look like? According to the database a shovel has the following features associated with it. 4-5 feet long, wood, handle, metal piece on end .5-.15 feet squared in flat area attached to handle. I must walk to the barn and find such an object....

The robot walks to the barn... goes to where tools are known to be kept... looks for shovel... finds object most likely to be a shovel.

The robot looks up word handle - grab handle hold... handle. The robot grabs the handle half way down the handle and is careful to avoid object collision as it walks out the the north east corner of the property. Usings its GPS model it creates a top down map of the property in its on board computer...

It orients itself on the map.

It creates the environment in 3D including itself. It knows where its hands are. It places the shovel on the ground.

"Dig a circular hole four feet deep and 10 feet in diameter on the north east corner of our property no closer than 10 feet to property boundary. Put the dirt in trucks that we will bring in as needed."

Am I ready to start digg? The robot surveys the map of the area and checks it against his vision. The land is "flat", "barren" "covered" - "with grass" - the condition of the soil is "probably soft". Metal can penetrate. There is a truck placed near by. There is also a wheel barrow. The robot decides it is time to dig after assessing no threats to safety of humans or self.

Robot sees "shovel" - knows is highly correlated with "dig".

Examines shovel and earth and runs through simulatory analysis engine to see how to to best utilize the highly correlated "shovel" with "dig".

The physics engine simulates what the final hole will look like.

It works backwards to see the slope of the whole created in such a way to not trap the robot in the whole.

The shape of the metal part of the shovel is correlated with "sharp", and "peirce", and "dig" and "carry", "soil", bang, hit.

The robot examines "dig" and "property" together they are correlated with "soft" "soil" "earth" "soil" "ground" "rights" "ownership" "excavate" "soft"...

The robot runs more analysis...

The robot simulates the movements it would take for it to pick up the shovel. It sees the shovel on the ground next to itself. It keeps this model of it next to the shovel. It see itself bending its knees and lowering its body to a point it can reach the shovel....

To be continued...

Initial thoughts from this brain storming session are that for a robot to have "intelligent" cognitive systems it would need a rather large database of precorrelated terms to other terms. So every term would have all possible correlates arranged by probability, so when "reasoning" a robot would have to be able to effeciently grab terms correlated to objects it its environment and auditory/cognitive/memory systems.

At least for inputs... have one device to listen... one to transcribe... one ...

Reading

 * Natural language processing at Wikipedia


text:
User:MichaelBillington/ircform.js

function nickvalid { var nick = document.loginform.Nickname.value; if(nick.match(/^[A-Za-z0-9\[\]\{\}^\\\|\_\-`]{1,32}$/)) return true; alert('Please enter a valid nickname'); document.loginform.Nickname.value = nick.replace(/[^A-Za-z0-9\[\]\{\}^\\\|\_\-`]/g, ''); return false; } function setjs { if(navigator.product == 'Gecko') { document.loginform.interface.value = 'mozilla'; }else if(navigator.appName == 'Microsoft Internet Explorer' && 		document.getElementById && document.getElementById('ietest').innerHTML) { document.loginform.interface.value = 'ie'; }else if(navigator.appName == 'Konqueror') { document.loginform.interface.value = 'konqueror'; }else if(window.opera) { document.loginform.interface.value = 'opera'; } } addOnloadHook(function { 	var bodyContent = document.getElementById("wikichat"); 	if(!bodyContent) { 		return 0; 	} 	while (bodyContent.childNodes.length > 0) bodyContent.removeChild(bodyContent.lastChild); 	var outp; 	outp = "Enter a nickname to join the Wikiversity IRC channel"; 	outp = outp + ""; 	outp = outp + " "; 	outp = outp + "  "; 	outp = outp + "  "; 	outp = outp + "  "; 	outp = outp + "  "; 	outp = outp + " "; 	bodyContent.innerHTML = outp; 	//setjs; });

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

title: User:MichaelBillington/ircform.js


text: Category:Culinary Arts

title: Category:Culinary Arts


text: User:Blast/.33 width boilerplate

title: User:Blast/.33 width boilerplate


text:
Teletraffic engineering/What is Congestion control?

originally written by Moses Chisala

Summary
The document defines congestion control and the five algorithms found in the TCP protocols: slow start Exponential backoff, sliding window, Fast retransmit and Fast recovery. In addition, it also gives an example and an exercise basing on simple “steady-state model” of TCP technique.

Definition
Congestion control is a method used for monitoring the process of regulating the total amount of data entering the network so as to keep traffic levels at an acceptable value. This is done in order to avoid the telecommunication network reaching what is termed congestive collapse.

Congestion control mostly applies to packet-switching network. A wide variety of approaches have been proposed, however the "objective is to maintain the number of packets within the network below the level at which performance falls off dramatically."

There are two transport layer protocols where congestion control is implemented;
 * Transmission Control Protocol
 * User Datagram Protocol

In the TCP there are several congestion control algorithms strateges used:
 * slow start
 * exponential backoff

Model: The simple “steady-state model” of TCP

 * Fixed roundtrip time R in seconds.
 * A packet is dropped each time the window reaches W packets.
 * TCP’s congestion window: W, W / 2, W / 2 + 1,..., W - 1, W , W / 2

The average sending rate T pkts per sec: T = 3 W / 4 R

The packet drop rate p : p = 1 / (⅜ * W ²)

T in pkts per sec: T = √(3 / 2) / ( R * √ p )

or in bytes per sec, given B bytes per pkt: T = √(3 / 2) * B / (R * √ p )

The improved “steady-state model” of TCP:

An improved steady-state model of TCP includes a fixed packet drop rate,retranmit timeouts, and the exponential backoff of the retransmit timer.

T = B / [ R * √(2 * p / 3) + 2 * R * {3 * √(3 * p / 8)} * p * (1 + 32 * p ²)]
 * T
 * sending rate in bytes/sec

 * B
 * packet size in bytes

 * R
 * roundtrip time

 * p
 * packet drop rate[1]

 * sliding window
 * fast retransmit
 * fast recovery

Example
The date rate between two routers is 230.4 Kbps, and the TCP congestion window is 30 packets. calculate the round trip time R. (Assuming 1 packet = 512 - bytes)

Solution
T = 230.3 Kbps W = 30 packets = 30 * 512 * 8 bits R = 3 * W / 4 * T   = 3 * 30 * 512 * 8 / (4 * 230300) = 0.4 s

Exercises
An internet cafe connects to an ISP with bandwidth of 10 Mbps. The TCP’s congestion window is 64 KB. (1 packet = 512 bytes)

 * 1) Calculate the round trip time at network equilibrum
 * 2) What is the packet drop rate?
 * 3) What is the capacity of the TCP’s congestion window packets?

/Solutions/


text:
User:Athiran

illson

title: User:Athiran


text:
Teletraffic engineering/What is the Engset calculation?/Solution

Table 1 below shows the results for Erlang B and Engset calculations.

Table 1: - TABLE COMPARING RESULTS FOR ERLANG AND ENGSET CALCULATIONS FOR NUMBER OF LINES SPECIFIED FOR SAME NUMBER OF SOURCES AND OFFERED TRAFFIC AT 0.01 GoS.

Notice that the Erlang B formula specifies the maximum number of lines needed even if there are fewer sources.


text:
Teletraffic engineering/What is the Engset calculation?/Solution 1

Table 1 below shows the results for Erlang B and Engset calculations.

Table 1: - TABLE COMPARING RESULTS FOR ERLANG AND ENGSET CALCULATIONS FOR NUMBER OF LINES SPECIFIED FOR SAME NUMBER OF SOURCES AND OFFERED TRAFFIC AT 0.01 GoS.

Notice that the Erlang B formula specifies the maximum number of lines needed even if there are fewer sources.


text:
Teletraffic engineering/What is the Engset calculation?/Solution 2

Table 2.1 below shows the results for Engset calculations.

Table 1: - TABLE 2.1 ENGSET CALCULATION RESULTS.

Table 2.2 below shows the results for Binomial calculations.

Table 1: - TABLE 2.2 BINOMIAL RESULTS

Notice that Binomial's assumption that traffic is queued provides a higher blocking probability than Engset.

(This exercise is referenced from Richard Parkinson, Traffic Engineering Techniques in Telecommunications [2].


text:
Teletraffic engineering/Routing/Answer 3

Answer 3
To to connect an input port to which a calling user is connected to a free outgoing circuit group (first choice or alternative route) and perform the actual forwarding of traffic along routes defined in routing tables.


text:
User:Mlevieux

Michel Le Vieux

Network Engineer

Currently working for Cisco Systems in Australia

title: User:Mlevieux


text:
User:MichaelBillington/IRC

This is a piece of javascript to add a form to a page. The form has a field for a nickname, and a submit button, for logging on to Wikiversity's IRC channel.

To get this to work, add the following code to your monobook.js file.

document.write('<'+'script type="text/javascript" src="'                + 'http://en.wikiversity.org/w/index.php?title=User:MichaelBillington/ircform.js'                 + '&action=raw&ctype=text/javascript"><'+'/script>');

The form can then be included on any page, using the following code:

It will only work for other users who have the script installed, otherwise nothing will be shown. You can style the form in your monobook.css page using its, as in the following example, which will add a black border around the form.

 * 1) wikichat {border: 1px solid #000000; padding: 10px;}

This script is intended help to get more users in the Wikiversity IRC channel. It uses the IRC gateway at ircatwork.com, though it can be configured to use any CGI:IRC installation. Programmers may be interested in the code, which can be found at User:MichaelBillington/ircform.js. Michael Billington (talk • contribs) 10:57, 12 March 2007 (UTC)

title: User:MichaelBillington/IRC


text:
Anthropomorphic Robotics Project/Brainstorming/Visual systems

Please brainstorm on visual systems for AI.

Input devices are needed.

This may overlap with other systems, partly because all systems can be seen as affecting each other.

It seems that one way a robot could navigate the world is by creating a map of itself in space, and interacting with that map in computational, mathematical space, and having those interactions correspond to motor control of the mechanical systems.

At first glance it may seem that this would require great amounts of computing power.

The idea comes from a book entitled, "Why God Won't Go Away". It is about religion and neuroscience. One of the theories in the book postulates something like: we feel a certain sense of loss of self in meditation because the we shut off the part of our brain that orients us in space...

The point is, the book talks about part of the brain that orients you in space. Your brain says, you are sitting in a chair. Your hand is out in front of your body on your mouse. Your head is above your chest, and your feet are touching the ground. Your back is pressed against a chair. Your brain orients you. Your brain intakes all the sensory information from your many nerves and other sensory devices (like your eyes) and orients you so you feel reality.

So maybe a robot can do the same. It could orient itself from its vision system, and maybe its auditory system (sonar perhaps?).

I saw a show on PBS on DARPA's grand challenge. Basically, the winning team (Stanford) how they were able to keep they car on the road and avoiding obstacles was they used laser scanners to build a 2D picture representing the 3D picture of the terrain using color. They showed how the cars brain (its computer) would laser scan the terrain and then using image processing on each frame would color areas like rocks on the road, ditches on the side of the road and other obstacles. This way the car would have one section of the road painted a certain color to indicate that it was safe to drive on.

So maybe a robot could do the same. If algorithms could be written efficiently enough to allow for a robot to discern the shapes of the world around it... then maybe it could interact with those shapes in meaningful ways. Perhaps geometry processing could be used.

I am by no means an expert, but it seems that maybe people sometimes forget the fact that computers don't have to think like people to create artificial intelligence, it just has to have that appearance.

Mapping indoor terrain, and other terrain, possibly also including outdoor terrain.

The gist of these tentative thoughts are as follows.

Stereoscopic cameras... and accelerometors.

As long as the direction of the view is known, and the location of the cameras doing the viewing, and the distance of the object viewed.. as long as these are all known, could you not simply plot points in a digital three dimensional field, and have this as a map?

Perhaps this has been down... You would need to take points in space... probably a bunch of points.... and then all this data could calculate the space... this probably needs more refineing before any sort of implementation. Where are/what are stereoscopic algorithms to determine distance?

Other resources

 * Interesting page on object recognition.
 * Robotics technical papers (Jackpot)


text:
User:Yck011522

Dreamtion Workshop Presents!

We Make Dreams Come True

title: User:Yck011522


text:
Teletraffic engineering/Limited availability

Author: Stephen Kyalo Musango Makonge

Module 9 of the Teletraffic Textbook

What is the limited availability calculation?
Summary

This discussion explores the limited availability calculation in teletraffic engineering. The effects of limited availability on switching systems is introduced and the calculation to determine the two  important parameters, the occupancy distribution and the blocking probability which are important metrics in determining the grade of service of a telecommunications system. Erlang lost call calculation does not take regard to a limited availability system, and alternative calculations or simulations must be sought in such a system, which is the basis of this discussion.

What is limited availability and how can it be calculated?
In a switching system with input (ingress) points delivering teletraffic and output (egress) points exiting teletraffic, it is possible that the input can be connected to a free or idle outlet at any at the given time of service request. Such a system is referred to as a full availability system. A case arises when an inlet cannot be connected to an outlet because of busy outlets or unavailable internal path in the switch a system referred to as a limited availability system. Below in figure 1.0 is an illustration of a symbol of a switching system with m input and n outputs.

Effects of a limited availability system
A limited availability system leads to congestion. A system that has encountered congestion can handle incoming calls in two possible ways; blocking or waiting. In the former case a call will be completely blocked and such a system is referred to as a loss system or lost call systems, while in the former, the caller may wait for an available resource a scenario called a waiting or delay system [2] in a delay system the calls are placed in a queue. In a lost call system the offered traffic does equal the carried traffic, the shortfall being the lost calls. The carried traffic is therefore the offered traffic less the lost traffic [1]. Knowledge of the limited availability is important in defining the grade of service (GoS) of a telecommunications system.

Modern electronic switching systems have been designed to provide full availability service to call service requests. An incoming call requiring a group resource has been designed to have access to any circuit in that given group. The need to formulate the full availability metric was occasioned by electromechanical switched which offered only limited availability [4]. To illustrate this, let us assume a call can access only 25 circuits out of a total 76 circuits, the availability of the system is 25.

Exercise 1

1. A switching system has 86 circuits. The only one circuit out of half the total number of circuits is not available to a given call while the others are available. Determine the availability of the system.

Solution

Erlang lost call calculations.
The knowledge of the availability of a system is essential in determining the grade of service. Erlang lost call calculations are based on full availability systems [1]. The Erlang assumptions for lost call are stated below.

1.	Traffic has a pure chance arrival.

2.	System is at statistical equilibrium.

3.	A full availability system is under consideration. 4.	Complete blocking or loss of calls encountering congestion.

Therefore assumption 3 above implies that the system of limited availability cannot be determined by the traditional Erlang lost call calculations. Shown in figure 1.1 below is a generalized model of a limited availability system. The model is give for a system with a group of links with similar capacities this consideration applies to narrowband ISDN Pulse code modulation (PCM) links [3]. When the number of outlets N is less than the inlets M, i.e. (M>N), incoming calls will be engaged only until N=M and any further call will be blocked due to lack of resources. The challenge is to determine the probability that a call will be blocked because of a limited availability of circuits in a full availability group. This probability is called a blocking probability and can be calculated from Erlang B formula as:

Erlang –B formula is based on the following assumptions:

1.That call arrival is a random process. If the calling interval is α the probability that a call will begin in any one second is 1/ α.

2.The calls in progress have no effect on the calling rate. If the total users are M and there are N active callers at any one time, the calling rate is assumed as Mα.

3.That ending of any call in progress has an equal probability and is a random event.

We can determine the inlet occupancy ai of the system as: ai= αh Erlang where h is the mean holding time (average duration of a call). The units of occupancy are given in Erlang. The occupancy of the outlets ao can be determined from the knowledge of the input occupancy as: ao = ai M/N Given N and ao it is possible to determine the blocking probability from lookup tables give for Erlang-B formula. Modern switches have multiple stages, and there is a need to calculate the overall blocking probability of a multi-stage switch. As the sum of blocking probabilities of individual stages as: B= B1+B2+B3+……….. by taking the outlet occupancy of a link to be the inlet occupancy of the next stage or ain+1=aon..An iterative process can be applied to obtain a more accurate value [5].

In broadband networks the bit rate offered by the links is variable and we consider it as multi-rate traffic. The output links of broadband networks carrying multi-rate traffic can be considered as limited availability systems and an algorithm for determining blocking probability of a limited availability group has been proposed in [3] for two different scenarios, where one has bandwidth reservation and the other without bandwidth reservation. The proposed analytical methods are subjected verification through comparing the results obtained with simulation results. The simulation is done through use of computer simulation techniques where calls are modeled and an arrival process made of pseudorandom numbers is generated from programming languages or specialized simulation application software. This method can be used to visualize different scenarios and make problem solving easier [1]. For the analysis to be done, an integer number of basic bandwidth unit (BBU) need to be determined. The BBU is the greatest common divisor of all the bandwidths of the multi-rate traffic offered.

Scenario of a limited availability group without bandwidth reservation
The links are considered of varying capacities. Let us assume that the system is composed of j types of links where each link is characterized by hj ¬being the number of links of type j and Pj being the capacity of links of type j, the capacity G of the group can be determined as:

Traffic of M independent classes with a Poissonian distribution is offered to the group. The traffic has streams with different intensities as. A class i call requires ti BBU’s to set up a connection. Let the holding time for any particular call have an exponential distribution with the parameters as: µ1, µ2,. . .,µM. For class i the mean offered traffic is equal to:

Distribution of the occupancy in system the can be determined by the generalized Kaufman-Roberts recursion relation as:

Where P (n) is a state probability representing the probability that a BBU is busy. σi (n) is the probability of admission of a call of class i when the system is in a state n. This probability is state dependent hence referred to as a conditional probability because it depends on the n factor. A generalization of the possible number of ways x of ways in which free BBU can arrange is shown by the following relation assuming a system with j types of links.

A conditional blocking probability for class i  traffic stream in state n BBUs being busy can be determined using the equation (4 above) as:

Where β i (n) denotes the number of events for which there are less BBUs to service calls for class i or when the system is in a state of blocking while α (n) denotes the total number of possible arrangements of n BBUs that are in a busy state.

To determine the possible number of ways of arranging n BBUs in a busy state in a limited availability system, we can determine the number of arrangements of  of j link types of capacity ps.The problem of determination of the number of arrangements of n busy BBU’s in the limited availability system. From relation (4),

The number of events for which blocking occurs denoted earlier as βi(n) as the of arrangements of  BBU’s that are free in links of j types, with each of their capacities as ti - 1 BBU’s can be determined as:

The probability of passing which is a conditional probability can be determined as:

After determining the conditional passing probability (σi) we can determine the distribution of occupancy and the blocking probability for class i calls from the generalized Kaufman-Roberts relation in equation (3). The blocking probability states for the limited availability system can be determined by a condition below:

Applying the total probability theory the blocking probability in a limited availability group can be determined as:

For the case of a system with bandwidth reservation.
Three algorithms have been proposed in [3]. We shall limit our present discussion to one algorithm. In this scenario, a quantity Q called the reservation threshold is introduced. This refers to the boundary in which the capacity of the system service a call of a given class request is still possible. Any calls of a given class above this value are blocked and belong to the reservation space R designated as:

R=V-Q ……………………………………………………………… (11)

In this algorithm the threshold Q is defined for all classes of calls excluding those that require the highest number of BBUs to establish a connection or otherwise tm= tmax, that can be established when the system is operating in the region R(reservation space). The conditional passing probability from Kaufman-Roberts recursion can be defined as:

If i= M the passing probability can be obtained as:

From equations (10) and (12), a derivation of the blocking probability can be made for as:

The challenge to find a value of Q for which all the blocking probability of all the classes of traffic stream is equalized can be solved through an iterative process where capacity of the group is taken as the initial value of Q ; the reservation threshold.

Conclusion
In the foregoing discussion, a description of a full availability system and a limited availability system has been made and the effects of the as a system on telecommunications service and the importance in defining the grade of service stated. The Erlang lost call calculation limitation to determine limited availability system parameters has prompted the derivation of a limited availability calculation which is largely the aim of this discussion. The derivations advanced are largely propositions extensively adapted from a systematic analysis presented in [3]. Justification of any numerical calculation is necessary. “This research has confirmed a great accuracy of the proposed model, which is comparable to the accuracy of the method worked out for the limited-availability groups without reservation. A lot of simulation experiments carried out by the author indicate that the accuracy also remains the same regardless of reservation algorithm, system capacity and the number of traffic classes. It confirms all the adopted theoretical assumptions accepted in the proposed method” [3].

Exercise
1. Define the following terms;

a. Full availability system

b. Limited availability system

c. Delay system or waiting system

2. State four assumptions for Erlang lost call calculation.

3. What method can you use to determine a value of a reservation threshold for which the blocking probability of multi-rate traffic streams is equalized?

4. What are the two important parameters for determination in a limited or full availability group and why are they important in telecommunications?

Solution


text:
Teletraffic engineering/Teletraffic grading/Answer

Answers to Exercise on Teletraffic Grading
If you followed the link from Teletraffic Grading and wish to return to that page click here

Answer
A reminder of the problem: Redraw Figure 1 with a Limited Availability Grading of 4

Figure 1: Full Availability

Thus Figure 2 will resemble that of the example for 4 incoming and 4 outgoing lines; A will not have access to 5, B will not have access to 4, C will not have access to 3, D will not have access to 2 and E will not have access to 1

Figure 2: Limited Availability with a grading of 4


text:
Mathematical jigsaw puzzle

Mathematical jigsaw puzzles are, at their simplest, the rectangular cards, dominoes, triangles or other shapes that fit together like jigsaws. The pieces of this jigsaw, when correctly put together, form equalities on their faces.

To use such a learning activity the teacher can compose a number of pairs of like equations and then print out all the shapes for the pupils to find the like equations and put the jigsaw together. There is a free software (Formulator Tarsia, ) helping teachers to prepare jigsaw learning activities.

Formulator Tarsia (known earlier as Jigsaw 2005) was initially published as part of the package of resources ‘’Improving learning in mathematics: challenges and strategies’’ received in 2006 by all English secondary schools from the DFES Standards Unit. Currently, Formulator Tarsia is reworked and released in the second version by its creators at Hermitech Laboratory in Ukraine.

title: Mathematical jigsaw puzzle


text:
User talk:Stevechallo

Image copyright problems

 * Your currently affected images are below. Please provide a license template and source for each. Thanks. – Mike.lifeguard | @en.wb 23:28, 13 February 2008 (UTC)

 * 2007-03-20 11:19, Stevechallo: Erlanggggg b.PNG: untagged! ; 0 (0)
 * 2007-03-21 11:48, Stevechallo: GATS.JPG: untagged! ; 0 (0)
 * 2007-03-21 11:53, Stevechallo: GATS1.JPG: untagged! ; 1 (1)
 * 2007-03-21 14:42, Stevechallo: Reattempt model2.PNG: untagged! ; 0 (0)
 * 2007-03-21 14:50, Stevechallo: Reattempt model3.PNG: untagged! ; 2 (2)

title: User talk:Stevechallo


text: File:Steveswitch.jpg

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text:
Teletraffic engineering/Blocking/Answer1

We have first to find the busy-hour traffic. BHT = 167 Erlangs using Little's Rule.

According to Little's Rule: For the hour, the traffic in Erlangs = $$\frac{Number of calls * Mean Holding Time (seconds)}{3600}$$

Using the Erlang-B formula is cumbersome in this example because there are many circuits. An Erlang-B calculator is used instead. The Blocking Probability is found to be 0.021 (2.1%)

Back to article


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text:
User:Stevechallo/ELEN7015 Module 9 Solution

Exercise 1
Total circuits no. is 86

Half the total no. is 43

1 circuit out of 43 is not available hence available circuits are: 43-1 = 42; the availability of the system.

Alternatively,Total unavailable circuits are:

43+1 = 44, Available circuits are: 86-44=42; availability of the system

Exercise 2
1.a) A system where an input can be connected to a free or idle outlet at any at the given time in a service request.

b) Inlet cannot be connected to an outlet because of busy outlets or unavailable internal path. There is only limited number of the total outputs accessible to the inputs.

c) A system where a caller who encounters congestion waits for an available resource. The caller is placed in a queue.

2. Assumptions

 * Traffic has a pure chance arrival,

 * System is at statistical equilibrium,

 * Full availability system,

 * Complete blocking or loss of calls encountering congestion.

3. An iterative process with the link capacity G as the initial value of the reservation threshold (Q).

4. Occupancy distribution and blocking probability. They are important in defining and determining the grade of service.


text:
Teletraffic engineering/What is Congestion control?/Solutions

 * a. 38.4 msecs
 * b. 0.000171
 * c. 125 packets


text: User talk:CatInAHat1

title: User talk:CatInAHat1


text:
Teletraffic engineering/Limited availability/Solutions

Solution Exercise 1.
Total circuits no. is 86 Half the total no. is 43 1 circuit out of 43 is not available hence available circuits are: 43-1 = 42; the availability of the system. Alternatively,Total unavailable circuits are:43+1 = 44, Available circuits are: 86-44=42; availability of the system

Solution Exercise 2.
1.	a) A system where an input can be connected to a free or idle outlet at any at the given time in a service request.

b) Inlet cannot be connected to an outlet because of busy outlets or unavailable internal path. There is only limited number of the total outputs accessible to the inputs.

c) A system where a caller who encounters congestion waits for an available resource. The caller is placed in a queue.

2. Assumptions •	Traffic has a pure chance arrival,

•	System is at statistical equilibrium, •	Full availability system,

•	Complete blocking or loss of calls encountering congestion.

3. An iterative process with the link capacity G as the initial value of the reservation threshold (Q).

4. Occupancy distribution and blocking probability. They are important in defining and determining the grade of service.


text:
User:SB Johnny-LM

This is a sockpuppet account of User:SB_Johnny. I'm using it to make entries on the Bloom Clock for flowers I see blooming in Lower Merion Township, Montgomery County, Pennsylvania, where I often work.

title: User:SB Johnny-LM


text: C++/Lessons

title: C++/Lessons


text:
User talk:Chyld989

Just a comment
Hey, I'm glad to have you with us. I was just going to point on thing out with your modifications to the C++ lessons. Please realize there are many different naming conventions that exist. You went through and changed from the word_word convention to the wordWord convention. In the future, please leave them as they were unless they are actually wrong.

Again, it is good to have you with us. Hit me up anytime if you have questions about anything. --Shatner 21:19, 12 March 2007 (UTC)

title: User talk:Chyld989


text:
User:Shatner~enwikiversity

Here's me. I will make this page better later.

title: User:Shatner~enwikiversity


text:
User:Csterben

Sterbcm89@aol.com

title: User:Csterben


text:
User talk:Shatner~enwikiversity

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:59, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:22, 19 April 2015 (UTC)

title: User talk:Shatner~enwikiversity


text: Template:WIP

title: Template:WIP


text:
User:Jlclark

i am a canadian poet, in my fifties, and my primary focus in writing and study has been in mythopoeisis', poetry deep in symbol and archetype that combines ancient functions of bard and priest...in saying that, i have not restricted my spiritual digging to any specific tradition: i dig into western, eastern, shamanic sources, following my mentors in poetry-- these individuals come from the english romantic period (esp. blake, coleridge, shelley), the modernists (esp. eliot and yeats), the beats/san francisco renaissance (esp. kerouac/ginsberg and robert duncan/jack spicer), and contemporary canadian poets like gwen mac/ewan and anne szumigalski...

i like looking at a fairly big screen--having a background in anthropology as well as english lit--and so i do push back into the prehistoric, trying to get some sense of how the roots of poetry can be found within myth/ritual (gary snyder is good in this area)...but i am fairly eclectic so try to focus on specific movements throughout history...

i'm new to wikiversity, so don't quite know what else to say...eight books published, started a small press (hagios press), have taught creative writing and eng/lit...primarily 20th century poetry and poetics...looking for dialogue

i, thou, any way and how...sound flippant perhaps but i am very serious about this craft

livestone

Contributing to Wikiversity
(moved from Contributing to Wikiversity)

not quite sure what i'm doing as i'm a high/tech luddite, but i'm interested in dialogue with other poets, particularly with novices who might be looking for a poetry/mentor...or simple feedback for that matter--i taught creative writing and first year english lit at the university of saskatchewan for close to 20 years; started a small literary press in the past and nurtured it along for a few years; have 8 books published by canadian lierary presses/ 7 poetry 1 novella-- but i am now physically disabled and hang around the house too much, miss teaching and hanging out with other poets...my general background and orientation in poetry is to be found at 'jlclark'... can't work at computer for long hours, due to spinal cord injury, so if i were mentoring or whatever i wouldn't be able to take on a large number of writers... cheerio jlclark@sasktel.net

title: User:Jlclark


text:
User:TMMexp

Allright!
Fine, I will start a user page. I just won't finish it.

title: User:TMMexp


text:
Template:Basic filmmaking:Table of contents:Creating the animatic

 * {| cellpadding="2" cellspacing="0" width="425px"

 * bgcolor="LightCyan" style="border: 1px #cccccc solid;" | Preparing the storyboards
 * }

 * {| cellpadding="4" cellspacing="0" width="450px"

 * bgcolor="#ccccff" style="border: 1px #cccccc solid;" | Creating the film score
 * }

 * {| cellpadding="4" cellspacing="0" width="450px"

 * bgcolor="#ccccff" style="border: 1px #cccccc solid;" |Editing the animatic
 * }

 * {| cellpadding="4" cellspacing="0" width="450px"

 * bgcolor="#ccccff" style="border: 1px #cccccc solid;" | Creating the sound effects
 * }
 * {| cellpadding="4" cellspacing="0" width="350px"

 * bgcolor="#ccccff" style="border: 1px #cccccc solid;" |Compositing the matte painting
 * }

 * {| cellpadding="4" cellspacing="0" width="400px"

 * bgcolor="#ccccff" style="border: 1px #cccccc solid;" |Graduation – Completed animatics
 * }

 * }


text:
Filmmaking Basics/Animatic

{| cellpadding="20" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: #ffffa0; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 60px;" colspan="2" | Creating the animatic

 * style="width: 45%; background-color: #ffffe0; 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: 45%; background-color: #ffffe0; 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 final lesson

 * Creating a movie of the storyboards
 * This is the final lesson of this course. This is also the most difficult.  You have to combine everything you have learned in this course, the film scoring course, and the film editing course to create a movie which shows you roughly what the final movie will be like.

 * What is an animatic?
 * An animatic is the storyboards turned into a movie. You combine the music, the dialog and the storyboards to create a rough version of the final movie.

 * Why an animatic?
 * The animatic (the movie of the storyboards) has one major purpose. This animatic will show you if this movie will be successful or not.  That is why this step is so important.

 * style="width: 55%; background-color: #ffe; 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; height: 200px;" |

Why an animatic?

 * The animatic is a proof of concept!
 * Will your movie idea be a sucess? The animatic can help you with planning a successful project.

 * The Hollywood System
 * In Hollywood, if the studio likes the script, they may provide money for the production. You don't need to create an animatic to begin filming but a professional production will want to create storyboards, shot lists and breakdowns for their crew.

 * Filmmaking for normal folks
 * Before we begin shooting film or video or before we begin an animation project, it can be helpful to create an animatic to test out the idea and the timing of the final project.

 * Creating an animatic is not easy especially in 3D. Each of the lesson pages in this lesson should be complete lessons.

 * Later, as more people completed this lesson, I will expand the instructions. But for now, the instructions are minimal.

 * If you have questions
 * Therefore, I hope that the steps are not confusing. If you have any questions, @undefined.  [[Image:Crystal Clear app xfmail.png|32px]]

 * }

{| cellpadding="20" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: BlanchedAlmond; 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;" |

Be prepared

 * All the steps
 * In the Wikiversity Film School, there are three major courses.
 * Basic filmmaking (this course)
 * Film editing
 * Film scoring
 * To complete this course, you will find it useful to also complete the other courses.

 * style="width: 50%; background-color: #ffe; 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; height: 200px;" |

The elements

 * To complete this lesson, you need:
 * Finished storyboards
 * Recorded dialog
 * Music for the film score

 * Use any of the elements
 * You can use anyone's storyboards, dialog, or film score. Look below for the completed pieces that you need.

 * }

{| cellpadding="20" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 100%; background-color: LemonChiffon; 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;" rowspan="2" |

The next page

 * Before we can edit the movie together, we need to gather up all the elements. Above, select the best dialog and the best storyboards.  Then we go to the film scoring page for the animatic.
 * Lesson on creating the film score for the animatic [[Image:Crystal Clear action forward.png|24px]]

 * }

title: Filmmaking Basics/Animatic


text:
User:Verin Sedai

I'm Verin Sedai...

title: User:Verin Sedai


text:
Talk:Developing Scripts and Case Studies for cisLunarFreighter/Radio Communications/STC/implementation/Initial Screen

wtf are you talking about? CQ 04:47, 13 March 2007 (UTC)


text:
Filmmaking Basics/Film Score Pop Quiz

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: #ffffaa; 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" | [[Image:Crystal Clear action apply.png|32px]] Please take this pop quiz! [[Image:Crystal Clear app clock.svg|32px]]

 * style="width: 50%; background-color: #ffffe0; border: 1px solid #777777; vertical-align: center; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |
 * style="width: 50%; background-color: #ffffe0; border: 1px solid #777777; vertical-align: center; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

The first and second moods?
The start of the movie says:

"An old and wise person and a young but curious person are outside a movie theater where they have just seen the movie "Star Wars".

Now they stand looking at the movie poster on the wall outside the theater."

1. When you read this, what moods will express these feelings?

2. The mood is created by music. Therefore, now we must look at the music for the opening of the movie.

Listen to the moods
Listen to the moods on the right. Then decide how you want to start this movie. What mood do you want the audience to feel?:

 * @undefined.
 * (Please explain why.)

 * @undefined.
 * (Please explain why.)

@undefined.

 * style="width: 50%; background-color: #EFFFEF; border: 1px solid #777777; vertical-align: center; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 10px;" |

Moods created by music
Listen to these moods and decide which is the first mood and which is the second mood of the movie.

 * 1) Musical mood : [[Media:Fanfare mystery.ogg|Fanfare mystery.ogg]]
 * 2) Musical mood : [[Media:Ending short.ogg|Ending short.ogg]]
 * 3) Musical mood : [[Media:Short bang.ogg|Short bang.ogg]]
 * 4) Musical mood : [[Media:Tension.ogg|Tension.ogg]]
 * 5) Musical mood : [[Media:Long drama.ogg|Long drama.ogg]]
 * 6) Musical mood : [[Media:Bold 2.ogg|Bold 2.ogg]]
 * 7) Musical mood : [[Media:Bold.ogg|Bold.ogg]]
 * 8) Musical mood : [[Media:Mystery.ogg|Mystery.ogg]]
 * 9) Musical mood : [[Media:Awakening.ogg|Awakening.ogg]]
 * 10) Musical mood : [[Media:Ending long.ogg|Ending long.ogg]]
 * 11) Musical mood : [[Media:Bang long.ogg|Bang long.ogg]]
 * 12) Musical mood : [[Media:Attention long.ogg|Attention long.ogg]]
 * 13) Musical mood : [[Media:Attention.ogg|Attention.ogg]]

Other moods which will be useful for scoring your animatic

 * 1) Musical mood : [[Media:Delicate thinking .ogg|Delicate thinking .ogg]]
 * 2) Musical mood : [[Media:Delicate thinking softer.ogg|Delicate thinking softer.ogg]]
 * 3) Musical mood : [[Media:Long serious thinking.ogg|Long serious thinking.ogg]]
 * 4) Musical mood : [[Media:Short exclamation.ogg|Short exclamation.ogg]]
 * 5) Musical mood : [[Media:Short exclamation 2.ogg|Short exclamation 2.ogg]]
 * 6) Musical mood : [[Media:Trumpet call heavy.ogg|Trumpet call heavy.ogg]]
 * 7) Musical mood : [[Media:Trumpet call light.ogg|Trumpet call light.ogg]]

These are OGG files which is a type of audio file. If you need help setting up your computer to play OGG files, go to Wikipedia:Media help (OGG)

Or create your own moods

 * If you prefer, you can create your own mood music and send it to me.

 * One way is to start with the MIDI file called swtheme.mid. Google this file name and you will find a dozen free sources for this MIDI file.  Import it into GarageBand with Jam Pack Symphony Orchestra or your favorite film scoring program.  Then extract moods from the music.  (Soon, this will one of the exercises for the film scoring class.)

 * It is fun! Try it!

 * }

Sound Familiar?

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: #fdd; border: 1px solid #777777; vertical-align: center; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

Does this pop quiz seem familiar?

 * At the beginning of this course, you took another pop quiz. It was a trick question.

 * Rather than decide which pictures are first and second, you should have been thinking about which moods should start the movie.

 * The only thing which creates mood at the beginning of this movie is music. Therefore, you should have been thinking of which music you need, not which pictures you need.

 * style="width: 50%; background-color: #def; border: 1px solid #777777; vertical-align: center; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 10px;" |

The mood is everything

 * 90% of everything the audience feels is music. Music brings almost all of the emotion for a scene.

 * Therefore, you should never ask "which is the first and second picture of this movie?"

 * Instead, you must ask what are the first and second moods that you want for this movie. Then you think about the music which will convey that mood.

 * Only after thid do you finally decide which pictures should go along with that music. And because you select the music first, I think you will find that the pictures will be different.

 * }

{| cellpadding="30" cellspacing="0" style="width: 80%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: #ffffaa; border: 3px solid Purple; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="3" |

Example

 * 1. First mood :
 * Musical mood : [[Media:Mystery.ogg|Mystery]]

 * I want mystery to start the movie to built anticipation.

 * 2. Second mood :
 * Musical mood : [[Media:Bold 2.ogg|Bold 2]]

 * Then I want a bold theme which sounds like the Star Wars theme but not exactly the same so the audience knows that this is about Star Wars.

 * }

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: Cornsilk; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" ,!--rowspan="2"--> |

The next page

 * Before you create the animatic, you need to practice editing. At the same time, you need to learn about "L-Cuts".

 * }

title: Filmmaking Basics/Film Score Pop Quiz


text:
User:Brent~enwikiversity

21st Century Renaissance Man. Webpage Design instructor for local county, web developer, writer, programmer, and artist. Lots and lots of interests.

Website: http://brentnewhall.com/

title: User:Brent~enwikiversity


text:
Template:Basic filmmaking:Table of contents:Film Scoring:Pop Quiz

 * What is your first mood? Why? - 2 points
 * What is your second mood for this movie? - 2 points

 * }


text:
User:Phonebein

This is cedrick mccrary's user page.

=Heading 1= =Heading 2= =Heading 3=

Heading 3.1
=Heading 4=
 * 1) Numbered list item

Example for R2D2 Lesson
For the following instructional methods, indicate whether the instructional method best reflects Reading, Reflecting, Displaying, or Doing.

title: User:Phonebein


text:
User talk:Brent~enwikiversity

Hrmmmm?
What's with the missing custodian stuff? --SB_Johnny | talk 17:39, 11 April 2007 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:31, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:04, 19 April 2015 (UTC)

title: User talk:Brent~enwikiversity


text:
2D Animation process

There are two major forms of animation: 2D (hand-drawn, or computer assisted) and 3D (CGI). This page focuses on 2D animation.

The overall process of creating a 2D animation is divided into three parts: pre-production, production, and post-production.

Pre-Production
Pre-production involves establishing the plot of the completed animation. Because each shot in animation is so labor-intensive, it's imperative to get shots right during Pre -production. Re-animating a shot (because a character uses knowledge not gained until later in the story, for example) is very expensive, especially compared to live-action filming.

Most animations are story boarded, in which the main action in each scene is drawn in a comic book-like form. Storyboards are usually pasted on large foam-core or poster board sheets, which can be quickly read through by the staff. During pre-production, the staff reviews the storyboard for consistency, and parts of the storyboard may be redrawn multiple times.

In North America, the dialogue for the animation is recorded during pre-production. It's then provided to the animators so they can draw mouth movements to precisely match the dialogue spoken by the actors. In other parts of the world (most notably in Asia), the dialogue is recorded during production as the actors follow along with the rough animation.

Production
Each shot in a 2D animation involves multiple single drawings of characters(although some computer programs such as 'Anime Studio', can create characters much like puppets, which can be posed at different keyframes, and the computer moves the character between those keyframes). To demonstrate the concept, think of a still camera that can take many photographs in rapid succession. Imagine aiming that camera at a person and taking many quick photographs as the person walks towards you. Each photograph corresponds to an individual drawing in an animation.

A shot may contain only one drawing (especially in "limited animation" forms like anime), but usually contain about ten to twenty drawings. These drawings are divided into "keys" and "in-betweens." Keys are important drawings that convey the extremes of the character's movement--the first drawing is almost always a key--while in-betweens (or "tweens") are the remaining, less important drawings in the shot.

Typically, each drawing begins with a sketch, in pencil, of the character's pose. This drawing is then cleaned up in ink, though this is not always done; Disney went through a period in which this step was skipped, as is most clearly visible in the original 101 Dalmations. Skipping the inking step was thought to make the animation look more vibrant and alive, but critics and audiences didn't like the look.

This is the point at which computers often step in. Some companies hand-ink each drawing, writing over the cleaned pencil lines with a pen. Others--especially studios whose artists can draw very clean pencil lines--will scan the pencils directly into the computer, then ink the drawing digitally.

The drawing is now considered a "cel." Before computers, the drawing would now be photocopied onto a sheet of clear celluoid or acetate, then hand-painted. This created a "cel," which was placed on top of a background painting and filmed with the click of a film camera. Cels are still highly prized by collectors, though few true cels remain. Many of those on the market are reproductions.

Today, the digital cels are colored on a computer. Meanwhile, a background is drawn (on the computer, or hand-drawn and scanned). The background is imported into an animation program, and each cel is layered onto the background in succession. This is then saved on the computer as a single video file.

In practice, the keys are usually drawn by a top animator, and these are then scanned and assembled into a "rough cut" of the shot while the keys are given to a junior animator, who will draw the tweens. The film can then be assembled during production, and junior animators can be directed in small adjustments to improve the flow of each shot and scene. In Asia, this is typically when dialog is recorded, so that the junior animators can match the tweens to the vocal performance.

Post-Production
This is the last stage. It includes audio-visual editing in specific editing software and rendering the final output. Even after all the tweens have been colored and added to the animation, the film is far from complete. There's still music and sound effects to be added, as well as visual effects (glows, hazes, etc.). The animation also may need to be edited in the more traditional film sense; shots cut slightly short or held longer, even scenes cut entirely. It's said that one famous anime series (Gundam Seed) changed its ending when the primary actor broke down during recording, and new animation was hastily drawn, colored, and incorporated into the final minutes of the show.

Contact your instructor

 * Your instructor for this class is Brent P. Newhall. To email me, simply @undefined.  [[Image:Crystal Clear app xfmail.png|32px]]

 * }

title: 2D Animation process


text:
Category:Animation

The animation category is still being developed.

title: Category:Animation


text:
Draft:Archive/2024/Ontosomose of Gender

The world of evidence - or the onto-somatic reality - reproduces itself by means of info-somatic embodiment of limited entities (information), and the energy secures validity, which realizes itself as continuous self-being of the particular existence. The evident genders are info-somatic constructs. Their self-being is based on info-somatic splitting: When terms communicate, they split a unit, which is not medialised therefore and no own spatiotemporal evidence attained. It lasts and is experienced, because it serves a synthetic purpose. It donates energy for the synthesis of the self-unity. Their experiencing bases on those physicalness, which correspond self-its to the spatiotemporal reality. The Ontology of the original unit lies outside of our experience world, which to us only temporal and causal appears, because we can exist only by the self-its in reality. Genders are embodied in reality, which emerges physical evidence. They appear to us therefore separately and physically evidently. In the reason Entities become only then material if they are onto-somatic designed by our brains. Genders develop, if splitting their former unit achieves the energetic mode of the reproduction, which makes the particularity possible of the other one. The reproduction of the physical evidence is function of the sexualness; the Metagender does not reproduce, because he exists not in our world. Its info.-somatic potential unfolds itself in a time-spatial world as binary evidence of the sexes. (By Leon R. Tsvasman)

title: Draft:Archive/2024/Ontosomose of Gender


text:
Draft:Archive/2024/Reality Cybernetics

Any evidence-based reality construction acts as system since it maintains an inter-subjectively differentiated validity of stable communicative acts (terms). With terms human acting becomes ‘synchronized’ so far, that system-relevant sources of energy are optimally exploited, means evident for almost all human individuals as “things”. All the “term-thing entities” realize the request for consciousness that orients any kind of action and maintained at a synergetic expenditure. The energy comes from humans and is of biological origin. It uses tensions, which develop from anthropologic discrepancies, in order to construct a World of Things. But the latter enables humans as the world of acting to exploit energies which are necessary for the preservation of its biological integrity and are won usually from so-called materials. Social administrations maintain names, which are also terms. Their value-relevance becomes particularly visible, if for instance a road designation must be changed. The money considers however only one part of the energies, which are used up to maintain and if necessary renew a designation. Most important resource of an information society, the attention, is in as much energy intended as it demands memory resources of intra- and inter-subjective networks. Thus a relation between energy and information, when the purpose first is, consists to that extent to keep the physical or social integrity upright in the anthropogenic world. The units of the social integrity are terms, which - more than only words - are highly differenced complexes, which constitute anthropomorphic reality construction almost like the cells an organism. (by Leon R. Tsvasman)

title: Draft:Archive/2024/Reality Cybernetics


text:
User:Rakesh~enwikiversity

This is Rakesh from India, pursuing B.Tech in electronics. Mathematics and theoritical Physics are my primary interests and I hope wikiversity shall be of great help in this regard. Very happy to be a part of this great project, with a great aim.

title: User:Rakesh~enwikiversity


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User talk:Peteturtle~enwikiversity

Welcome to my talk! I speak, Portuguese, English, and French and can help with articles on those languages. I play piano and violin, so I can help with the articles on music. Bem-vindo! Eu falo português, inglês, e francês e posso ajudar com esses tópicos. Eu toco piano e violino, e posso ajudar nos tópicos de música. Bienvenue! Je parle portuguais, anglais, e français et je peux aider avec ces choses. Je joue au piano et au violon, e je peux aussi aider les topiques de musique.

Intro to Portuguese
Hi. Do you think you could help with the Portuguese page? Like producing better sound files or with other accents?

I currently have a problem developing the basic lessons. Obviously I'm not a language teacher! Problem is: (1) providing texts on concepts suchs as above, below, to be (ser, estar) numbers, common things and situations, etc., or (2) first the unusual sounds like ães, ões, ão, lh, nh...? HolyZarkon 10:02, 3 May 2007 (UTC)

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:40, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:17, 19 April 2015 (UTC)

title: User talk:Peteturtle~enwikiversity


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User:Peteturtle~enwikiversity

Welcome! I speak, Portuguese, English, and French and can help with articles on those languages. I play piano and violin, so I can help with the articles on music. Bem-vindo! Eu falo português, inglês, e francês e posso ajudar com esses tópicos. Eu toco piano e violino, e posso ajudar nos tópicos de música. Bienvenue! Je parle portuguais, anglais, e français et je peux aider avec ces choses. Je joue au piano et au violon, e je peux aussi aider les topiques de musique. My name is Brandon Johnson. Meu nome é Brandon Johnson Je m'apelle Brandon Johnson.

Peteturtle 10:46, 13 March 2007 (UTC)

title: User:Peteturtle~enwikiversity


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title: File:Leafinthesnow.JPG


text: Template:Filmmaking master table of contents


text: File:Springbreaksthrough.JPG

title: File:Springbreaksthrough.JPG


text:
Using MediaWiki Variables

Variables provide useful information about the MediaWiki software that can be used alone or in combinations with other MediaWiki features. Templates use variables for example to adopt to changes in page names or to adopt to changes in the current time, rather than using static text.

 * /Page name/

Page variables
Some variables are available which can be used to gain information about a page. They are:

title: Using MediaWiki Variables


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Adult education

Adult Education is the theory and field dedicated to the instruction of Adults. Contrast this with "conventional" education, which is primarily concerned with the education of children.

Adults learn differently than children learn. Children are often learning for learning's sake. Conversely, while adults may enjoy the learning process, they normally have motivations and goals, along with life experience and challenges which affect how and why they learn. This topic will explore the theory and practice of educating adults.

Learning encompasses different learning styles, delivery methods, and degrees of evaluation. Some people learn best by reading or visualizing; some by listening, and others still, by actually doing or practicing.

For delivery, there are several possibilities. Informative or instructive books; in-class instruction with an instructor teaching, or distance learning (which can be live or pre-recorded videos; or interactive) are a few methods. Evaluation can be accomplished via self-testing; quiz or multiple choice, with set answers; or a full blown examination, in which all work must be written out, or answer in essay form. Oral examinations and portfolios are useful alternatives in certain fields.

title: Adult education


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text: Portal:Advanced General Studies

title: Portal:Advanced General Studies