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Real analysis

Real analysis is a field in mathematics that focuses on the properties of real numbers, sequences and functions. Included in this branch of mathematics are the concepts of limits and convergence, calculus, and properties of functions such as continuity. It also includes measure theory.

For the purposes of this article, "analysis" will be limited to the generalization and extension of the concepts of calculus, using the concepts of elementary point-set topology.

The reader should be quite familiar with the concepts of calculus, especially limits and continuity.

Open sets
Open sets (and, by extension, closed sets, which are just the complements of open sets) are the fundamental concept of analysis. Analysis and topology are really just the study of open sets.

Before giving the definition of open sets in Euclidean space, we present some examples. Readers who are aware of the general intuitive notion of open sets should find these examples familiar.

In one dimension
The simplest open sets in 1-dimensional Euclidean space (formally called $$\mathbb{R}^1$$; informally called the real numbers or the "real line") are open intervals. An open interval consists of those numbers lying strictly between two endpoints a and b. In set-theoretic notation:
 * $$\{ x\ |\ a < x < b \}\,$$

A shorter notation for this set consists of the two endpoints in parentheses:
 * $$( a, b )\,$$

A closed interval (we will have more to say about closed sets later) would include the endpoints. It is commonly denoted with brackets:
 * $$[ a, b ] = \{ x\ |\ a \le x \le b \}$$

An interval that includes one endpoint but not the other is called semi-open:
 * $$[ a, b ) = \{ x\ |\ a \le x < b \}$$

 * $$( c, d ] = \{ x\ |\ c < x \le d \}$$

When drawing pictures of intervals, those same symbols are typically used:

 * Need a picture here!

Open intervals are not the only open sets. Any union of open intervals is an open set. For example:
 * $$\bigcup_{N \geq 2} (N, N+1/N)$$

Bizarrely defined sets like the one above are commonly used as examples and counterexamples in analysis and topology.

In two or more dimensions
In two or more dimensions the situation becomes more complicated, because even simple open sets can come in an endless variety of shapes. The fundamental open set (equivalent to an open interval) is the open neighborhood, also called an open ball. An open neighborhood has a center point and a nonzero radius, and is the set of all points whose distance from the center is strictly less than that radius. In set-theoretic notation:
 * $$\{ x\ |\ \|x-C\| < r \}\,$$

The double-stroke absolute value sign is the norm or the metric distance function. In the common case it is the Euclidean/Pythagorean distance:
 * $$\|a-b\| = \sqrt{(a_1-b_1)^2 + (a_2-b_2)^2}\,$$ in two dimensions (similarly for higher dimensions)

The double-stroke absolute value sign is similar to the usual absolute value operation, generalized to arbitrary dimensions or other metric spaces.

It is easy to see that, in two dimensions, an open neighborhood is the interior of a circle. It does not include the actual boundary of the circle, because it consists of the points whose distance from $$C$$ is strictly less than $$r$$. This point is crucial—the whole subject of analysis and topology depends on it!

To draw a picture of an open neighborhood, use a circle bounded by a dotted line. To make a closed ball, the formula would be:
 * $$\{ x\ |\ \|x-C\| \le r \}\,$$

and the picture would be a solid circle. But open neighborhoods are the important sets from a theoretical standpoint.

Definition of open set
Here is the proper theoretical definition:

Definition: A set is open if it contains a neighborhood of each of its points.

What this means is that a set $$U$$ is open if, for every point $$x$$ in $$U$$, there is a neighborhood $$N$$ such that $$x \in N$$ and $$N \subseteq U$$. This construction is shown in the diagram at the right.

If the point $$x$$ were allowed to lie exactly on the edge of $$U$$, it wouldn't be possible to draw a nonzero neighborhood around $$x$$ that lies in $$U$$. So the important feature of $$U$$'s openness is that none of its points can lie exactly on its edge. Every point in $$U$$ must be some finite distance back from the edge, which makes it possible to draw a neighborhood around it.

Theorems
Here are a few extremely fundamental and far-reaching theorems. Some of them are surprisingly simple:

Theorem: Neighborhoods are open sets.

Proof: Suppose a neighborhood has center $$C$$ and radius $$r$$. If a point $$x$$ is in that neighborhood, its distance from $$C$$ must be strictly less than $$r$$, call it $$k$$.
 * $$\|x-C\| = k,\ \ \ k < r\,$$

Place a new neighborhood, of radius $$(r-k)/2$$, around $$x$$. Every point in that neighborhood has a distance less than $$k + (r-k)/2$$ from $$C$$. That distance is less than $$r$$, so every point in the new neighborhood is in the original neighborhood, so the new neighborhood lies within the original one.

Theorem: Any union of open sets, including unions of an infinite number of open sets, is an open set.

Proof: If a point $$x$$ lies in the union, it must lie within one of the constituent open sets. There must be a neighborhood of $$x$$ contained in that constituent open set. That neighborhood must be contained in the union.

Theorem: The intersection of two open sets is an open set.

Proof: Let $$X = P_1 \cap P_2$$, and let $$x \in X$$. Then $$x \in P_1$$ and $$x \in P_2$$. Since $$P_1$$ and $$P_2$$ are open, there must be neighborhoods $$N_1 \subseteq P_1$$ and $$N_2 \subseteq P_2$$ that contain $$x$$. Whichever of those two neighborhoods has the smaller radius will be a subset of both $$P_1$$ and $$P_2$$, so it will be a subset of $$X$$.

This theorem can be extended for any finite intersection, but it does not work for infinite intersections. Here is an example:

Let $$P_i$$ be an infinite sequence of ever-decreasing open intervals:
 * $$P_i = \{ x\ |\ -1-1/i < x < 1+1/i \}\,$$

for integer $$i \ge 1$$ The intersection of all of the $$P_i$$'s is the closed interval
 * $$[ -1, 1 ]\,$$

which is not open.

So the topological rule of thumb is:
 * Any union of open sets is open.
 * Any finite intersection of open sets is open

Theorem: The null set (empty set) is open.

Proof: It needs to contain a neighborhood of each of its points. But it has no points.

Theorem: The entire space is open.

Proof: We need a neighborhood of each point in the space. The neighborhood centered on that point, with radius 1, will do the trick.

This means that the real line is open. It is not an open interval, because that interval would have to be "$$(-\infty, \infty)$$", and infinity is not a number. The real line is an open set, because it is:
 * $$\mathbb{R}^1 = \bigcup_{n}\ (n-1, n+1)$$

over all integers $$n$$. (Infinite unions are allowed, even though infinity is not a number.)

Theorem: Every open set is a union of neighborhoods.

Proof: It contains a neighborhood of each of its points; those are its constituent neighborhoods.

This means that any open set in the plane, for example, is a union of open circles. (It is also the union of open rectangles, open diamonds, open 5-pointed stars, and so on. This is a consequence of the invariance of the metric in defining a topology.)

In the field of topology, a collection of open sets, whose unions comprise all of the open sets that exist, is called a basis. So what we have just shown is that the open neighborhoods (open intervals, open circles, open spheres, etc.) are a basis for the topology of finite-dimensional Euclidean spaces.

Closed sets
Definition: A set is closed if its complement is open.

That's all there is to it.

Because of some simple theorems of set theory, including DeMorgan's laws, some of the preceding theorems relating to open sets can be reformulated for closed sets.

 * Any intersection of closed sets, including the intersection of an infinite number of closed sets, is closed.
 * Any union of a finite number of closed sets is closed.
 * The null set is closed.
 * The entire space (for example, the real line) is closed.

As before, the null set, and the entire real line, are closed sets, but they are not closed intervals.

Exercise: Show that any closed interval $$[ a, b ] = \{ x\ |\ a \le x \le b \}$$ is in fact a closed set by this definition.

Limit points, and the other definition of closed sets
Closed sets are often given a different definition, as sets containing their limit points.

Definition: A point x is a limit point of a set S if every open set containing x has nonempty intersection with S.

Limit points include points "lying on the edge" of a set, whether they are actually in the set or not. The point (x=1, y=0) is on the edge of the unit open disk
 * $$\{ x, y\ |\ \sqrt{x^2 + y^2} < 1 \}\,$$

and is a limit point, even though it is not actually in the open disk. It is also a limit point of the unit closed disk
 * $$\{ x, y\ |\ \sqrt{x^2 + y^2} \le 1 \}\,$$

and is in the closed disk. (We will say more about that phenomenon shortly.)

A wide variety of sets can have limit points. The set of reciprocals of positive integers:
 * $$\begin{Bmatrix}\frac{1}{N}\ |\ N \in \mathbb{N}^+\end{Bmatrix}\,$$

is neither open nor closed, but it has a limit point at zero.
 * Why? Because every open set containing zero must contain a neighborhood of zero.  That neighborhood, however small it may be, contains 1/N for some integer N.

Limit points get their name from this. Zero is the limit of the sequence $$\{ x_n = 1/n \}\,$$, so it is a limit point of the sequence. Whenever a sequence converges, the point to which it converges is a limit point.

Whenever a set of numbers or points has an infinite number of its elements "pile up" at one point, that point is a limit point.

Another name for a limit point is an accumulation point or a cluster point.

Now we get to another very important characterization of closed sets.

Theorem: A set is closed if and only if it contains all of its limit points.

Proof:

First, let C be a closed set, and x be a limit point of C. We will show that $$x \in C$$. Let $$U = \overline{C}$$, so U is open.

 * Assume $$x \notin C$$. Then $$x \in U$$.  Since U is open, x has a neighborhood N with $$x \in N \subseteq U$$.

 * This means that $$N \cap C = \varnothing$$. But x being a limit point of C means that any neighborhood of x intersects C.

Now let C contain all of its limit points, and let $$U = \overline{C}$$. We will show that U is open, so C is closed.

 * Let $$x \in U$$. It follows that $$x \notin C$$, and, since C contains all of its limit points, x is not a limit point of C.

 * Therefore, there must be a neighborhood of x that does not intersect C. That neighborhood must therefore be a subset of U.

 * So, for every point $$x \in U$$, there is a neighborhood of x also in U, so U is open, so C is closed.

title: Real analysis


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

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School talk:History/Tasks

Military History Department

 * I saw the request for World War I course work and found the need for a Department of Military History, needless to say World War I has a home, I would love to develop a military history course and lesson template - if one could be recommended from another department or school I'd love to hear of it... William Hamblin 16:12, 15 May 2010 (UTC)

title: School talk:History/Tasks


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User:Fleurhaitienne

Je suis francaise d'origine haitienne, je parle donc couramment le francais et créole! j'apprend l'anglais par mes propres moyens et ce n'est pas évident tous les jours! (j'ai tout de même un niveau intermediaire). Si vous etes anglophone et que vous avez besoin de progresser en francais, on peut s'entraider! je pense qu'il est beaucoup plus sympa de partager nos compétences et connaissances en matière d'apprentissage de langues. J'espère vous parler bientot!

I'm bilingual french and creole native! I can speak fuently both french and creole! I'm learning english by my own and it's quite difficult so if you're a native english and you need to improve your french, let me know, I think it can be helpfull for us to share our languages skill and knowledge! Hope talking to you soon!

title: User:Fleurhaitienne


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User talk:Fleurhaitienne

 Hello Fleurhaitienne, 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; 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.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
 * Find out about research activities on Wikiversity.

 * Read an introduction for teachers and find out how to write an educational resource for Wikiversity.
 * Give feedback about your initial observations
 * Discuss Wikiversity issues or ask questions at the colloquium.
 * Chat with other Wikiversitans on #wikiversity-en.

And don't forget to explore Wikiversity with the links to your left. Be bold to contribute and to experiment with the sandbox or your userpage, and see you around Wikiversity! If you're a twitter user, please follow http://twitter.com/Wikiversity. --Ottava Rima (talk) 18:25, 15 May 2010 (UTC)

Note
You might also be interested in. Ottava Rima (talk) 18:26, 15 May 2010 (UTC)

title: User talk:Fleurhaitienne


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British Romantic literary theory

As a companion to British Romantic poetry, many of the British Romantics wrote critical works devoted to theories of language and belief surrounding poetry and theatre. This page provides short summaries of various critical beliefs organized based on the time that the various writers' theories were most influential. It serves as a quick reference for students trying to understand the British Romantics' beliefs on poetics and theatre.

Robert Southey
Friend of Coleridge that planned to put together a new society with him. Wrote many pieces dedicated to nature and politics, and believed that the ends were the most important.

Charles Lamb
On Shakespeare, Lamb, like Hazlitt, believed that Shakespeare was better read than acted. He believed that the relationship between writers and readers was like a contract, and that there needs to be feelings of mutual respect for it to work. The writer cannot insult the reader with lectures that force an interpretation. Bare narrative was the best, which was present in works like Robinson Crusoe or the Vicar of Wakefield. Those like Stanley Fish or Iser took up this idea in the 20th century.

In discussing Hogarth, Lamb argues that the reader's mind is important in determining how they interpret the works. He separates out the superficial audience with an audience that looks at a work in depth. A great work is one that the audience and artist are able to meet in a center spot, whereas lesser works attempt to merely give the audience what the artist wants. Lamb believed that Shakespeare was able to do a great job by usually understating his meaning.

In the essay "Barrenness of the Imaginative Faculty in the Productions of Modern Art", Lamb divides poetic and pictorial art with pictorial emphasizing exterior without depth whereas the poet is able to draw out inner characteristics. Images of Shakespeare, in particular, focus on physical and not mental traits. In the essay "On the Tragedies of Shakespeare", Lamb emphasizes the intellectual aspect of characters. The theatre versions take away from the audience's ability to understand the emotions and psychology of the characters. The actors should not matter in any way, and that they cannot truly bring out the characters. Reading the plays allowed an audience to take their time and slowly absorb the action, whereas the stage removes that ability. The imagination was key to art, and it could not be harnessed in viewing the works.

William Hazlitt
He agrees mostly with Lamb about the stage and imagination. However, he also emphasizes that there is a problem with the imagination - individuals tend to glorify things beyond what their place. In particular, political figures, like Napoleon, are almost worshipped. In order to counter that, Hazlitt suggests that the preachy aspects of poetry should be removed. Poetry cannot help mankind, but only cause them to worship the wrong things in the wrong manner.

Leigh Hunt
Served as a critic for the News. Believed that criticism should be objective, which was new in the business. Most reviews before served as advertising for plays. He believed that critics shouldn't befriend the actors and spend time with them. He especially attacked Kemble for his performances and manner in speaking Shakespeare. He was attacked by the theatre for it, but seen as a great critic. This allowed him to publish his reviews in a collection - Critical Essays on the Performers of the London Theatre. The appendix contained a series of rules for critics to follow.

title: British Romantic literary theory


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User talk:Mateus95860

 Hello Mateus95860, 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; 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.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
 * Find out about research activities on Wikiversity.

 * Read an introduction for teachers and find out how to write an educational resource for Wikiversity.
 * Give feedback about your initial observations
 * Discuss Wikiversity issues or ask questions at the colloquium.
 * Chat with other Wikiversitans on #wikiversity-en.

And don't forget to explore Wikiversity with the links to your left. Be bold to contribute and to experiment with the sandbox or your userpage, and see you around Wikiversity! If you're a twitter user, please follow http://twitter.com/Wikiversity. --Ottava Rima (talk) 19:31, 15 May 2010 (UTC)

__NOINDEX__

title: User talk:Mateus95860


text:
Lectures/Literary criticism/George Eliot/Middlemarch and the Nazarenes

This lecture is intended to provide background on the Nazarene School of painters and how they are connected to George Eliot's novel, Middlemarch.

Background

 * The Lukasbund (Brotherhood of Saint Luke), or German Nazarene, was an organization of German painters that began in 1809
 * The original six members were from the Vienna Academy (Johann Friedrich Overbeck, Franz Pforr, Ludwig Vogel, Johann Konrad Hottinger, Peter von Cornelius, and Wilhelm von Schadow)
 * Their purpose was to return to moral and religious painting in a reaction against Neoclassical painters
 * They believed that religion was more important than mechanical artistic structure

Nazarenes and George Eliot

 * George Eliot went to Germany in 1854 and stayed until 1855. During this stay she met many Nazarene painters and wrote about her experience in her journals.
 * In 1860, she traveled to Rome and visited Nazarene painters.
 * According to Michael Mason, Eliot was able to experience the painting movement that would inspire the British Pre-Raphaelite movement and transform English painting upon her return to England

Nazarenes in Middlemarch

 * The character Naumann is seen as a Nazarene painter
 * Michael Mason believes that the Naumann represents "an anticipation of the Pre-Raphaelites"
 * Hugh Witemeyer believes that such an idea is wrong, and that Naumann represents a fusion of Johann Friedrich Overbeck and Josef von Fuhrich.
 * Dorothea’s honeymoon is remarkably similar to the visits between Eliot and the Nazarenes in Germany and in Rome.
 * Naumann’s use of Mr. Casaubon for Saint Thomas Aquinas is similar to Overbeck’s The Triumph of Christianity in the Arts. Eliot did not see the painting while in Germany, but most likely saw it later.
 * Naumann’s clothing is remarkably similar to the description of Overbeck in Eliot’s journal.
 * Historically, Overbeck would be too old to be Naumann, but Fuhrich was the right age. Fuhrich is a possible match to Naumann, because Ladislaw’s description of a painting by Naumann is similar to Fuhrich’s Triumph of Christ. This painting was described in Eliot’s journal during her time in Germany.

Possible interpretations

 * Dorothea’s views represents Eliot’s views on the painters and Naumann is included in the work to further connect Eliot with Dorothea..
 * Naumann is included in the work to allow Eliot to comment on German Romantic attitudes that promoted Medieval/Christian works over Classical works. She was then able to comment on how Romanticism was seen by the English, especially by those in the provincial areas.
 * Naumann "educates" Dorothea about Christian art and explain the iconography behind the paintings. Dorothea is unable to fully understand, but Witemeyer claims that Naumann’s attempt is welcomed. (p. 152)
 * The Nazarenes represent a “retrograde” in art, and Eliot believed that later art was more realistic. Also, the Catholic depiction of saints was something that Eliot did not enjoy. This forms the basis of Ladislaw’s parody of Nazarene symbolism. Witemeyer claims that Ladislaw speaks for Eliot "when he notes the limitations imposed upon the works by the inescapable egotism of the workers." (p. 157)
 * However, Eliot also connected “Nazarene art and Anglican sensibilities”, and Casaubon’s buying of a painting connects the thoughts of Causaubon with those of Naumann. (Witemeyer p. 157) But Casaubon is also searching for the “key to all mythologies”, which is a quest that he cannot achieve. Casaubon’s death and Dorothea’s uniting with Ladislaw can have meaning on which side is correct.
 * Mason sees the Nazarene influence as connected to Lydgate’s intellectual pursuits. Eliot is describing outside intellectual movements that breaks "the otherwise carefully sustained geographical frame of the novel." (Mason p. 423)
 * Joseph Wiesenfather believes that Dorothea "is a Puritain with the right moral impulse who is cut off from the deeper truths of nature and history and culture because she does not know the language of art." (p. 365) However, Wiesenfather describes Naumann’s description of art as "the corruption of the language of art." (p. 366) In reaction to Naumann, Dorothea embraces Ladislaw’s philosophy of "fanaticism of sympathy… the best piety is to enjoy – when you ca". (Wiesenfather, p. 370, referring to ch 22.) Dorothea wants a realistic form of art that is based on experience and relates to the culture. (Wisenfather p. 370)
 * Abigail Rischin interprets the Nazarene art and the time in Rome as provoking a subtle exploration part of a subtle eroticism. Casaubon is not mentioned as impotent, "but the indication she [Eliot] leaves here [during the honeymoon] and elsewhere in the novel invite that inference." (p. 1129) The honeymoon, a time of change and discovery, becomes something old and worn out; Rischin claims, "the reader learns in the scene immediately following the one at the museum, during her honeymoon Dorothea has discovered with horror her husband’s lack of passion – intellectual, emotional, and physical." (p. 1129)


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Lectures/Literary criticism/James Joyce/Narrator of Ulysses

This lecture is intended to provide background on the James Joyce's narrator in Ulysses.

Background
According to Stuart Gilbert, June 16, 1904 is an ordinary and boring day in terms of history. It is also the day that the main events of Ulysses take place. The book can be divided into three sections with the first three chapters serving as a prelude to the story of Leopold Bloom and Bloom’s day. In this makeshift prelude, the narration follows Stephen Daedalus, a character that originates in Joyce’s A Portrait of the Artist as a Young Man, between the hours of eight and noon. The character Stephen, according to Gilbert, is "an intellectual exile, proudly aloof from the mediocrity of his contemporaries".

The beginning of the work is connected to the "Telemachiad", the name for the episodes of Homer’s Odyssey that describe the actions of Odysseus’s son, Telemachus. They take place in a tower on Dublin Bay which serves as home to Stephen, Buck Mulligan, and Haines. However, Joyce is doing what Homer does not: Stephen is from a previous novel that has a strong biographical connection to Joyce. As such, there continues to be a strong autobiographical element as the character is reused.

Argument
Many critics have many different views on the narrator within Ulysses. Some believe that the work has a traditional narrator: Michael Seidel claims, "Joyce begins with a very traditional mode of narration in which a neutral third-person voice describes what a reader needs to know in order to keep track of a scene, characters, time, locale, names, gestures, and of object." However, some argue that there is no narrator while others argue that there is a consistent form of narration although not necessarily third person. Of the first group is Norton Levitt, who declares that "There are times when those techniques [of Joyce] are straightforward ... that fanciful titles for them are both unnecessary and potentially destructive. Speaking of a 'narrator' where there patently is none is one potent example. We see this especially clearly in 'Telemachus,' the novel's opening chapter." To the contrary, David Hayman claims, "The narrator of the early chapters with his marked concern for the word and its mutative powers and his relatively objective stance operates as a brake on the very flux his language generates if only because his voice is consistent."

Some believe that individual characters take on the narration while others claim that Joyce is the only voice in the work. Levitt criticizes those of either narratorial view because there cannot be an individual telling a story, as there is no tale, audience, or narrator in "Telemachus". A narrator would serve as a "intermediary between the events and the reader; we are saying, in effect, that the author himself is telling us this tale, that he is, in other words, acting omnisciently" and "No one would call Joyce an omniscient author". Daniel Schwarz argues that Joyce would not want an omniscient narrator: "In the modern world there are no epic heroes; nor are there omniscient narrators who consistently and reliably provide translucent summaries of the characters’ thoughts for the reader." I agree with Schwarz’s view, but I cannot agree with the conclusions that Levitt makes in claiming that it proves that there is no narrator. Instead, there appears to be a strong presence that guides the novel, and the changes in the narrator’s behavior reveal a connection between Joyce and his characters.

Part of the reason I am drawn to this view is from what Hayman claims of the first section: "There are large gaps in the action of 'Telemachus,' despite the meticulous attention to details. For one thing, while Stephen thinks, the action continues. What Stephen overlooks, we too miss." The narrator selectively describes incidents that involve Stephen, and, as it seems, only reveals those that describe moments of Stephen’s life that deal with his mother or similarly important matters to Stephen.

My own position is complicated: assuming that Portrait is autobiographical, Stephen represents elements of Joyce’s younger self. Since there is a connection with Stephen and Bloom, it is likely that Bloom represents aspects of Joyce, a more developed younger self, or even an idealized version of what Joyce wishes to be. This does not need to be determined for my purposes. Instead, the autobiographical nature is enough. Vivian Heller states, "Joyce strips away the detachment of the third-person narrator, cultivating a symbiotic relationship of narrator and narrated."

I will go one step further; I believe that there is a psychological connection between Joyce and Stephen which is revealed within the narration. In essence, I will be agreeing with Schwarz’s original claim about the narrator’s reliability and not his later claim: "By providing a traditional omniscient narrator whose voice is separate and distinct from Stephen’s…" I will not claim that Joyce is the narrative voice, but merely that the narrator shifts in a manner that allows Stephen (and sometimes Bloom) to dominate in order to reveal thoughts or ideas that are psychological important for Joyce and the novel as a whole. I will demonstrate through analysis of the narrative technique how this merging of identities between character and narrator happens.

Narration
The novel begins with a description of Buck Mulligan. It is matter of fact, in the past tense, and speech is distinguished from the narration. When Buck says, "Come up, Kinch!" (1:8), the narrator refers to Stephen in the third person: "Stephen Dedalus, displeased and sleepy, leaned his arms on the top of the staircase…" (1:12-13). The only peculiarity of narration occurs in the narrator’s describing Haines as a "voice". Derek Attridge claims, "It is as though the narrator, in spite of Mulligan's address, remains in ignorance of Haines's identity". Attridge continues by arguing that Joyce is playing with the narrator conventions in introducing characters. However, it seems that, when combined with later knowledge of Haines, it appears that the narrator is not yet willing to give Haines an actual identity at the time. If this is true, then it reveals a sympathy that exists between the narrator and Stephen’s own dismissive view of Haines. Over all, the narrator begins in an objective manner and does not reveal the inner thoughts or intentions of the characters that would reveal omniscience. This changes when the narrator describes Stephen’s dream: "Silently, in a dream she had come to him after her death, her wasted body within its loose brown graveclothes giving off an odour of wax and rosewood…" (1:102-103).

Although the narrator soon returns to describing Stephen at the tower, the discussion of the dream temporarily reveals a psychological aspect of the past that seems to occur over and over. Following that moment, the narrator depicts Stephen viewing the bay in a manner that relates to his mother’s death. After the paragraph ends, the narrator returns to a matter of fact style. This is broken by the appearance of the mirror: "Stephen bent forward and peered at the mirror held out to him, clef by a crooked crack. Hair on end. As he and others see me. Who chose this face for me? This dogs body to rid of vermin. It asks me too" (1:135-137). This is not a paragraph of dialogue, and yet it contains Stephen speaking.

In terms of criticism, Margaret McBride believes that the gazing into the mirror and the question asked is a fundamental theme within Ulysses. Stephen is focused on himself and he is afraid of death, which comes with time. However, the narrator focuses on Stephen to the point of merging with Stephen and asking the question with him. Kimberly Devlin claims that Joyce depicts "the self-conscious subject, the subject intensely aware of and sensitive to an other's eye". If Devlin is correct, then it is possible that Joyce merges the narrator in order to suggest that he too is self-conscious and aware of others or Joyce merges the narrator in order to emphasize the self-conscious aspects and allow them to stand out with the full power that a narratorial voice allows one to have over a book.

"Laughing again"
The image of the mirror continues into this section. Action takes place, as Buck leads Stephen around the tower. Buck teases Stephen and the narrator follows: "Parried again, He fears the lancet of my art as I fear that of his. The cold steel pen" (1:152-153). The "he" and the "I" are unknown. The previous "he" is Buck, which would connect the "I" with Stephen or an unidentified observer. Buck speaks again, and this is followed by "Cranly's arm. His arm" (1:159). The response seems to be disconnected from what Buck says and yet seems to be a response to Buck’s words.

Stuart Gilbert points out that an aspect of Stephen's/Telamachus's character is their reserved and deliberate manner when it comes to speaking their mind. The "my art", the "pen", would be a form of deliberate speech that is thought out and prepared. As such, the narrator is referring to both Stephen’s character and possibly his own description of Buck. However, Attridge points out that the narrator does put emphasis that the other characters, like Buck or Haines, speak as a "voice" with constant emphasis on the term. However, when Stephen, or even Bloom, speaks, he is not limited to just being a "voice". Attridge uses this to claim that "one is much less likely to reduce one's own subjectivity to a vocal production." As such, there is a connection between the narrator and Stephen even when the pronouns do not allow for one.

As Buck speaks again, the narrative follows with "Young shouts of moneyed voices…" (1:165). This is a memory of events that happened before. There is a heavy use of "I" within the paragraph, but they seem to be from one of the characters in the memory. However, this is uncertain, as there is no notification of anyone speaking. The paragraph is followed by another discussing events during one evening, which is a different time than that of the current story. Before returning to the current events, the narrator says "To ourselves" (1:176). The narrator returns to a matter of fact third person description of events as Buck and Stephen talk. Then the narrator characterizes Stephen’s speech: "Stephen, depressed by his own voice, said" (1:188). This is followed by a discussion about the death of Stephen’s mother.

After "He shook his constraint"
The narrator continues in a matter of fact manner as Buck offends Stephen while talking about Stephen’s mother. Once Buck leaves, Stephen begins to look out on the water with a poetic description, "White breast of the dim sea. The twining stresses, two by two. A hand plucking the harpstrings, merging their twining clouds" (1:244-246) Sheldon Brivic argues that the narrator's voice is Stephen's own: "Stephen is watching the winds rippling the sea, a symbol of the contact between spirit and matter or God creating the world. He thinks of the rhythm of the words he speaks, and the fullness of its beauty generates the thought of an invisible maternal creative power implied by this rhythm." Following this is Fergus’s song and the introduce of the "I" again with the implication that it is part of the song. Following this, the narrator refers to Stephen and then asks a question; "Where now?" (1:254). The narrator drifts away from the plot to discuss memory and Stephen’s dream. During the discussion, the narrator says, "Her glazing eyes, staring out of death, to shake and bend my soul. On me alone" (1:273-274). This breaks down into Stephen crying out against his mother but not in the standard dialogue form. It ends with Buck interrupting by calling for Stephen.

The narration continues with Buck singing and the narrator asking "Why should I bring it down?" when referring to the bowl (1:306). At this point the narrator is describing Stephen’s questioning of himself, which continues by the statement: "I am another now and yet the same. A servant too. A server of a servant" (1:311-312). Later, when Buck and Stephen are together at the pub, Stephen watches buck put on clothes while the narrator says: "God, we’ll simply have to dress the character. I want puce gloves and green boots. Contradiction. Do I contradict myself? Very well then, I contradict myself. Mercurial Malachi. A limp black missile flew out of his talking hands" (1:515-518).

In terms of criticism, Hayman points out that this scene "is a curious amalgam of possible and improbable utterance, some of which … is surely Stephen’s, some of which may be remembered utterance, and again some, like the quotation from Whitman … may be a favorite tag. We have entered a dead space between thought and action, and, no matter how vivid the pantomime, we have a sense that the two individuals are momentarily and magically joined by the narrator whose procedures are more comprehensible on the thematic and analogical levels than on the mimetic."

"Calypso"
Ulysses restarts at "Calypso" by describing Leopold Bloom’s life and his breakfast. The narrator describes past events in the third person, and reveals the thoughts of Bloom in a matter of fact way. There are occasional interjections of thought, such as "She didn’t like her plate full. Right" (4:12). However, the thoughts are not limited to Bloom as even the cat is given this privilege: "Prr. Scratch my head. Prr" (4:19-20). The narrator then uses the words "They" and "we", but never presents what the groups signify. The narrator then muses about aspects of the cat before planning out a possible menu. When he calls to his wife, Bloom recalls the history of brass quoits. There is little dialogue, but there appears to be a strong internal dialogue that somewhat operates as a discussion.

There is a strong similarity with how the narrator has a tendency to merge with Bloom’s thoughts in a manner similar to how the narrator merges with Stephen's. However, the narrator of the Bloom section is more objectivity and seems to take a larger view of the world in a very detailed manner. This could reflect aspects of Bloom’s personality that are different from Stephen, in that Bloom seems to be an older and more psychologically complete individual.


text:
User talk:K kisses

 Hello K kisses, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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title: User talk:K kisses


text:
User:TutorJDD/miscellanea/parallax

parallax

@ Wiktionary

 * parallax
 * parsec

@ Wikipedia

 * Parallax
 * Parsec

@ Wikiversity

 * Search Wikiversity for parallax.

title: User:TutorJDD/miscellanea/parallax


text:
User talk:MisterP

 Hello MisterP, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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Feel free to leave a message on my talk page if you have any questions or need help. --mikeu talk 07:17, 16 May 2010 (UTC)

title: User talk:MisterP


text:
User talk:John Bellingham

 Hello John Bellingham, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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Feel free to leave a message on my talk page if you have any questions or need help. --mikeu talk 07:17, 16 May 2010 (UTC)

title: User talk:John Bellingham


text:
User:Sidonuke

See w:User:Sidonuke

title: User:Sidonuke


text:
User talk:Sidonuke

See w:User_talk:Sidonuke

title: User talk:Sidonuke


text:
User talk:9Kggmuopkj

Welcome, and asalam-walakum-warakbacktola-warakatu You can leave a message while you type on with the time... just click the + button, If you were gonna put a message, I`ll might give you question.

title: User talk:9Kggmuopkj


text:
User talk:Janjan~enwikiversity

 Hello Janjan, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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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 Janjan. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Janjan~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 23:39, 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) 06:12, 19 April 2015 (UTC)

title: User talk:Janjan~enwikiversity


text:
User talk:Rubena

 Hello Rubena, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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title: User talk:Rubena


text:
User talk:Birkbeckunion

 Hello Birkbeckunion, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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title: User talk:Birkbeckunion


text:
User:Man4857

This is my simple page. Leave any comments you'd like. Current and Planned Projects: Electrical & Computer Engineering -Introduction to Combinational Logic [Current] -Introduction to Sequential Logic [Planning] Topics Covered: Latches and Flip-Flops (RS, JK, T, D) Counters Sequence Detectors Sequence Generators Multibranching State Diagrams

-Network Analysis I [Planning] Topics Covered: Operational Amplifiers Capacitors and Inductors First Order Circuits (RL, RC, LC) Second Order Circuits (RLC)

-Network Analysis II AC Circuits Phasors AC Power Laplace Transforms

title: User:Man4857


text:
User:Instructian

Ian Pollock teaches New Media Art.

title: User:Instructian


text:
New Media Art

New media art is an umbrella term for artwork produced using new media. It includes a diverse set of categories such digital art, computer graphics, computer animation, virtual art, Internet art, interactive art technologies, but may also pertain to such fields as computer robotics or art as biotechnology. New media art is characterized by spanning practices ranging from conceptual and virtual art to performances and installations. Very often, new media art acts like a platform for communication and interaction rather than a closed work.

This course is intended to serve as an introduction to the subject of new media art, with the aim of presenting the general domains, artists, and themes that are associated witht the production of art in new media.

Introduction and History
New media art, as the name clearly indicates, can be any form of artistic production that is created in a medium that does not belong to traditional modes of artistic expression. This makes the entire discipline strictly tied to developments in technology, and crucially to the availability of that technology to the artist. These technological developments, as well as the reasons behind their origin, have a clear influence over how these contemporary works are designed and how they are meant to be examined. The best example here is the Internet. The Internet was designed to be a tool for efficient communication, through which people could communicate not only using written messages, but also by having the ability to share vast sets of data with each other. Hence, much of Internet art revolves around mutual interaction, with the artwork typically responding to the actions of the observer/participant. This is only one of the common features of the many subdisciplines that may be examined as art produced in new media.

New media art has its origins in the late 19th century. This is the period where the advent of new technologies began to enter the domain of artistic production. These beginnings can be traced back to the moving photographic contraptions of this time, such as the praxinoscope (1877). From the 1920s through the 1950s, various forms of kinetic and light art can be viewed as the harbingers of the future proliferation of works produced in new media. In 1958, Wolf Vostell became the first artist to use a television set in one of his works, The Black Room Cycle. In the 1960s, new developments in the realm of video production allowed for experimentation with visual elements. Of notable influence was the artistic collective Fluxus. By the early 1990s, the development of computer graphics and the advent of the World Wide Web provided a new platform for novel artistic productions. Key names of this period include Lynn Hershamn Leeson,  Ken Rinaldo, and  Roy Ascott.

Today, new media art is a dynamic field of the arts that offers never before available tools for artistic expression. It is becoming increasingly popular and accessible - mainly due to the dissemination of personal computers with significant computational abilities. Because of this democratic character of new media, the amount of works being produced is impossible to measure. The discipline has therefore become an enticing field of study, with many higher education institutions offering courses on new media art production. In short - new media art is at the frontier of contemporary art.

Major themes
Because of the wide range of media that are involved in art production in contemporary art, it is difficult to pinpoint common denominators. However, one shared theme present throughout new media art is a strict reliance on the medium (meaning the medium is inextricable from the content of the work), as a result of existing in a time where the progress of humanity is mostly dicated by advances in technology. Because new media art is not a set of common practices, it is better to focus on the areas to which art produced using new media is applied. A work pertaining to science will have a different reference frame than a work targeted at a social activism. This is also one of the main reasons behind the diversity of forms and approaches in new media art - each may serve a different purpose.

A pervasive theme in works produced in new media is non-linearity, which is primarily oriented at disrupting normal modes of perceving art. This can be easily noticed in immersive exhibitions (such as those of Jeffrey Shaw) or works based on hypertext.

Another popular theme is the interactive quality of new media art, which aims to create artwork that can be unique to every viewer, depending on their input. This results in making the viewer an integral part of the production, giving the artwork potentially an infinite amount of interations and interpretations. In this sense, art becomes an extreme semiotic system, with one system capable of generating many others.

The notion of a system and the extent to which many different formations are interconnected is also a central theme in new media art, stemming from the way the Internet fuctions.

Some other major themes in new media art are described in the work New Media Art by Mark tribe and Reena Jana. These include computer art, collaboration, identity, appropriation, open sourcing, telepresence, surveillance orhacktivism.

Examples and Overview
New media art is merely an umbrella term for a wide spectrum of subdisciplines. The traditional approach of applying genres to sets of works sharing similar features has a limited efficacy in new media art, as there exists a large range of overlapping qualities. A salient example of this is the work of Eduardo Kac, who is known for exploring DNA as a new form of art. This is an approach so unique that it would prove difficult to assign to a more general category, other than of common means of production. The subtypes of new media art are therefore usually only loosely defined. Below is a selection of a few of the most prominent types along with examples and brief analyses. The reader is strongly encouraged to explore these categories in-depth and apply critical analyses to the works encountered independently. This task is made easy due to the Internet, which remains the dominant platform for the publication of work produced in new media.

Digital art
Digital art is a category that pertains to works of art based foremostly on digital means of production. It utilizes digital technology as an aid in the creative process. It differs from (or can differ from - the boundaries are not clear cut) virtual art in that the works of art are still displayed in galleries or at presentations, as opposed to work that is purely virtual.

Examples
This video presents the process behind a revolutionary project in which artificial intelligence gathered enough information concerning the works of Rembrandt to reproduce the artist's style.
 * | The Next Rembrandt
 * 1) How do you feel about this? May the work presented be considered a Rembrandt?
 * 2) Imagine a famous art critic concluding that this is indeed a lost work by the great Dutch master. What would the implications be?
 * 3) Do you think art is unique only to humanity? Or is a perfect copy created by a machine also 'true' art?

This video makes use of a fractal structure, along with audio effects such as distortion and overdrive. Like in many cases of new media art, one may wonder whether such a work constitutes art at all. However, it bears many aesthetic considerations which allow it to be viewed as such.
 * | Trump says "China" 1.35 billion times. Which is the actual population of China.
 * 1) Ridicule and satire have a firm place in Western culture, beginning with the Enlightenment. Do you see echoes of this tradition here?
 * 2) How can new media be used to comment on political issues? Do you think new media art can be a useful tool to express politcal standing?
 * 3) Does this particular work give you the impression that anything can be transposed into art? Why or why not?

Emily Howell is a bot created by David Cope in the 1990s. Participants in a controlled experiment could not distinguish between works composed by Howell and real people. It can easily be argued that the Howell has a good understanding of melody and rythm, and so compose music rather familair to the human ear.
 * | Emily Howell From Darkness 2 beg, Cope
 * 1) Is Emily Howell or David Cope the author of this piece of music?
 * 2) Do you think a robot could ever compose a symphony?
 * 3) Do you think that in the future a robot will be able to extrapolate the intricacies of music theory to create music that will be an artistic expression of its own condition? Why or why not?

Virtual art
Virtual art is a very loose name given to all artwork that attempts to make art in virtual spaces. The category exists, however, to differentiate between items produced or rendered in a virtual setting from work that is intended as art (to provide an example, an engineer designing a bridge in CAD software would most likely not consider the model as a work of art, but might perceive the actual architecture as such.)

Examples
An excerpt from the film Sailor by the Polish new-media artist Norman Leto. The fragment provides a presentation of lifeshapes created by the artist.
 * | Norman Leto - Lifeshapes/Bryły życiorysów (2010)

Questions:
 * 1) Norman Leto is a Polish is a self-taught Polish artist who admits his computer wasn't powerful enough to render his idea, yet his works are exhibited around the globe. Do you think the democratic character of new media art has made easier or tougher for young artists to become more recognized? Why or why not?

The video shows the process of creating sculptures in three-dimensional virtual spaces.
 * Sculpting in Virtual Reality - Oculus Rift DK2 + Razer Hydra

Questions:
 * 1) How impactful might technology like this become in the future? Can you imagine other applications?
 * 2) So far, it is generally agreed that such simulations still seem too artificial. Do you think this might change?

This is a video by virtual artist Cyriak, depicting his characteristic grotesque shape-shifting technique. Influences of surrealism are clearly visible.
 * cows & cows & cows

Questions:
 * 1) Digital means of art production make virtually [sic] everything possible. Cyriak, however, maintains a characteristic manierism. Is style still relevant in a domain without bounds?

This site allows the reader to get a feel for generative art.
 * Fractal generator

Questions:
 * 1) Do you believe that art which employs generated forms can ever be orignial?
 * 2) If you set the generator to certain settings and save them, is the fractal that is generated 'your' fractal? Why or why not?

Internet art
Internet art refers to art which is presented and distributed on the Internet. Like with most types of art produced in new media, the definition is only a loose indication of the area of interest. In this case, the focus is mostly on the interactive nature of the Internet, and many works produced in this category draw on the social aspects of the Internet such as email or live streaming.

Examples
This is an Internet-based project collecting every 3200 character permutation of the letters of the English alphabet, all indexed to create a 'library'. Such a work may be considered as a take on the nature of language, which although finite, allows us infinite possibilities of expression.
 * The Library of Babel

Questions:
 * 1) What does this say about originality?
 * 2) Would you say that every book, in a sense, has alreay been written?
 * 3) Think about ways the Library of Babel be used as a tool of art (ex. as a colllage of random English senteces)? Would this also be literature?

Criticism
A framework that proves useful in analyzing new media art is the theory of systems art. In general, this approach analizes how systems of concepts, ideas and processes replace tradtional concerns related to aesthetics and materials in art. This is especially useful in examining art produced in new media, in which the internal logic of a work must be properly deciphered to accurately establish the author's intentions. It is very common in new media art to employ a number of different artistic tools (what is known as multimodality). Jack Burnham is an important contributor in this domain, having made crucial observation on the impact of technology on sculpting, even coining the phrase "system sculpture". This framework is easily applicable to the field of generative art, which is based on content generated by a computer from algorythms and formulas.

Another unique way of examining new media art is through the lense of what is known as process art. The main tenant of this approach is not focused on the end product, or 'object of art', but rather on the process that precedes its creation. This means that what is relevant is the gathering, researching, application of ideas, and the very process of exection, leaving the product in a secondary role.

A towering figure in the world of new media criticism is the Italian philosopher Mario Costa, who is especially recommended to the reader's attention.

Selected artists
Listed below is a selection of artists operating in new media.

 * Roy Ascott
 * Norman Leto
 * Ryoji Ikeda
 * Eric Paulos
 * Bjørn Melhus
 * Yucef Merhi
 * Lynn Hershamn Leeson
 * Joseph Nechvatal
 * Scott Snibbe
 * Timo Totts
 * Lev Manovich
 * Ken Rinaldo
 * Varvara & Mar

Notable institutions

 * Australian Network for Art and Technology
 * Center for Art and Media Karlsruhe
 * Netherlands Media Art Institute

title: New Media Art


text:
User talk:Trucker~enwikiversity

 Hello Trucker, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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And don't forget to explore Wikiversity with the links to your left. Be bold to contribute and to experiment with the sandbox or your userpage, and see you around Wikiversity! If you're a twitter user, please follow http://twitter.com/Wikiversity. --Mu301Bot 07:17, 17 May 2010 (UTC)

Feel free to leave a message on my talk page if you have any questions or need help. --mikeu talk 07:17, 17 May 2010 (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 Trucker. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Trucker~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 23:45, 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) 06:24, 19 April 2015 (UTC)

title: User talk:Trucker~enwikiversity


text:
User talk:Urhabib

I am Habib Ullah Manjotha from Pakistan --Urhabib 09:44, 17 May 2010 (UTC) http://urhabib.blogspot.com

title: User talk:Urhabib


text: Category:History of China

title: Category:History of China


text:
User:Egm6341.s10/Meeting 1 transcript

Subbu, here is an example of a meeting transcript subpage. Egm6341.s10 13:45, 17 May 2010 (UTC)

title: User:Egm6341.s10/Meeting 1 transcript


text:
User talk:TMentch

 Hello TMentch, 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; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. To get started, you may

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And don't forget to explore Wikiversity with the links to your left. Be bold to contribute and to experiment with the sandbox or your userpage, and see you around Wikiversity! If you're a twitter user, please follow http://twitter.com/Wikiversity. --Ottava Rima (talk) 18:25, 17 May 2010 (UTC)

title: User talk:TMentch


text:
User talk:Adam C~enwikiversity

 Hello Adam C, 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; 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.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
 * Find out about research activities on Wikiversity.

 * Read an introduction for teachers and find out how to write an educational resource for Wikiversity.
 * Give feedback about your initial observations
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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 to contribute and to experiment with the sandbox or your userpage, and see you around Wikiversity! If you're a twitter user, please follow http://twitter.com/Wikiversity. --Ottava Rima (talk) 18:30, 17 May 2010 (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 Adam C. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Adam C~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 23:27, 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) 06:01, 19 April 2015 (UTC)

title: User talk:Adam C~enwikiversity


text:
User:Axpde

Hello visitor, being a german wikipedia user, please have a look at my german user page: w:de:Benutzer:Axpde. Thank you and goodbye!

cs:Uživatel:Axpde de:Benutzer:Axpde el:Χρήστης:Axpde es:Usuario:Axpde ja:利用者:Axpde sv:Användare:Axpde

title: User:Axpde


text:
English Language Reference Desk/Archives/2010

programs that seem to have been on my stuff
i discpovered this site on software controls on craigslist, it seems that who ever put it here, seems to have tagged both my home computer and my cell phone, here i have been wondering and asking att why my cell phone is acting so strange.

 * First, this is the wrong Desk. This Desk is for questions about the English language.  For general knowledge Q's, like this one, use the Help_desk.  Second, what is your Q, exactly ? And in what way is your cell phone acting strangely ? StuRat 12:56, 18 March 2010 (UTC)

the influence of French on the English language
Can you tell me what percentage of English words are derived from French words? I was told that it is 60 to 70%, which seems surprisingly high for a language that is, as Wikipeida says, 'a West Germanic language'.

 * According to this Wikipedia article, it's between 33% and 67%: List of English words of French origin. You might wonder why there's such a large range.  Well, how to attribute words which are ultimately from Latin is tricky, as they may go Latin -> English, Latin -> French -> English, Latin -> Spanish -> English, Latin -> Italian -> English, or even more complex paths like Latin -> Italian -> French -> Spanish -> English.  So, which of those words do you say is of French origin ?  And should the same word be listed as both of French origin and also others ?  If so, the total percentage of "source languages for English" goes way over 100%. StuRat 14:30, 9 March 2010 (UTC)
 * Also, usually words which come from Norman are included in the "French" statistics. The Jade Knight (d'viser) 19:15, 23 March 2010 (UTC)


text:
User:Cyberience

Cyberience is a Word I created, I combined the Word Cyber and Experience as an idea in how to developer a good experience for users of systems I develop. unfortunately most of the systems I work on are behind closed doors, but I do take part in some php based developments. I am English but live in Hong Kong for over 20 years, working in Technology and moving the industry forward with my own ideas and implementations in to better development for better practices and user experiences. In my work, I am primarily an open source specialist, and work with PHP, Oracle, MySQL, Postgress and Mobile applications using Java/Android, and have a particular interest in community driven games. I am also involved in a couple of hobbies, such as Helicopter Pilot, Horse Riding and Playing Bass Guitar, as a result, I will post information for both my own memory and reference, and to share and discuss with others for over all improvement. The Truth can hurt more 06:19, 18 May 2010 (UTC)
 * Web Technology Development
 * Horse Riding Techniques and information
 * Helicopter Flying Ideas and suggestions
 * Bass Guitar and Music

title: User:Cyberience


text:
User:Cyberience/Bass guitar and music

Keep coming back, as I will post and update information on learning and playing the Bass Guitar, as a student myself, I will share my learning and create references for myself, feel free to contribute.

My Posts and material gathered for permanent record

 * Walking Bass Line Myths

Off site resources you must use

 * Study Base Site, free and GooD

title: User:Cyberience/Bass guitar and music


text:
Walking bass line myths

Walking bass line myths exposed
Jazz is an incredibly difficult music to play in many ways. It is technically demanding, harmonically advanced, and extremely interactive. For a young musician just beginning to dive into the art form, it can seem a daunting task. As a young bass player, I can remember having many ideas of what jazz was and was not, especially when it came to walking bass line construction. Many of my misconceptions about walking bass stemmed from a simple lack of harmonic and melodic understanding, as well as what I call an “aural” deficiency, which simply means I had not yet assimilated enough jazz history in the form of recordings. I believe that lots of young bass players share these same misconceptions and that they serve only to stifle musical progress. This article will address some of these myths in an attempt to provide some clarity and direction in constructing walking bass lines.

Myth #1: The more harmonically complicated a bass line is, the better it is.
This is a myth that I believe many players fall prey to. As a young bassist, you see chord charts with symbols like A7(#9), Fm11, E13, and assume that you must incorporate these extensions (the 7ths, 9ths, 11ths, 13ths) into your bass line for it to sound hip. It becomes even more convoluted when these extensions become target notes used on the downbeat of the measure. The problem with a bass line like this is that the foundation can be easily lost amongst all the “hipper” notes. Since you are providing the foundation, it is important that the foundation is easily identified (especially when playing with less experienced musicians). The simplest way to do this is by incorporating the stronger chord tones into your bass line, i.e., the root, thirds, and fifths. Another reason why this straightforward way of playing works so well is because the piano or guitar player is already playing the extensions of the chords. Also, the soloist will appreciate that you are not stepping on their toes with your bass line, but instead providing a sure and solid foundation for him or her to blow over. Take a look at Example 1, Paul Chambers' bass line over the bridge of “Stablemates.” On the Fm7 chord, Paul walks up the F minor scale to the fourth. Then he plays a Gb Major triad over the Gb13 chord. In the fourth bar, he will use a descending C Major arpeggio on the C7 chord, without even adding the seventh.

Myth #2: Never repeat the same note twice.
This particular myth is one that really bothers me, partly because many teachers perpetuate it. Although it is true that too many repeated notes can stifle a walking line, making it feel stagnant, sometimes repeated notes form the strongest bass lines and create drive and forward motion. Check out Example 2, Ray Brown's bass line over the tune “Cool Walks,” a rhythm changes. Here he repeats each note twice throughout a four bar phrase.

In Ray's bass line on “The Days of Wine and Roses,” he often repeats the same note twice in measures with two chords lasting two beats each, as in Example 3. This is an extremely effective tool for establishing a strong sense of harmony.

In Example 4, Milt Hinton also repeats the same note twice on a measure with two chords lasting two beats each. As I said, the reason that lines like these work so well is because the harmony is presented in an extremely clear manner. In other words, there is no ambiguity to what chords are being played.

This is also true when playing at fast tempos. Sometimes the simplest line can work best. Repeated notes also work well to create tension in the harmony. In Example 5, Ray plays the note Bb five times in a row over the IV chord of the F blues “Au Privave,” a big no-no! In this example, repeating the Bb creates a tremendous amount of tension, which Ray releases in the next measure. This is a very effective harmonic tool, but it should be used sparingly. In this particular recording, Ray only uses it once throughout the entire tune.

Myth #3: Never repeat the same pattern twice.
It is easy to become lazy as a bass player when you are walking endless choruses on a 32 bar tune or a blues and begin to play the same patterns over and over. I am not condoning this type of playing by any means because using the same bass line chorus after chorus creates boring music for the entire band. What I am saying is that repeating similar or the same ideas or patterns can be done in an interesting and musical way. Example 6 is another Ray Brown bass line from “Au Priviave.” This example shows bar 9 of the blues progression. Ray uses these same four notes in the same place (bar 9 of the 12 bar form) three choruses in a row. As with Myth #2, repeating this bass line doesn't make the tune feel stagnant, but instead solidifies the form of the tune.

In Example 7, Israel Crosby's bass line on “Angel Eyes,” Israel repeats this pattern or a variation many times throughout the tune, using it in the A sections.

Also see Example 8, Ron Carter's bass line from “Yardbird Suite.” Ron repeats this exact pattern twice, and also uses variations on this same basic pattern for many other A sections.

In all of these examples, using the same idea more than once or similar ideas does not make the line seem inactive or sluggish, but on the contrary, creates cohesion throughout the form of the tune. Just remember one thing. Sometimes it's the variation of a simple pattern that really makes a great bass line, and keeps it from sounding repetitive. Great bass players can take a simple line and create a seemingly endless amount of variation from it. Again, I'm not saying you should repeat the same pattern over and over in the same place – that would just be plain boring!

Myth #4: The more rhythmic variation, the better.
Although rhythmic variation can add tension and forward motion to a bass line, it is important to know how and when to use this device. Many times inexperienced players will use a lot of triplets, broken walking lines, and rhythmic drops as a way to mask poor note choice in their bass lines. This not only creates a poor walking line, but it also detracts from the entire band, and the whole musical experience. In Red Mitchell's bass line over “Billy Boy,” Red will walk an entire 32 bars using only quarter notes, except for one beat where he uses two eighth notes. In Milt Hinton's bass line on “Three Little Words,” he also will walk a 32 bar chorus with only one rhythmic variation, again using just two eighth notes. The reason why these bass lines are so effective is because the note choice is so good that Milt and Red don't need to use a lot of rhythmic variation. In other words, the harmony is presented in such a clear manner that the bass lines are enjoyable because of the notes they use, not because of constant changes in the rhythm. A great example of how to use rhythmic variation effectively is Ron Carter's bass line on “No Greater Love,” from the Miles Davis album, The Complete Concert 1964: My Funny Valentine & Four & More. Here, Ron uses rhythmic devices including triplets, eighth notes, and anticipations, but the pulse remains constant and swinging. This is also a great example because Ron walks one chorus alone while Miles solos. It is a true lesson on how to accompany a band as well as how to interact with a soloist. So get it and listen to it!

Myth #5: The most important aspect of a walking bass line is note choice.
Yes, this is a myth! There are many aspects to walking bass lines, and all of them are important. One of the major hurdles in walking is developing a solid rhythmic/time feel. You might pick all great notes to walk through, but if your time isn't solid as a rock, and if it doesn't feel good to the rest of the band, it really doesn't matter. No one will hire a bass player that they cannot depend on for a solid foundation. Developing a good rhythmic feel is always something young or inexperienced bass players struggle with. In my opinion, there is no cut and dry way to make your bass playing feel good to the rest of the band, and the audience, but I believe there are some ways you can practice that will help. One way is to play along with great jazz records. Take any of the classics, and just play along with the band as if you were the bass player. Another way—perhaps the best way—to practice feel is to play with as many varied bands as possible. Play with big bands, sextets, trios, duos, etc. Make sure you play in some combos that don't include a drummer, because this will force you to keep the pulse steady. As far as developing time feel, the best way is to practice slowly, with a metronome. Play scales and walking bass lines with your metronome set as slow as possible, and concentrate on keeping the time solid. If you are able to play a solid walking line at extremely slow tempos, you will definitely have less problems playing at medium and medium-up tempos.

Conclusion
Constructing a good walking bass line is much more difficult than most non-bass players probably realize. There are so many factors to consider, and one can spend a lifetime learning how to walk. This article only presents a few elements of good walking bass lines. In my opinion, the best way to learn how to walk is by learning from the masters. Check out what Ray Brown played over the blues. Learn Paul Chamber's or Ron Carter's walking lines on a rhythm changes. Assimilate Milt Hinton's bass line on a 32 bar form. Listen to, and transcribe, bassists like Red Mitchell, Israel Crosby, Oscar Pettiford, Sam Jones, Slam Stewart, George Duvivier, Percy Heath, and Wilbur Ware, and I'm sure you will learn the elements of a strong walking bass line, as well as debunk any myths you may have!

Reference

 * Walking Bass By Pete Coco

title: Walking bass line myths


text:
User talk:Mh2360

 Hello Mh2360, 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; 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.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
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And don't forget to explore Wikiversity with the links to your left. Be bold to contribute and to experiment with the sandbox or your userpage, and see you around Wikiversity! If you're a twitter user, please follow http://twitter.com/Wikiversity. --Mu301Bot 07:17, 18 May 2010 (UTC)

Feel free to leave a message on my talk page if you have any questions or need help. --mikeu talk 07:17, 18 May 2010 (UTC)

title: User talk:Mh2360


text:
Open teaching

 * Suggested readings
 * Visualing open/networked teaching, Alec Courosa, Feb 19, 2009
 * Visualing open/networked teaching revisited, Alec Courosa, May 4, 2009

title: Open teaching


text:
User talk:Cyberience

 Hello Cyberience, 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; 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.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
 * Find out about research activities on Wikiversity.

 * Read an introduction for teachers and find out how to write an educational resource for Wikiversity.
 * Give feedback about your initial observations
 * Discuss Wikiversity issues or ask questions at the colloquium.
 * Chat with other Wikiversitans on #wikiversity-en.

And don't forget to explore Wikiversity with the links to your left. Be bold to contribute and to experiment with the sandbox or your userpage, and see you around Wikiversity! If you're a twitter user, please follow http://twitter.com/Wikiversity. --Ottava Rima (talk) 14:05, 18 May 2010 (UTC)

title: User talk:Cyberience