text:
User talk:Graemeb1967

 Hello Graemeb1967, 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. --Gbaor 11:47, 14 January 2010 (UTC)

 Woof! My name is Jack Russell. I am a dog and a Wikiversity mascot. I am pretty new around Wikiversity. Perhaps we can learn together! Tail wag...

Calculus Course
Hi Graemeb1967,

I noticed that you are a very active on the Calculus page here. I'm a bit confused - when I go here: http://en.wikiversity.org/wiki/Topic:Calculus I see the center column of "Wikiversity Topics". When I click on something, say "Precalculus", I get taken here: http://en.wikiversity.org/wiki/Precalculus. All of the links on this page seem to be to wikipedia, not wikiversity, articles. Isn't there supposed to be a much different motivation for writing for these two different projects? Wikipedia being much more complete, encyclopedic, where wikiversity should be explanatory and expository, shorter, simpler, etc.?

I have been trying to start a big push to ensure the materials here are as useful as possible: http://en.wikiversity.org/wiki/Improving_Technical_Topics_At_Wikiversity - I encourage you to take a look and give us some feedback!

I am also trying to encourage formal collaboration and content contribution and refinement by students at brick and mortar institutes. It seems to me that if we have a couple of students who refine the material as they go through the course for real, it would only take one or two semesters of iteration before we get some decent content. http://en.wikiversity.org/wiki/Colloquium#Current_Student_Volunteer_Campaign If you have any ideas on how to start this type of thing (how to contact a school/university "officially" rather than me just sending them a letter ,etc) I'd be happy to hear them /discuss.

Daviddoria 15:09, 22 June 2010 (UTC)

title: User talk:Graemeb1967


text:
User talk:Lucubro

 Hello WHacko, 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. --Gbaor 11:47, 14 January 2010 (UTC)

 Hi! My name is WikiversityJack. I am a pumpkin and a Wikiversity mascot. My aunt told me that fun + learning = Wikiversity. Let me know if I can help you out.

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

title: User talk:Lucubro


text:
User talk:Cassandras

 Hello Cassandras, 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. --Gbaor 11:47, 14 January 2010 (UTC)

 Hi! My name is WikiversityJack. I am a pumpkin and a Wikiversity mascot. My aunt told me that fun + learning = Wikiversity. Let me know if I can help you out.

title: User talk:Cassandras


text:
User talk:DevonnRonning

 * Devonn,

Excellent topic, which could certainly be organized by symbol as you proceed. There's a book in the AIS library (and SPL) that I would highly recommend you take a look at: |21&PID=UefR9X0FTsHo3k7fRV18g3WC1pZ8w&SEQ=20100118203801&SID=1 Mysteries of the Alphabet by Marc Alain-Ouaknin. It is an amazing investigation of the history of each of the 26 letters of the alphabet. Each has its own deeply storied history. In terms of symbols outside of the alphabet, I think there will also prove to be much of interest.
 * Good luck! Stevenarntson

 Hello DevonnRonning, 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. --Gbaor 11:47, 14 January 2010 (UTC)

 Hi , I am Percy. Nice to meet you. I love the beach, swimming, fishing, and I am currently doing some research at Wikiversity on oceanography. I am also learning to play piano. What do you like? Can I be your mascot?

title: User talk:DevonnRonning


text:
User talk:SabrinaPhillips

 * Sabrina,

This seems quite interesting. If it will be your sole project for the duration of the quarter, it will be of a scale sufficient to warrrant breaking it into sub-papers. For instance, given your perspective starting out, it might be interesting to first write a paper that supports the contention that 2D graphics are in decline. Then write a paper asserting the opposite. Finally, synthesize those two opinions into your own. What do you think? Each might be about 1,500 words?
 * Stevenarntson

 * Sabrina,

I'd also like to see a schedule posted so I have some idea what you'll be up to week-to-week.
 * Best, Stevenarntson

 Hello SabrinaPhillips, 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. --Gbaor 11:47, 14 January 2010 (UTC)

 Hello , we are the Baah and Bahh twins and we'd both like to welcome you to Wikiversity. While you sit back and explore Wikiversity, enjoy some of our fresh goat milk. You can help us learn by creating new learning resources or help us by improving the guided tours and other exploration tools. We look forward to seeing you around. Baaaahbye for now.

I think that sounds like a good idea. I have a ton on my plate this quarter with my internship, so I would like to try and connect the assignments in this class to those of my Argumentation and Debate class. If I use the research opportunity to dive into both arguments I could hopefully have a paper that is even more appealing and worth while, as I will leave no stone unturned (so to speak).

Thanks! I'll take it!

--SabrinaPhillips 20:31, 19 January 2010 (UTC)

title: User talk:SabrinaPhillips


text:
User:Himanshu sachin

''Hi Everyone ,i am himanshu singh. I am a student of Mechanical Engg. One day, i search something in wikipedia, then i show the wikiversity. i come in this portel and i am surprised to see thins. i cnt belive that evevrythin those i want to know avilable here. So i think why do i have an acc. on wiki. so I make my first Acc. on Wiki and i am with you. So. I tell my name above. i am loving to make friends & know about new innovation is my passion. i am curoius to know something new. So I think wiki is helpfull to me know such thing.i want to say thanks to wiki team to discover such great thing.''Bold text

--Himanshu sachin 14:51, 14 January 2010 (UTC)himanshu singh

title: User:Himanshu sachin


text:
Children, Schools and Families Bill/Amendments proposed by Nick Gibb, Tim Loughton and Bill Wiggin

This page shows the effect of the amendments to 19C and 19E of Schedule 1 that were proposed to the Bill Committee by Mr Nick Gibb, Tim Loughton and Bill Wiggin on 11 January 2010.

The original amendments are available at the website for the CSF bill.

Amended text of Section 19C
19C    Entry of child’s details on home education register: supplementary provision

 * (1)  Regulations may make provision about steps to be taken by an authority in connection with an application for a child’s details to be entered on their home education register.

 * (2)  The regulations may, in particular, make provision about matters that are or are not to be taken into account by an authority in deciding—

 * (a)  whether to register a child’s details under section 19B(3);

 * (b)  whether a child is within section 19B(7);

 * (c)  whether section 19B(8) applies to a child’s application.

 * (3)  Regulations under section 19B(1)(a) may, in particular, make provision within subsection (4) or (5).

 * (4)  Provision within this subsection is provision—

 * (a)  about how an application for registration of a child’s details is to be made;

 * (b)  requiring an application for registration of a child’s details to include a statement giving prescribed information about the child’s prospective education;

 * (c)  requiring an application to include other prescribed information;

 * (d)  about the form in which a statement mentioned in paragraph (b), or any other information required to be included in an application, is to be provided;

 * (e)  for an application for registration to include an undertaking to provide a statement mentioned in paragraph (b), or other prescribed information, to the authority within a period determined by or in accordance with the regulations.

 * (5)  Provision within this subsection is provision permitting an authority to specify a period, prescribed by or determined in accordance with the regulations, within which an application to enter on their home education register the details of a child to whom subsection (6) applies may not be made unless the authority are satisfied that there has been a change of circumstances that justifies an application being made within that period.

 * (6)  This subsection applies to a child if—

 * (a)  a parent of the child has previously made an application in the prescribed manner for the child’s details to be entered on a home education register maintained by a local authority, and the application (or the most recent such application) did not succeed, or

 * (b)  the child’s details have previously been registered on a home education register maintained by a local authority, and the registration (or the most recent such registration) has been revoked under section 19F.

Amended text of Section 19E
19E    Monitoring provision of home education to registered children

 * (1)  A local authority in England shall make arrangements with a view to ascertaining, so far as is reasonably practicable—

 * (a)  whether the education provided to a child whose details are entered on their home education register is suitable;

 * (b)  whether it accords with information provided to them for the purposes of the application for registration;

 * (c)  what the child’s wishes and feelings about it are;

 * (d)  whether it would be harmful for the child’s welfare for the child to continue to be a home-educated child.

 * (2)  For the purposes of this section a child’s education is suitable if it is efficient full-time education suitable to—

 * (a)  the child’s age, ability and aptitude, and

 * (b)  any special educational needs the child may have.

 * (3)  Arrangements made by an authority under this section shall include arrangements made with a view to their—

 * (a)  holding at least one meeting with the child during the registration period;

 * (b)  holding at least one meeting with a parent of the child during the registration period;

 * (c)  if they consider that a person other than a parent of the child is primarily responsible for providing education to the child, holding at least one meeting with that person during the registration period;

 * (d)  visiting, at least once in the registration period, the place (or at least one of the places) where education is provided to the child.

 * But in a case where the registration period begins less than six months before the date on which the child ceases to be of compulsory school age, this subsection shall be read as conferring a power rather than imposing a duty.

 * (4)  Arrangements made under subsection (3) may, unless the child or a parent of the child objects, provide for a meeting with the child at which no parent of the child or other person providing education to the child is present.

 * (5)  In making arrangements under this section—

 * (a)  to meet with the child or any other person, or

 * (b)  to visit a place where education is provided to the child,

 * the authority shall give at least two weeks written notice of the meeting or visit.

 * (6)  In this section “registration period” has the same meaning as in section 19D.

Amended text of Section 19F
19F    Revocation of registration

 * (1)  A local authority in England may revoke the registration of a child’s details on their home education register if it appears to them that—

 * (a)  the child’s parent has failed to fulfil an undertaking given by virtue of section 19C(4)(e),

 * (b)  information that has been provided in connection with the application for the child’s details to be entered on the register is incorrect or inadequate in a material respect (whether or not it was so when it was provided) ,

 * (c)  the child is not a home-educated child,

 * (d)  it would be harmful to the child’s welfare for the child to continue to be a home-educated child,

 * (e)  by reason of a failure to co-operate with the authority in arrangements made by them under section 19E, or an objection to a meeting as mentioned in section 19E(4), the authority have not had an adequate opportunity to ascertain the matters referred to in section 19E(1),

 * (f)  the child is not receiving suitable education, or

 * (g)  the child is no longer in their area.

 * (2)  For the purposes of subsection (1)(f) a child’s education is suitable if it is efficient full-time education suitable to—

 * (a)  the child’s age, ability and aptitude, and

 * (b)  any special educational needs the child may have.

 * (3)  If an authority revoke registration of a child’s details on their home education register under this section, they must give the child’s parent notice of the revocation and of the reasons for it.

 * (4)  In determining whether the condition in subsection (1)(d) or (f) is satisfied, an authority shall, so far as is reasonably practicable and consistent with the child’s welfare, give due consideration (having regard to the child’s age and understanding) to any wishes and feelings of the child ascertained by them.

 * (5)  Regulations may make provision about steps to be taken by an authority in connection with revocation, or proposed revocation, of registration of a child’s details on their home education register.

 * (6)  The regulations may, in particular, make provision about matters that are or are not to be taken into account by an authority—

 * (a)  in determining whether any of the conditions in subsection (1)(b) to (f) is met;

 * (b)  in determining whether to revoke registration of a child’s details under this section.


text:
Votian/Verb Moods, Voices and Tenses

Votian verb moods, voices and tenses
=== Indefinite voice ===

Usage

 * 1) The  indefinite voice describes an action without giving any information about it's agent. Hence an  imperfect tense indefinite expression like püvvettī could be translated approximately as: "Somebody caught!". We don't bother ourselves clarifying, who was it.
 * 2) The  indefinite voice may be used instead of the third person of plural (especially in Jõgõperä dialect). Hence an imperfect tense indefinite expression like püvvettī could be translated as: "They caught!" as well.
 * 3) This may be influenced by Russian, where the third person of plural is used in cases, when Finnic dialects should use the indefinite voice e.g.  поймали  could be translated both as: "They caught!" as well as "Somebody caught!".
 * 4) The younger is a Votian speaker the more likely he uses  indefinite voice instead of the third person of plural e.g.  ke̮ik̄   ke̮m rōtia e̮лtī se̮aza  ('All the three companies were in the war.'  imperfect tense),  linnud ̮ viliseltī puiza  ('Birds were whistling in trees.'  imperfect tense),  näväd ̮ лauлāz  ('They sing.'  Mati ),  nämä ve̮te̮ttais̄    ('They would take.'  conditional).

The indefinite voice itself may be expressed by other means e.g.  kuhē̮̄   tätä huллua vēD ?  ('Where could you take such a lunatic?!' substituted by a  rhetorical question  of the second person),  täl̄   on vasara, ešto paikaлt ed ̮ līkuta  (' He has a hammer, which can't be moved by anyone?!' substituted by the second person),  et ̮ tǟ  mitäiD, kui ve̮ib ̮ e̮ллa  (' Nobody knows, how it might be?!' substituted by the second person).

==== Morphophonology      ====

 * 1) Indefinite voice suffixes take a  consonant stem if available e.g. pan+t'aksen > pannassē̮ ('Somebody puts' ) - Pontizõõ dialect.
 * 2) Therefore verbal stem is always in the weak grade in front of any indefinite voice marker (except present tense indefinite voice) e.g. лuget̮tī ('Somebody (did) read.') X лuke̮assa ('Somebody reads.') vs. magattī  ('Somebody slept.') X makā ('Sleep!' - singular imperative)
 * 3) t component of indefinite voice suffixes is not weakened only after unstressed vowels e.g. tako+ttaiksi > tagottaissi  ('Somebody would beat.'). X sā-ttaiksi > sā-taissi ('Somebody would get.').
 * 4) The vowel u alternates with ü, a alternates with ä and e̮ alternates with e according to vowel harmony rules e.g. uppot+ttu >  upottu  (" drowned ") vs. üppät+ttu >  üpättü  (" jumped ")
 * 5) In front of any indefinite voice marker (except present tense indefinite voice) the stem-vowel a is replaced by e̮ and ä is replaced by e e.g. ve̮te̮ttagō ( vs. ve̮ta - the 2. person's singular imperative).

==== Phonological history ====

Indefinite voice suffixes are composed of an indefinite voice marker -tta and additional elements.
 * The -ttiin suffix of imperfect tense was composed of an indefinite voice marker -tta, an imperfect tense marker -i  and 3. person's singular hen.
 * The *-t'aksen suffix of present tense was composed of an indefinite voice marker -tta, a  present tense marker -k and 3. person's singular hen.

L. Posti proposed that this hen component is a former medial voice marker as it's still used in similar role in runic songs  (and South Estonian dialects e.g.  eläs̀   (<*ksen 'lives' present),  sat̀te̮    (<*ihen 'fell (down)' imperfect) ). Medial voice represents processes, which take part in the subject itself or include it as a whole.

title: Votian/Verb Moods, Voices and Tenses


text:
User:Redueue

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

About me
I am Mohamed Hashir, 25 , from Kerala-India. By profession a software engineer, but really looking for ways to grasp the craft of film making , to express myself.

http://mohashie.wordpress.com/ Chennai & Calicut College of engineering tvm.
 * External Links
 * Location
 * School

To express !! hashirvv@gmail.com
 * Why I want to learn filmmaking.
 * Contact
 * }

 * Mohashie has completed the following assignments in the course on Basic filmmaking (pre-production) for narrative motion pictures.

 * [[Image:Blancovinkjeup.png|16px]] Formatting the Script [[Image:Nuvola apps package wordprocessing.png|28px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Pop Quiz - What is the first shot? [[Image:Crystal Clear app clock.svg|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Creating the thumbnail storyboards [[Image:Crystal Clear app gimp.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Quick Exercise - Over-the-shoulder shot [[Image:Applications-accessories.svg|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Creating the 3D storyboards [[Image:Crystal Clear app Login Manager.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] A simple DVD-Video Editing Workshop [[Image:Crystal Clear device cdwriter unmount.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Learning about camera lenses [[Image:Crystal Clear app camera.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Record the dialog for the animatic [[Image:Crystal Clear app krec.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Intro to narrative filmmaking [[Image:Clapboard-Small.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Draw the movie poster for "Star Wars" [[Image:Crystal Clear app kcoloredit.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Understanding dailies [[Image:Clapboard-Small.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Create a matte painting [[Image:Crystal Clear app kcoloredit.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Understanding editing [[Image:Clapboard-Small.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Pop Quiz - Creating the moods (film scoring) [[Image:Crystal Clear app clock.svg|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Understanding "L-Cuts" [[Image:Clapboard-Small.png|24px]]
 * [[Image:Blancovinkjeemptysmall.png|16px]] Create the animatic [[Image:Clapboard-Small.png|28px]]

title: User:Redueue


text:
User:Harkey Lodger/Activity unit modified

Guidelines for the writing of activity units

 * 1) Read carefully the introduction to, and rationale for, the course, paying particular attention to the curriculum.
 * 2) Look at and study the existing "Activity units" to see how they are constructed and where there are gaps in the series which need to be filled.
 * 3) List what you consider to be the gaps in the course.
 * 4) Draft an Activity unit, modelled on the previously compiled ones, to fill a gap that you have identified.
 * 5) If the ideal support material does not exist online then produce it.(Wikipedia article, Wikimedia images, Wikibooks)
 * 6) Carry out the activities that you have suggested on your draft Activity unit.
 * 7) Make any modifications needed to the Activity unit and support materials in the light of your experience in carrying out the activities.
 * 8) Choose a suitable title for your Activity unit page. (Usually a verb and a noun will be sufficient.)
 * 9) Put you suggested Activity unit "live" online, list it at the appropriate place in the course index by copying just the grey index box, and link it to the programme of study.(The grey box in the template automatically repeats the name of the page on which it is used so must be altered when used in the course index.)
 * 10) Wait for, evaluate and be prepared to act on feedback from other writers and students.

Activity unit template
{| cellpadding="10" cellspacing="5" style="width: 900px; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: #969696; border: 2px solid black; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

 * {| cellpadding="4" cellspacing="0" width="350px"

 * bgcolor="#b4b4b4" style="border: 0px #cccccc solid;" |Module:
 * }

 * {| cellpadding="4" cellspacing="0" width="350px"

 * bgcolor="#b4b4b4" style="border: 0px #cccccc solid;" |Techniques:
 * }

 * {| cellpadding="4" cellspacing="0" width="350px"

 * bgcolor="#b4b4b4" style="border: 0px #cccccc solid;" |Skills:
 * }

 * {| cellpadding="4" cellspacing="0" width="350px"

 * bgcolor="#b4b4b4" style="border: 0px #cccccc solid;" |Food knowledge:
 * }

 * {| cellpadding="4" cellspacing="0" width="350px"

 * bgcolor="#b4b4b4" style="border: 0px #cccccc solid;" |Equipment & appliances:
 * }
 * }

{| border=1 cellspacing=0 cellpadding=7 width="900px" style="border:#7F462C solid 4px; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; text-align: left;"
 * style="width: 40%; background-color: #FFE7CC; border: 4px solid #C47451; vertical-align: top; -moz-border-radius-topleft: 3px; -moz-border-radius-bottomleft: 3px; -moz-border-radius-topright: 3px; -moz-border-radius-bottomright: 3px"|

Objectives
Insert text here

 * }

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 * style="width: 40%; background-color: #FFE7CC; border: 4px solid #C47451; vertical-align: top; -moz-border-radius-topleft: 3px; -moz-border-radius-bottomleft: 3px; -moz-border-radius-topright: 3px; -moz-border-radius-bottomright: 3px"|

Assignment
Insert text here

 * }

{| border=1 cellspacing=0 cellpadding=7 width="900px" style="border:#7F462C solid 4px; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; text-align: left;"
 * style="width: 40%; background-color: #FFE7CC; border: 4px solid #C47451; vertical-align: top; -moz-border-radius-topleft: 3px; -moz-border-radius-bottomleft: 3px; -moz-border-radius-topright: 3px; -moz-border-radius-bottomright: 3px"|

Essential reading
Insert text here

 * }

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Vocabulary
Insert text here

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Preparation skills
Insert text here

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Weights and measures:
Insert text here.

Methods and techniques
Insert text here.

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Knowledge of:
Insert text here.

Experience with:
Insert text here.

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Knowledge of:
Insert text here.

Experience with:
Insert text here.

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Health and safety
Insert text here

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Purchasing and budgeting
Insert text here

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Recording and evaluation

Keep your completed worksheets in a file as a record of your completion of this Activity unit. You can also photograph your cooking as it progresses and when it is completed ready for serving.

 * }

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Further and background reading:
Insert text here.

More experience:
Insert text here.

Extension activities:
Insert text here.

See also:

 * }


text:
User talk:Jessolson

Please post your week 6 Project review today.
 * Best, Stevenarntson

 * Jess,

How is this coming along? I hope it's going well, and let me know if you have any questions, or would like me to look over anything.
 * Best, Stevenarntson

 * Jess,

This seems like a great, and potentially very valuable, writing project. I think your worry about getting hung up on parts is a good thing to be thinking about in advance, too. One thing to consider as you're working is that if you feel you aren't ready to write a particular chapter, feel free to rearrange the order of your writing--move on to something later in the narrative, and come back to the hard part later.

One thing I'd like to see added to your Statement of Intent is a forecast about word/page count--just a rough estimate of how long you think each chapter will be, so I have some idea of the scope.

 * Best, Stevenarntson

 * Jess,

This looks excellent. Good luck on it this quarter!
 * Best, Stevenarntson

title: User talk:Jessolson


text:
User:Mikehanrahan

=Analytical Writing=

Statement of Intent

Overview
I intend to accomplish a broader understanding of music theory. Also, I intend on correlating other applicable ideas that would involve the art of sacred geometry.

Rationale
I hope to get many different perspectives on my writing and to learn what others might think of the idea.

Publication

Schedule

 * 1) week 2-Research
 * 2) week 3-Build a reasonable outline
 * 3) week 4-Research
 * 4) week 5-Finalize outline and create a summery and thesis
 * 5) week 6- Start rough draft
 * 6) week 7- Proofread and update
 * 7) week 8- Start final draft
 * 8) week 9- Proofread and update
 * 9) week 10- Final Paper Done!
 * 10) week 11- relax

Anticipated Problems
 I might have a problem getting a full understanding of this subject considering the complexity of it. If this problem does arise then I will more than likely switch topics, but I am anticipating that all will go well.

Week 6 Project Review
 Well this project has been extremely complicated for me, but I think I finally grasped the concept. Now it's time to incorporate the idea of sacred geometry of sound to the use of it with other cultures. A fun and simplistic way that I've learned how to apply this concept musically was learning how to make a triangle or a square with your sounds. You count would be one note/beat per edge of the shape. From there you could subdivide it. For example, you can cut a square into two triangles, thus creating a polyrhythm if one instrument continues playing the square. I am really excited to dive into the way cultures use it for their sacred song and finding out what inspired them to do such.

Before Or During Week 6

 * www.emusictheory.com - Western Theory
 * variety of theoretical approaches
 * Musics of India
 * Gamelan music
 * Chinese Opera
 * Tuvan throat singing
 * Autobiographical

Project
The Sound of the World Mike Hanrahan Analytical Writing 3.24.10 The world is made up of many different sounds. From the deepest depths of the sea to the peaks of the highest mountain you can hear noises; some familiar, some strange, and some annoying. It is time to find out what is outside of our Western world and to indulge in the beautiful pulsations of our Earth’s heart. Every culture has it’s own way to define themselves through sound, rather that be music or chanting. One thing that is relevant, whether we can see it or not, is that all music has a certain individual rule of thumb. Sacred geometry and other musical concepts of the Earth’s pulse go back to ancient times and still today have a big impact on our musical lives and traditions. First let’s travel through the methodologies of Balinese gamelan concepts. “The rhythmic densities of these layers are most often related by simple duple ratios. Each layer is assigned to one of four main instrument groups. The densest one, usually at four notes per beat, is played by the highest-pitched metallophones and gongs. A common technique employed by these instruments is that of interlocking parts, or kotekan, which allows for rapid filigree to be played by pairs of musicians faster than any individual performer could. Though divided into rhythmically interesting separate parts, however, the composite kotekan proceeds in an unbroken rhythmic continuity and should be heard as a melodic component integral to the composition. Below this in the texture, at one or two tones per beat, is an embellished melody played on the leading instrument trompong or ugal. This melody has central importance: it is the most singable because of its register and comfortable rhythmic pacing, and serves as a point of orientation and leadership for others in the ensemble to follow. Reduced to a simple one-tone-per-beat skeletal form, I shall refer to this layer by the Balinese term neliti, which means "correct" or "precise." Below the neliti, customarily playing once every two beats, is the pokok, or trunk tones, of the melody, played by the metallophone calung. The jegogan play the deepest and sparsest part. In an eight-beat melody they may sound twice, every four beats, or in longer melodies they may sound less frequently still, at every eight, sixteen or even thirty-two beats. In this strictly hierarchic and rhythmically predetermined structure, each stratum has its own points of metric stress, which also connote special structural relevance. In each stratum, such points of stress are measured backwards in groups of four tones from the final tone of the melody, which receives the strongest stress of all according to the way Balinese conceptualize it. This is where all parts converge and are supported by the stroke of the large gong. When two or more parts coincide vertically at a point of metric stress they are normatively restricted to playing the same tone of the scale. But the differing densities of the parts ensure that horizontally each part can be singled out for its own character, advantageously discussed in terms of its melodic contour.” (mto.societymusictheory.org) So basically, there is a lot of polyrhythm being played and each instrument is assigned a section. Never hearing gamelan music before, I was shocked at how familiar it sounded. The pulse of the Earth should sound appealing no matter how it is being played because we are from the Earth. By understanding the sounds you are one step closer to understanding where you are. This particular example showed how they use special instruments for their music. How about music being created from the most commonly used instrument in the world? Tuvan throat singing is definitely a creative way to use it! So let us now take a trip to the beautiful and unique sound of throat singing. “There exist a number of styles of the Tuvan throat-singing, sometimes a singer can perform several styles. The styles differ by the pitch of the sound extraction and timbre peculiarities of the phonation connected with it. Each style has its own distinctive expressive properties. The highest, brightest style is 'sygyt' in which the highest register of the voice is used. The head subsounds have a singing 'glass' timbre shade. Songs in the 'khoomei' style sound somewhat softer. The timbres in the style are slightly muffled. Singing in the 'borbannadyr' style attracts by its velvet sound. The bass pedal in the middle register has an additional subsound affecting the quint overtone over an octave, as a result of that, there appears a peculiar three-voice singing. Usually the performing of the melody with corresponding words foregoes an inclusion of the head subsounds on the bass pedal. There are a lot of different songs that can be performed in each style.” (fotuva.org) So this type of singing is definitely something to be heard. It really shows the potential of the human voice. Normally with this type of music there is an instrumental accompaniment, but it is not always necessary. Another amazing type of sound is African drumming. Let’s check it out! “African rhythm is not merely meant to be taken as a musical accompaniment, it is literally a method of communicating. And often that communication must travel over long distances. Drumming and rhythm are essentially means for communication and if Africans can be said without question to perceive anything about rhythm is that they can perceive how communication proceeds. The languages that are spoken in western Africa are tonal, meaning that each syllable of any word has a equitable musical pitch. The specific drums used in African music are constructed with the knowledge that these pitches can be replicated by the instrument. All the gestalt theorizing of the famous theorists cannot undo the fact that African drumming is essentially utilitarian.”(assosiatedcontent.com) This music tells story’s instead of accompanying story’s being told. I find this to be an interesting approach to music and very pleasing to listen to. These are just a few of the amazing sounds of the Earth. Once you can realize that there are other types of music than what you just hear on the radio you can start towards your venture of understanding the world. Sure, there is a lot more to know, but it is a good start. This brings us to, “What do they have in common?”. “While the early Chinese, Hindus, Persians, Egyptians, Israelites, and Greeks employed both vocal and instrumental music in their religious ceremonials, also to complement their poetry and drama, it remained for Pythagoras to raise the art to its true dignity by demonstrating its mathematical foundation. Although it is said that he himself was not a musician, Pythagoras is now generally credited with the discovery of the diatonic scale. Having first learned the divine theory of music from the priests of the various Mysteries into which he had been accepted, Pythagoras pondered for several years upon the laws governing consonance and dissonance. How he actually solved the problem is unknown, but the following explanation has been invented.” (sacred-texts.com) Eventually all cultures with their music found scales. Scales that defined what nature and life are. Since the Earth is made up of very specific patterns, as displayed in the Fibonacci numbers, the music naturally followed the rules of nature. Sometimes cultures would use different colors displayed in their surroundings. Others would mimic the sounds of their language, which derived from the sounds of the Earth. Using the sequence 1,1,3,5,8 etc… would determine how many downbeats there would be. This also would determine the shapes. For example, a flower with three leaves would bloom out in a circular shape. The three leaves would indicate the use of a triangle. From here you can decide what notes to play, which is how you can create your polyrhythm. Each culture uses this technique, intentionally or not, because it is pleasing to listen to naturally. It’s pleasing to look at. It’s pleasing to touch. It’s proof of our direct connection to our world and it is simple to understand. It might be hard to understand the music outside of our culture, but then again, we are all one. Music is the only language that everyone can understand.

http://mto.societymusictheory.org/issues/mto.00.6.2/mto.6.2.tenzer.html http://www.fotuva.org/music/melodii.html http://www.associatedcontent.com/article/110017/an_ethnomusicological_analysis_of_traditional_pg3.html http://www.sacred-texts.com/eso/sta/sta19.htm http://www.spiritofmaat.com/archive/jan4/williams.htm

title: User:Mikehanrahan


text:
Department of Historical and Artistic Heritage of the Diocese of Beja

Historical and Artistic Heritage Department of the Diocese of Beja
The Historical and Artistic Heritage Department of the Diocese of Beja, in portuguese Departamento do Património Histórico e Artístico da Diocese de Beja (DPHA), gathers a group of volunteers with different backgrounds on various areas of the cultural heritage. It is responsible for the safeguard, care and public valorisation of the historical churches of the meridional Alentejo, in Southern Portugal, operating in a 12 300 km2 area – the less populated of this country, but rich in religious monuments since the paleochristian period till our days. DPHA began its work in 1984, facing a complex situation: thefts of works of sacred art and illegal transactions with antiquarians were taking place; over a hundred churches, especially rural shrines, had been abandoned; in wealthier villages, unqualified local restorers had been depreciating retables, sculptures, canvas and mural paintings, organs, etc., with acrylic glues and paints, striking colours, plastic additions... Under the direction of Professor José António Falcão, DPHA launched a modern inventory of the cultural heritage of this area, which includes a computerised database. It also created a counselling service covering from preventive conservation to technical and law matters, as a support to parishes. Co-operating with local authorities, it has been providing training courses to priests and volunteers; protection committees were created in the main monuments, some of which had been kept closed for long, and above all a museological network has been created. Sacred art exhibitions have proof to be public successes, such as “Between Heaven and Earth”, “The Shapes of the Spirit” or “The Invention of the World”. More than 50 historic churches and 1000 works of art where restored or preserved according to high scientific standards. 25 years after, the population from Southern Portugal and our many visitors benefit from a much favourable environment for the safeguard and fruition of their religious heritage. DPHA is now known, respected and followed as a role authority in national territory and it co-operates with similar institutions in countries abroad, such as Spain, Italy, Belgium, France, Germany, Poland and Brazil.

Literature

 * As Vozes do Silêncio. Imaginária Barroca da Diocese de Beja, Beja – Lisboa, Departamento do Património Histórico e Artístico – Estar Editora, 1997.
 * Rosa Mystica – Mariendarstellungen aus dem Südlichen Portugal, Regensburg, Schnell und Steiner, 1999.
 * Entre o Céu e a Terra. Arte Sacra da Diocese de Beja, I-III, Beja, Departamento do Património Histórico e Artístico da Diocese de Beja, 1998.
 * O Alto-Relevo de Santiago combatendo os Mouros da Igreja Matriz de Santiago do Cacém, Beja – Santiago do Cacém, Departamento do Património Histórico e Artístico da Diocese de Beja – Câmara Municipal de Santiago do Cacém, 2001 (colab.)

 * As Formas do Espírito. Arte Sacra da Diocese de Beja, I-III, Beja, Departamento do Património Histórico e Artístico da Diocese de Beja, 2004.
 * Fragmentos de Eternidade. Imagens da Virgem na Arte dos Séculos XVI-XIX, Alpiarça, Casa dos Patudos – Museu de Alpiarça, 2004.
 * O Jardim das Hespérides. Pintura Espanhola do Século XIX na Colecção da Casa dos Patudos, Alpiarça, Casa dos Patudos – Museu de Alpiarça, 2005.
 * Visões do Invisível – Património Religioso da Margem Esquerda do Guadiana, Beja, Departamento do Património Histórico e Artístico da Diocese de Beja, 2005.
 * A a Z – Arte Sacra da Diocese de Beja, Beja, Departamento do Património Histórico e Artístico da Diocese de Beja, 2006.
 * Filhos do Sol, Filhos da Lua. Aspectos da Criação de Gado Bovino e da Tauromaquia na Casa dos Patudos, Alpiarça, Casa dos Patudos – Museu de Alpiarça, 2006.
 * Os Corpos e as Almas. Obras de José Malhoa na Colecção da Casa dos Patudos, Alpiarça, Casa dos Patudos – Museu de Alpiarça, 2006.
 * XIX Século XX. Momentos da Pintura Portuguesa na Casa dos Patudos, Alpiarça, Casa dos Patudos – Museu de Alpiarça, 2007.
 * Un Río de Agua Pura. Arte Sacro del Sur de Portugal, Borja – Beja, Centro de Estudios Borjanos, Institución “Fernando El Católico” – Departamento do Património Histórico e Artístico da Diocese de Beja, 2008.
 * O Coração da Terra. Aspectos da Ruralidade na Arte Europeia (Séculos XVII-XX), Beja, Departamento do Património Histórico e Artístico da Diocese de Beja, 2008.
 * Atmosferas, Pessoas, Narrativas. Um Relance sobre a Arte do Ocidente (Séculos XVII-XX), Beja, Departamento do Património Histórico e Artístico da Diocese de Beja, 2009.

Contacts
Largo dos Prazeres, n.º 4 | 7800-420 Beja (Portugal) | Tel. 284 320918 | Fax: 284 320052 | e-mail: dphadb@sapo.pt


text:
Talk:Continuum mechanics/Partial differential equations

(cijxixj),k if bij is a constant and bij = bji?? (Jenni 23:52, 14 January 2010 (UTC))


text:
User:Egm6341.s10.Team2

Niki Nachappa
niki.nachappa@ufl.edu 312-342-6905 http://en.wikiversity.org/wiki/User:Egm6341.s10.team2.niki

Jiang Pengxiang
jiangpx@ufl.edu 352-871-5927 http://en.wikiversity.org/wiki/User:Egm6341.s10.team2.lee

Madala Srikanth
m.srikanth@ufl.edu, ph: 352-262-2677, http://en.wikiversity.org/wiki/User:Egm6341.s10.team2.madala

Patrick O'Donoughue
patodon@ufl.edu (904)891-0411 http://en.wikiversity.org/wiki/User:Egm6341.s10.team2.patodon

Guillermo Varela
g.varela.me@ufl.edu User: http://en.wikiversity.org/wiki/User:Egm6341.s10.Team2.GV

User Tests
--Egm6341.s10.Team2.GV 01:14, 15 January 2010 (UTC)

title: User:Egm6341.s10.Team2


text: University of Florida/Egm6341/s10.Team2.HW1


text:
University of Florida/Egm6341/s10.Team2/HW1

Problem Statement
Find $$\lim_{x\rightarrow 0}\frac{e^{x}-1}{x}$$ and plot graph of the function for $$x \in \left [ 0,1 \right ]$$

Solution
This limit cannot be performed directly since it yields $$\frac{0}{0}$$ form. So, the L'Hôpitals Rule technique must be used:

L'Hôpitals Rule States:

$$\lim_{x\rightarrow c} \frac{f(x)}{g(x)} = \lim_{x\rightarrow c} \frac{f'(x)}{g'(x)}$$

as long as f and g are functions that are differentiable on an open interval (a,b) which contains c, except at c itself.

Applying this technique the following is found:

$$f(x)=e^{x}-1   \qquad f'(x)= e^{x}$$

$$g(x)=x \qquad   g'(x)=1$$

$$\lim_{x\rightarrow 0} \frac{e^{x}-1}{x} = \lim_{x\rightarrow 0} \frac{e^{x}}{1} = e^{0}=1$$

Graph of $${x}$$ (on X-axis) versus $$ \frac{e^{x}-1}{x} $$ (on Y-axis)

 MATLAB Code:

To generate the graph for $${x}$$ vs $$\frac{e^{x}-1}{x} $$

Solution for problem 1: Guillermo Varela 19:41, 27 January 2010 (UTC) and Srikanth Madala 19:41, 27 January 2010 (UTC)

Proofread problem 1: Guillermo Varela 19:41, 27 January 2010 (UTC) and Srikanth Madala 19:41, 27 January 2010 (UTC)

Problem Statement
Pg. 2-3, Find $$P_{n}(x)$$ and $$R_{n+1}(x)$$  of $$ e^{x} $$

Solution
The Taylor's series expansion for any function f(x) can be expressed as follows:

$$\displaystyle f(x)= P_{n}(x) + R_{n+1}(x)$$ where

$$P_{n}(x)= {f}(x_{0})+ \frac{(x-x_{0})}{1!} {f}'(x_{0})+.....+ \frac{(x-x_{0})^{n}}{n!} {f}^{n}(x_{0})$$

$$R_{n+1}(x)= \frac{1}{n!}\int_{x_{0}}^{x} (x-t)^{n} f^{n+1}(t) dt$$

If f(x) is considered to be $$e^x$$, then by using the above expansion, $$P_{n}(x)$$ becomes:

$$P_{n}(x)= e^{x_{0}} + \frac{(x-x_{0})}{1!} e^{x_{0}} + \frac{(x-x_{0})^{2}}{2!} e^{x_{0}} +.....+ \frac{(x-x_{0})^{n}}{n!} e^{x_{0}}$$

Let $${x_{0}}=0$$, then:

$$\begin{matrix}P_{n}(x)&=& e^{0} + \frac{x}{1!} e^{0} + \frac{x^{2}}{2!} e^{0} +.....+ \frac{x^{n}}{n!} e^{0}\\ \\ &=&1+ \frac{x}{1!} + \frac{x^{2}}{2!} +...........+ \frac{x^{n}}{n!} \end{matrix} $$

Similarly, $$R_{n+1}(x)$$ becomes:

$$R_{n+1}(x)= \frac{1}{n!}\int_{{t=x_{0}}=0}^{t=x} (x-t)^{n} e^{t} dt$$

Using Integral mean value theorem (IMVT):

$$\begin{matrix}R_{n+1}(x)&=&\frac{e^{\xi_x}}{n!}\int_{0}^{x} (x-t)^{n} dt\\ \\&=&\frac{e^{\xi_x}}{n!} \frac{x^{n+1}}{n+1} =\frac{x^{n+1} \ e^{\xi_x}}{n+1!}\end{matrix}$$

where $$\xi_x$$ lies in $$\left [ 0,x \right ]$$

Solution for problem 2: Srikanth Madala 19:41, 27 January 2010 (UTC)

Proofread problem 2: Egm6341.s10.team2.patodon 04:21, 21 February 2010 (UTC)

Problem Statement
Pg. 3-3.

$$ f(x)=sin(x) \qquad \qquad g(x)=sin(x-\frac{\pi}{2})=-cos(x) $$

Plot f and g

$$\ x\epsilon [0,\pi] $$

Find Infinity norm of

i)$$ \left \| f(x) \right \|_{\infty} $$

ii)$$ \left \| g(x) \right \|_{\infty} $$

iii)$$ \left \| f(x)-g(x) \right \|_{\infty} $$

Solution
The Infinity norm is defined as follows:

$$ \left \| f(.) \right \|_{\infty} = max \left | f(x) \right | $$

Using this definition the following is identified:

i) $$ \left \| sin(x) \right \|_{\infty} = 1 $$

ii) $$ \left \| -cos(x) \right \|_{\infty} = 1 $$

iii) $$ \left \| sin(x)+cos(x) \right \|_{\infty} = 1.4142 $$

Solution for problem 3: Guillermo Varela

Problem Statement
Pg 5-1.

Prove the Integral Mean Value Theorem (IMVT) p. 2-3 for w(.) non-negative. i.e $$\ w\geq0 $$

Solution
We have the IMVT as

$${ \int_{a}^{b} f(x)w(x)dx = f(\xi )\int_{a}^{b} w(x)dx}$$

For a given function $${f(x)}$$ Let m be the minimum of the function and M be the maximum of the same function

Then we know that, $${m \leq f(x)\leq M}$$

multiplying the inequality throughout by $${w(x) \geq 0}$$ and integrating between $${[a,b]}$$ we get:

$${\int_{a}^{b}m. w(x)dx \leq \int_{a}^{b} f(x).w(x)dx \leq \int_{a}^{b}M.w(x)dx}$$

$${m\int_{a}^{b} w(x)dx \leq \int_{a}^{b} f(x).w(x)dx \leq M\int_{a}^{b}w(x)dx}$$

writing $${\int_{a}^{b}w(x) = I}$$, we get

$${mI\leq \int_{a}^{b} f(x)w(x)dx \leq MI}$$

It is seen that when w(x) = 0, the result is valid. Consider the case when w(x) > 0

dividing throughout by $${I}$$

$${m\leq \frac{1}{I}\int_{a}^{b} f(x)w(x)dx \leq M}$$

From the Intermediate Value Theorem, we know that there exists $${\xi \in \left [ a,b \right ] }$$ such that

$${f(\xi )= \frac{1}{I}\int_{a}^{b} f(x)w(x)dx}$$

i.e

$${f(\xi )\int_{a}^{b} w(x)dx= \int_{a}^{b} f(x)w(x)dx}$$

Hence Proved

Solution for problem 4: --Egm6341.s10.team2.niki 23:22, 20 February 2010 (UTC)

Proofread problem 4:

Problem Statement
Pg. 5-1. Use the integral mean value theorem (IMVT) to show eq. 5 P. 2-2 yields the equation 1 of pg. 2-3.

Solution

Solution for problem 5: Jiang Pengxiang

Proofread problem 5: Srikanth Madala 19:41, 27 January 2010 (UTC)

Problem Statement
Pg. 5-3. Repeat integration by parts to reveal

$$ \frac{(x-x_{0})^{2}}{2!}f^{(2)}(x_{0})+ \frac{(x-x_{0})^{3}}{3!}f^{(3)}(x_{0})$$

Plus the remainder.

Next, Assume eq. 4 and 5 of Pg. 2-2 are true, do integration by parts once more.

Solution
From Meeting 5 lecture notes:

$$\begin{array}{lcr} f(x)&=&f(x_{0})+\int_{x_{0}}^{x}f^{(1)}(t)dt \end{array}\!$$

Integration by parts yields:

$$\begin{array}{lcr} f(x)&=&f(x_{0})+\frac{x-x_{0}}{1!}f^{(1)}(x_{0})+\int_{x_{0}}^{x}(x-t)f^{(2)}(t)dt \end{array}\!$$

Performing integration by parts on the integral in the above result:

$$\begin{array}{lcr} \int_{x_{0}}^{x}(x-t)f^{(2)}(t)dt\\ = \int_{x_{0}}^{x}u'v\\ =[uv]_{x_{0}}^{x}-\int uv'\\ =[(tx-\frac{t^{2}}{2})(f^{(2)})(t)]^{x}_{x_{0}}-\int_{x_{0}}^{x}(tx-\frac{t^{2}}{2})(tf^{(3)}(t))dt\\ =(\frac{x^{2}}{2})(f^{(2)}(x))-(x_{0}x-\frac{x_{0}^{2}}{2})(f^{(2)}(x_{0}))-\int_{x_{0}}^{x}(tx-\frac{t^{2}}{2})(tf^{(3)}(t))dt\\ =(\frac{x^{2}}{2})(f^{(2)}(x))+(\frac{x_{0}^{2}}{2})(f^{(2)}(x_{0}))-(x_{0}x)f^{(2)}(x_{0})-\int_{x_{0}}^{x}(tx-\frac{t^{2}}{2})(tf^{(3)}(t))dt\\ =\int_{x_{0}}^{x}(\frac{x^{2}}{2})(f^{(3)}(t))dt+x_{0}xf^{(2))}(x_{0}) \end{array}\!$$

Solution for problem 6: Egm6341.s10.team2.patodon 04:15, 21 February 2010 (UTC)

Proofread problem 6: Guillermo Varela

Problem Statement
Pg. 6-1

$$\ f(x)=sin(x) \ \forall \ x\epsilon[0,\pi] $$

Construct Taylor Series of f(.) around $$ x_{0}\approx \frac{\pi}{4} $$ for n=0,1,...,10 and plot for each n.

Solution
The Taylor's series expansion for any function $$f(x)$$ can be expressed as follows:

$$\displaystyle f(x)= P_{n}(x) + R_{n+1}(x)$$ where

$$P_{n}(x)= {f}(x_{0})+ \frac{(x-x_{0})}{1!} {f}'(x_{0})+.....+ \frac{(x-x_{0})^{n}}{n!} {f}^{n}(x_{0})$$

$$R_{n+1}(x)= \frac{1}{n!}\int_{x_{0}}^{x} (x-t)^{n} f^{n+1}(t) dt$$

If $$f(x)$$ is considered to be $$\sin x$$, $$n=10$$ and $$x_{0}=\frac{\pi}{4}$$, then by using the above expansion, $$P_{n}(x)$$ and $$R_{n+1}(x)$$ becomes:

$$P_{10}(x)= \sin \frac{\pi}{4} + \left [ \frac{(x-\frac{\pi}{4})}{1!} \cos \frac{\pi}{4} \right ] - \left [ \frac{(x-\frac{\pi}{4})^{2}}{2!} \sin \frac{\pi}{4} \right ] - \left [ \frac{(x-\frac{\pi}{4})^{3}}{3!} \cos \frac{\pi}{4}\right ] + \left [ \frac{(x-\frac{\pi}{4})^{4}}{4!} \sin \frac{\pi}{4} \right ] +.....+ \left [ \frac{(x-\frac{\pi}{4})^{10}}{10!} {f}^{10}(\frac{\pi}{4})\right ]$$

where $${f}^{10}(\frac{\pi}{4})= -\sin(\frac{\pi}{4})$$ (Please see the below Matlab code for more elaborate expansion)

$$R_{11}(x)= \frac{1}{10!}\int_{t=\frac{\pi}{4}}^{t=x} (x-t)^{10} f^{11}(t) dt$$

where $${f}^{11}\left ( t \right )= -\cos\left ( t \right )$$ (Please see the below Matlab code for more elaborate expansion)

 MATLAB Code:

To generate the equation for $$P_{n}(x)$$

To generate the equation for $$R_{n+1}(x)$$

To generate the graph for $$x$$ vs $$y=f(x)= P_{n}(x) + R_{n+1}(x)$$; where $$x \in \left [ 0,\pi \right ]$$

Solution for problem 7: Srikanth Madala 19:41, 27 January 2010 (UTC)

Proofread problem 7: Egm6341.s10.team2.patodon 04:22, 21 February 2010 (UTC)

Problem Statement
Pg. 6-5

$$ I = \int_{0}^{1}\frac{\exp^{x}-1}{x}dx $$

Use 3 methods to find In:

1) Taylor Series Expansion, Fn 2) Composite Trapezoidal Rule 3) Composite Simpson Rule

for n=2,4,8 ... until the error is of order $$ 10^{-6} $$

Solution 1
1)Taylor Series Expansion

The goal is to perform the following integration,

$$ I = \int_{0}^{1}\frac{\exp^{x}-1}{x}dx $$

The problem with this is that it is an indefinite integral, which must be rewritten in another way in order to analyze it. The method discussed here will be Taylor Series Expansion or McClaurin Series Expansion. The function can be rewritten as follows:

The Taylor Series Expansion for $$ \exp^{x} $$

$$ \exp^{x}= \sum_{j=0}^{\infty} \frac{x^{j}}{j!} = 1 + \sum_{j=1}^{\infty} \frac{x^{j}}{j!} $$

$$ \exp^{x} - 1 = 1 + \sum_{j=1}^{\infty} \frac{x^{j}}{j!} -1 = \sum_{j=1}^{\infty} \frac{x^{j}}{j!} $$

$$ \frac{exp^{x} - 1}{x} = \sum_{j=1}^{\infty} \frac{x^{j-1}}{j!} = f(x)$$

Using this new definition for the function one can then integrate it directly as follows:

$$I = \int_{0}^{1} \sum_{j=1}^{n} \frac{x^{j-1}}{j!} dx $$

Integrating this for a value of n=2 yields the following:

$$I = \int_{0}^{1} \sum_{j=1}^{n=2} \frac{x^{j-1}}{j!} dx $$

$$I = \int_{0}^{1} \frac{x^{0}}{1!} + \frac{x^{1}}{2!} dx = \left [ x \right ]_{0}^{1} + \left [ \frac{x^{2}}{4} \right ]_{0}^{1} = 1 + \frac{1}{4}=1.25$$

For n=4:

$$I = \int_{0}^{1} \frac{x^{0}}{1!} + \frac{x^{1}}{2!} + \frac{x^{2}}{3!} + \frac{x^{3}}{4!} dx = \left [ x \right ]_{0}^{1} + \left [ \frac{x^{2}}{4} \right ]_{0}^{1} + \left [ \frac{x^{3}}{18} \right ]_{0}^{1} + \left [ \frac{x^{4}}{96} \right ]_{0}^{1} = 1 + \frac{1}{4} + \frac{1}{18} + \frac{1}{96} = 1.3160$$

The percent difference between the actual value of the integral (1.3179022) and the estimated value is found by:

$$ \left | \frac{estimate-actual}{actual} \right | \times 100\% = \left | \frac{1.25-1.3179022}{1.3179022}  \right | \times 100\% = 5.15\% $$

The following are the results for other values of n until the error is reduced to the power of $$10^{-6} $$

Matlab Code used to generate the values for the table:

function I =taylor(n) i=1; Itot=0; It=0; while i<=n if i==1 Itot=1; else It=1/(factorial(i)*i); end Itot=Itot+It; i=i+1; end I=Itot;

Solution 2
2)Composite Trapezoidal Rule The formula used to analyze the integral for a function using the composite trapezoidal rule is as follows:

$$ \int_{a}^{b}F(x)dx = (b-a) \frac{f(x_{0})+2\sum_{i=1}^{n-1}f(x_{i})+f(x_{n})}{2n} $$

It is also necessary to state the following, using L'Hopitals Rule

$$ \lim_{0} \frac{\exp^{x}-1}{x} = 1 $$

For n=2 the integration is approximated as follows:

$$ \int_{0}^{1}\frac{\exp^{x}-1}{x}dx $$

$$ x(1)=.5 x(2)=1 $$

$$ I=(1-0) \frac{f(x_{0})+2f(x_{1})+f(x_{2})}{4} = (1) \frac{1+(2\times1.2974)+1.7183}{4} = 1.328 $$

The error is calculated by comparing it to the results obtained using the Taylor Series expansion, as follows:

$$ Error = \frac{\left | Trapezoidal Value - Taylor Value \right |} {\left | Taylor Value \right |} \times 100\%= \frac{\left | 1.328-1.3179 \right |}{1.3179} \times 100\% = .7664\% $$

This table displays the results for similar values:

Matlab Code used to generate the values for the estimates:

function I=ctrapz(n) i=0; Itot=0; It=0; It2=0; h=0; while i<=n if i==0 Itot1=1; else if i<n h=1/n; It(i)=2*valu(h*i); else It2=valu(1); end end Itot=Itot1+sum(It)+It2; i=i+1; end I=Itot/(2*n);

function F= valu(x); F=(exp(x)-1)/x;

Solution 3
The Composite Simpson's Rule

The rule is defined as follows:

$$I_{n}= (b-a) \frac{f(x_{0}+4\sum_{i=1,3,5..}^{n-1}f(x_{i})+2\sum_{j=2,4,6...}^{n-2}f(x_{j})+f(x_{n})}{3n}$$

Using this definition the following is found:

The Following MATLAB code was used to generate the values:

function I = simpb(a,b,w)

q=1; i=a; n=0; Sum=0; c=0;

while n<w n=2^q; h=(a+b)/n; while i<=b fx=(exp(i)-1)/(i); if i==a Sum=1; else if i==b Sum=Sum+fx; else if i==(b-h) Sum=Sum+(4*fx); else if rem(c,2)==0 Sum=Sum+(2*fx); else Sum=Sum+(4*fx); end end end end c=c+1; i=i+h; end n    In=Sum*(h/3); I=In; i=a; c=0; q=q+1; Sum=0; end

By Comparing all of the methods one is able to conclude that the most efficient method to numerically integrate was the composite Simpson's rule.

Solution for problem 8: Guillermo Varela

Problem Statement
Pg. 7-1

$$\frac{\mathbf{[e^x -1]}} = {\frac{1}{x}[e^x-1]} = {f(x)}$$

1) Expand $$\exp^{x}$$ in Taylor Series w/ remainder:

$$ {R(x) = \frac{(x-0)^{n+1}}{(n+1)!}exp \left[ \zeta(x) \right] }$$

2) Find Taylor Series Expansion and Remainder of f(x). eq. 4 of p 6-3.

Solution
Given:

$${P_{n}(x)=f(x_{0})+\frac{(x-x_{0})}{1!}f^{(1)}(x_{0})+...+\frac{(x-x_{0})^{n}}{n!}f^{(n)}(x_{0})}$$[equation 4 p 2-2]

$$ {R(x) = \frac{(x-0)^{n+1}}{(n+1)!}exp \left[ \zeta(x) \right] }$$ [equation 1 p 2-3]

Part 1
$${P_{n}(x)=e^{x_{0}}+\frac{(x-x_{0})}{1!}e^{x_{0}}+...+\frac{(x-x_{0})^{n}}{n!}e^{x_{0}}}$$

for the case that $$x_{0}=0$$, we get,

$${P_{n}(x)=1+\frac{(x)}{1!}+...+\frac{(x)^{n}}{n!}}$$

$${P_{n}(x)}$$ =$${\sum_{j=0}^{\infty }\frac{x^{j}}{j!}}$$

Using equation 1 p 2-3, we get the remainder as

$$ {R_{n+1}(x) = \frac{(x-x_{0})^{n+1}}{(n+1)!}f^{(n+1)} (\zeta(x))}$$

for $$x_{0}=0$$, we get

$${R_{n+1}(x) = \frac{(x)^{n+1}}{(n+1)!}f^{(n+1)} (\zeta(x))}$$

finally, $${f(x)= e^x = \sum_{j=0}^{\infty } \frac{x^{j}}{j!} + \frac{(x)^{n+1}}{(n+1)!}f^{(n+1)} (\zeta(x)) = \sum_{j=0}^{\infty } \frac{x^{j}}{j!} + \frac{(x)^{n+1}}{(n+1)!}e^{ (\zeta(x))}}$$

Part 2
$${f(x)=\frac{1}{x}[e^{x}-1]}$$

$${e^{x}=\sum_{j=0}^{\infty }\frac{x^j}{j!} = 1+ \frac{x}{1!}+\frac{x^2}{2!}+...+\frac{x^n}{n!}}$$

$$\therefore {[e^x -1]= \frac{x}{1!}+\frac{x^2}{2!}+...+\frac{x^n}{n!}}$$

dividing both sides by x we get,

$${\frac{[e^x - 1]}{x} = f(x) = \sum_{j=1}^{\infty } \frac{x^{j-1}}{j!}}$$

and remainder becomes

$${R_{n+1}(x) = \frac{(x)^{n}}{(n+1)!}f^{(n+1)} (\zeta(x))}$$

since $$x_{0}= 0$$, we have

$${R_{n+1}(x) = \frac{(x)^{n}}{(n+1)!}f^{(n+1)} (\zeta(x)}$$ where $$\zeta (x) )\epsilon [0,x]$$

Finally,

$${f(x)= \frac{[e^x -1 ]}{x} = \sum_{j=1}^{\infty } \frac{x^{j-1}}{j!} + \frac{(x)^{n}}{(n+1)!}f^{(n+1)} (\zeta(x)) =\sum_{j=1}^{\infty } \frac{x^{j-1}}{j!} + \frac{(x)^{n}}{(n+1)!}e^{(\zeta(x))}}$$

Solution for problem 9: Egm6341.s10.team2.niki 23:23, 20 February 2010 (UTC)

Proofread problem 9:

Problem Statement
P. 8-2.

Use eq. 2 of pg. 8-2 to obtain eq. 1 of Pg. 7-1.

Solution

Solution for problem 10: Jiang Pengxiang

Proofread problem 10: Srikanth Madala 19:41, 27 January 2010 (UTC)

Problem Statement
P. 8-3

show eq. 4 is equal to eq. 2 by expanding eq. 4.

Solution
Equation 2:

$$\begin{array}{lcl} p_{2}(x_{j})&=&f(x_{j}) \end{array}$$

Equation 4:

$$\begin{array}{lcl} p_{2}(x_{j})&=&\sum_{i=0}^{2}\vartheta _{i}(x_{j})f(x_{i})\;\;\;\;\;\;\;\;\;\;\;\;\;\;For\;j=0,1,2\\ \end{array}\!$$

Performing summation:

$$\begin{array}{lcl} p_{2}(x_{j})&=& \sum_{i=0}^{2}\vartheta _{i}(x_{j})f(x_{i})\\ &=& \vartheta _{0}(x_{j})f(x_{0})+\vartheta _{1}(x_{j})f(x_{1})+\vartheta _{2}(x_{j})f(x_{2})\\ \end{array}$$

Definition of Kronecker delta [[media:Egm6341.s10.mtg8.pdf|Meeting 8 Notes]] :

$$\vartheta _{i}(x_{j})=\delta _{ij}=\left\{\begin{matrix} 1 & i=j\\ 0 & i\neq j \end{matrix}\right.$$

Therefore,

$$\vartheta _{i}(x_{j})f(x_{i})=0\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;For\;i\neq j\!$$

$$\vartheta _{i}(x_{j})f(x_{i})=f(x_{i=j})\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;\;For\;i=j\!$$

For $$j=0,1,\;or\;2\!$$, two of the three terms resulting from the summation over index-j are negated. Since two of the terms will have i where $$i\neq j$$ and therefore $$\vartheta _{i}(x_{j})$$ equal to $$0\!$$ for those two terms and $$\vartheta _{i}(x_{j})$$ equal to $$1\!$$ for the remaining one term where $$\;i=j\!$$.

Thus,

$$p_{2}(x_{j})=f(x_{j})\!$$

Solution for problem 11: Egm6341.s10.team2.patodon 04:16, 21 February 2010 (UTC)

Proofread problem 11:

Contributing Authors
--Niki Nachappa Chenanda Ganapathy 16:20, 27 January 2010 (UTC)

--Guillermo Varela 19:23, 27 January 2010 (UTC)

--Srikanth Madala 19:41, 27 January 2010 (UTC)

--Patrick O'Donoughue 20:12, 27 January 2010 (UTC)

--Jiang Pengxiang 21:13, 27 January 2010 (UTC)<br/


text:
User:Egm6341.s10.Team2.GV

Hello World

[Team2]

Problem Statement
Pg. 6-5

$$ I = \int_{0}^{1}\frac{\exp^{x}-1}{x}dx $$

Use 3 methods to find In:

1) Taylor Series Expansion, Fn 2) Composite Trapezoidal Rule 3) Composite Simpson Rule

for n=2,4,8 ... until the error is of order $$ 10^{-6} $$

Solution 1
1)Taylor Series Expansion

The goal is to perform the following integration,

$$ I = \int_{0}^{1}\frac{\exp^{x}-1}{x}dx $$

The problem with this is that it is an indefinite integral, which must be rewritten in another way in order to analyze it. The method discussed here will be Taylor Series Expansion or McClaurin Series Expansion. The function can be rewritten as follows:

The Taylor Series Expansion for $$ \exp^{x} $$

$$ \exp^{x}= \sum_{j=0}^{\infty} \frac{x^{j}}{j!} = 1 + \sum_{j=1}^{\infty} \frac{x^{j}}{j!} $$

$$ \exp^{x} - 1 = 1 + \sum_{j=1}^{\infty} \frac{x^{j}}{j!} -1 = \sum_{j=1}^{\infty} \frac{x^{j}}{j!} $$

$$ \frac{exp^{x} - 1}{x} = \sum_{j=1}^{\infty} \frac{x^{j-1}}{j!} = f(x)$$

Using this new definition for the function one can then integrate it directly as follows:

$$I = \int_{0}^{1} \sum_{j=1}^{n} \frac{x^{j-1}}{j!} dx $$

Integrating this for a value of n=2 yields the following:

$$I = \int_{0}^{1} \sum_{j=1}^{n=2} \frac{x^{j-1}}{j!} dx $$

$$I = \int_{0}^{1} \frac{x^{0}}{1!} + \frac{x^{1}}{2!} dx = \left [ x \right ]_{0}^{1} + \left [ \frac{x^{2}}{4} \right ]_{0}^{1} = 1 + \frac{1}{4}=1.25$$

For n=4:

$$I = \int_{0}^{1} \frac{x^{0}}{1!} + \frac{x^{1}}{2!} + \frac{x^{2}}{3!} + \frac{x^{3}}{4!} dx = \left [ x \right ]_{0}^{1} + \left [ \frac{x^{2}}{4} \right ]_{0}^{1} + \left [ \frac{x^{3}}{18} \right ]_{0}^{1} + \left [ \frac{x^{4}}{96} \right ]_{0}^{1} = 1 + \frac{1}{4} + \frac{1}{18} + \frac{1}{96} = 1.3160$$

The percent difference between these two results is calculated as follows:

$$ \left | \frac{new-old}{old} \right | \times 100\% = \left | \frac{1.3160-1.25}{1.25}  \right | \times 100\% = 4.48\% $$

The following are the results for other values of n until the error is reduced to the power of $$10^{-16} $$

Matlab Code used to generate the values for the table:

function I =taylor(n) i=1; Itot=0; It=0; while i<=n if i==1 Itot=1; else It=1/(factorial(i)*i); end Itot=Itot+It; i=i+1; end I=Itot;

Solution 2
2)Composite Trapezoidal Rule The formula used to analyze the integral for a function using the composite trapezoidal rule is as follows:

$$ \int_{a}^{b}F(x)dx = (b-a) \frac{f(x_{0})+2\sum_{i=1}^{n-1}f(x_{i})+f(x_{n})}{2n} $$

It is also necessary to state the following, using L'Hopitals Rule

$$ \lim_{0} \frac{\exp^{x}-1}{x} = 1 $$

For n=2 the integration is approximated as follows:

$$ \int_{0}^{1}\frac{\exp^{x}-1}{x}dx $$

$$ x(1)=.5 x(2)=1 $$

$$ I=(1-0) \frac{f(x_{0})+2f(x_{1})+f(x_{2})}{4} = (1) \frac{1+(2\times1.2974)+1.7183}{4} = 1.328 $$

The error is calculated by comparing it to the results obtained using the Taylor Series expansion, as follows:

$$ Error = \frac{\left | Trapezoidal Value - Taylor Value \right |} {\left | Taylor Value \right |} \times 100\%= \frac{\left | 1.328-1.3179 \right |}{1.3179} \times 100\% = .7664\% $$

This table displays the results for similar values:

Matlab Code used to generate the values for the estimates:

function I=ctrapz(n) i=0; Itot=0; It=0; It2=0; h=0; while i<=n if i==0 Itot1=1; else if i<n h=1/n; It(i)=2*valu(h*i); else It2=valu(1); end end Itot=Itot1+sum(It)+It2; i=i+1; end I=Itot/(2*n);

function F= valu(x); F=(exp(x)-1)/x;

Solution 3
The Composite Simpson's Rule

The rule is defined as follows:

$$ In= (b-a) \frac{f(x_{0}+4\sum_{i=1,3,5..}^{n-1}f(x_{i})+2\sum_{j=2,4,6...}^{n-2}f(x_{j})+f(x_{n})}{3n} $$

Using this definition the following is found:

The Following MATLAB code was used to generate the values:

function I = simpb(a,b,w) q=1; i=a; n=0; Sum=0; c=0; while n<w n=2^q; h=(a+b)/n; while i<=b fx=(exp(i)-1)/(i); if i==a Sum=1; else if i==b Sum=Sum+fx; else if i==(b-h) Sum=Sum+(4*fx); else if rem(c,2)==0 Sum=Sum+(2*fx); else Sum=Sum+(4*fx); end end end end c=c+1; i=i+h; end n    In=Sum*(h/3); I=In; i=a; c=0; q=q+1; Sum=0; end

By Comparing all of the methods one is able to conclude that the most efficient method to numerically integrate was the composite Simpson's rule.

title: User:Egm6341.s10.Team2.GV


text:
User:DustinM

=Analytical Writing=

Statement of Intent
There are two topics I would like to explore during the quarter. While in high school I had to do a senior project. I choose to work with the Humane Society, and in researching pet responsibly came across a subject that horrified me, puppy mills. Being an animal lover, I understand how people could do this. Bearing this in mind, I plan on writing a paper (length to be determine) exploring puppy mills more. I intent to take a further look at what puppy mills are, and how or what is being done to stop them. Another issue I would like to investigate is the Tasmania devil facial tumor disease (DFTD). I learned a little about this when I visited Australia but never took the time to find out more about it. By researching it, maybe I can help these creatures that can’t help themselves.

Overview
1.	Write a paper about puppy mills- what it is, and what is currently being done

2.	Make a pamphlet/booklet about the devil facial tumor disease (DFTD)

Rationale
I hope to gain a better understanding of some of the issues that aren’t mentioned much but affect everyone. I want to be able to know that I did something to help even if it is just a little. This may sound a little broad but I am hoping that as I progress through the quarter, I will increase my knowledge and became a better person.

Publication
Currently, I don’t know if I want to get this published or what format I would publish this as. However, I think ideas will come to me as I start working on this. Presently, I am thinking about doing pamphlets or contributing to an organization that deals with the topics I am planning on pursuing.

Schedule
1.	Week 2: Begin researching

2.	Week 3: Continue researching

3.	Week 4: Start outlining topic (continue with research if need be)

4.	Week 5: Start writing paper/pamphlet

5.	Week 6: Continue writing paper

6.	Week 7: Start revising/editing 1st draft of paper/pamphlet

7.	Week 8: Begin final version

8.	Week 9: Proof read and make final changes

9.	Week 10: Have everything done

10.	Week 11:Relax

Due to it being early in the quarter, this may change to accommodate any changes I might make to the project.

Anticipated Problems
There are only a few problems that are anticipated. I want to have a set time to work on this project as I tend to run into procrastinate later in the quarter. On top of this class, have 3 other classes and a job to worry about. Other than that, I don’t see any other problems arising. I plan to save on target as far I when I planned to have something done. If more time is required, then I will adjust to make sure I get the work done.

Week 6 Project Review

Before Or During Week 6

 * Puppy Mills/Rescue Operation 3,000wds
 * Good solid definition
 * Consumer education
 * Current Laws
 * Enforcement
 * Funding (if there isn't sufficient money for enforcement)
 * Helping mills become breeders-reform
 * Personal reflections

Project
How Much Is That Doggie In The Window? A popular saying goes “Dogs are man’s best friend.” Several people would probably find this statement true. Unfortunately, not everyone agrees with this. Sadly, animal cruelty is pretty common. Animal cruelty can come in many different forms; puppy mills, hoarding, tethering and chaining; and dog fighting for starters. By learning more about the cruelties placed upon these animals maybe we can take the steps to prevent it from continuing.

When someone looks at a puppy in the window of a pet shop, they might not realize that it came from a puppy mill. According to the ASPCA (The American Society for the Prevention of Cruelty to Animals), puppy mills are big commercial dog breeding farms where making money has a higher value than the welfare of the dogs. Many times the puppies that come from these places suffer from some type of heredity defeat. These dogs often come with problems. They don’t just have diseases and illness but might come with social or behaviors. Epilepsy, heart disease, deafness, and eye problems are just a few of the typical problems found. On top of that, more issues can arrive once the canine has arrived at the store (“What”). It may seem like things are bad for the puppies but the actual conditions on the mills are pretty bad. The animals are jammed together in cages that are unsanitary. They don’t get enough water, food, attention or any medical care. The cages have wire flooring to minimize waste cleanup, and the cages are stacked on top of each other. Most animals get the luxury of staying indoors or somewhere dry when the weather is bad. The puppy mill animals don’t. They stay outdoors, never leaving their cages. Thinking this bad, but no it only gets worst. To make sure this operations can getting all they can in money, they will continually breed the same female until they are no longer useful. The breeding dogs rarely ever make it out of the mills alive (“What”). Hundreds of puppies are shipped all over the country for sales in the numerous pet shops. However, many of these dogs are purchased thru newspaper ads, or even the internet under false claims. With false claims, they can lure families to continue this never ending cycle (“Inside”). Websites will often lie about puppy’s origin. The sites will use fancy language to confuse the consumer into buying a quality animal. Some terms that convince people to get a puppy are certified kennel, AKC (American Kennel Club) registered, pedigree, health certified, etc. False photos regularly show happy, adorable breeds that appear healthy. This leads people to believe they have many choices. ASPCA conducted an informal survey and found out that just as many Americans are purchasing just as many dogs online as they do in stores. The Internet Crime Complaint Center states, “Hundreds of complaints are files every year from victims who were scammed when buying a dog online.”

Buyers should be aware when shopping online as there several different types of scams. The bait and switch is a common scam. The websites have many images of adorable and healthy puppies. However, consumers are actually looking at stock photos. Customers have no contact with the client or ever see the puppy in person. When the puppy arrives, it is not the one advertised and is usually sick with different markings. Another online scam is the “free to good home” pitch. With this, the con artist will sell a sad story about why he can’t have the dog anymore. People fall for the free of charge and send money for the shipping fee. This amount is around $400. The client gets the money but the customer never gets the dog as there was never a dog to begin with. Then there is the “sanctuaries or scamtuaries” scam. Puppy mills will pretend to be “rescue groups” and create a website saying they have rescued puppies that need homes. It is convincing until they get to the price for the adoption fee. This price is usually more than $1000 (“Puppy”).

There are several ways people can get involved to stop puppy mills. Both the Humane Society and ASPCA have some tips to help get the public started. One can start by educating themselves on puppy mills. You have to be able to know the issue before you can share the information with others. Another option is to lobby for better laws. Letting the federal and state judicial system know how much a concern it is, might spring them into action and make harsher laws. Speaking out is another great option. By speaking out through various ways others may become more inspire to help or just glad to know about the issue at hand (“What You”).

The biggest things people can do to stop puppy mills is adoption which is always a good choice. There are already hundreds of animals that need home, why not take one of them home. In shelters it is estimated that ¼ of the dogs are purebreds. People shouldn’t buy from pet shops since most of them come from the mills. It is important to know where the dogs come from. Before officially purchasing the animal, go out to the facility and see the conditions of the owner’s breeding operation. One should always try to meet the parents of the puppy, especially the mother. Potential buyers should also get the breeder to sign an adoption contract, stating the breeder’s responsibilities; health guarantee and return policy. A crucial step to becoming a pet owner is to be able to spot a responsible breeder. The breeder should be more interested in the welfare of the animal than the price. He will probably screen the perspective owners as they screen him (“10”). For more ideas on stopping puppy mills, people can check out the Humane Society and the ASPCA.

If the public decides to get involved in stopping puppy mills, it is just one small step. It would send a strong message to everyone if the breeders would take a stand and change. Responsible breeders understand what proper care means. They can provide insight to other breeders and make them see the truth about what they are doing. Puppy mill operators will try to alter the words of rescue groups to confuse compassion breeders. However, by joining up with the rescue groups, respectful breeders will have a lot weight when it comes to fixing this problem (“What Breeders”).

One thing that is curious to see is why the laws are still allowing this to happen. The sad thing is puppy mills are not illegal. There are guidelines and laws set into place but unless there is documented evidence proving the cruelty against the dogs, nothing can be done. There are two levels to the laws. First, you have the federal laws and second, are the states laws. Keep in mind that not every state has these laws. A major law is the Animal Welfare Act (AWA) which was passed in 1966. It was put into place to regulate animal activities, like dog breeding. The Animal Welfare Act requires that the animals used in commercial breeding get the standard minimum care (“Law”). This means that the individuals running the operation must provide adequate care and treatment in housing, handling, sanitation, nutrient, water, veterinary care, and protection from extreme weather and temperatures (“Animal”). The United States Department of Agriculture (USDA) is in charge of regulating this law. However maintaining this act is not high on the USDA’s list. Sad to say, puppy mills are rarely monitored. A good example of this comes from PETA (People for the Ethnical Treatment of Animals). It goes, “In Missouri, for instance, each of the 2,100 facilities is supposed to be inspected once a year, but there are only 12 inspectors employed to handle the task” (“Puppy Mills”). Other laws include the 2008 Farm Bill, the Puppy Uniform Protection Statue and the Puppy Lemon Laws. These are meant not only to protect the animals but the consumers as well. Each state has different sets of laws used (“Laws”). In order to view your state’s current legislative, check with your congressman.

How we treat our pets is a big deal. The treatment toward our pets shows what kind of person we really are. This is an important issue for me, as I grew up with pets. I could never imagine the horrible things done to those helpless animals. By writing this paper, I feel that I can make a difference just by knowing what’s going on. I used to volunteer with the Humane Society in my hometown and saw many friendly dogs that needed loving homes. By buying from pet shops, not only are we encouraging puppy mills but we are increasing the number of homeless animals. So the next time you see a pet store, ask yourself, “How much is that doggie in the window?”

Works Cited

“What is a Puppy Mill.” ASPCA. 2010. 29 Jan 2010. .

“Puppy Scams & Cons.” ASPCA. 2010. 29 Jan 2010. .

“Laws That Protect Dogs in Puppy Mills.” ASPCA. 2010. 29 Jan 2010. .

“10 Ways You Can Help Fight Puppy Mills.” ASPCA. 2010. 29 Jan 2010. .

“What Breeders Can Do to Stop Puppy Mills.” The Humane Society. 22 Oct 2009. 29 Jan 2010. .

“What You Can Do To Stop Puppy Mills.” The Humane Society. 25 Jan 2010. 29 Jan 2010. .

“Puppy Mills: Dogs Abused for the Pet Trade.” PETA Media Center. 2010. 29 Jan 2010. .

“Animal Protection: Animal Welfare Act.” American Humane. 2010. 04 Feb 2010. < http://www.americanhumane.org/advocacy/animal-protection/animal-welfare-act.html>.

title: User:DustinM


text:
User:Jycgenius

Class Work
Home/click select at the very right hand side/selection pane
 * How do you open the Select Pane in PowerPoint 2007?

right click on the quick access toolbar /Advanced/ in Editing option section, change maximum number of undos to 30.
 * In PowerPoint 2007, how do you change the maximum number of Undoes to 30?

office button / save as / click on 'save as type'/ Choose single file web page/ save.
 * How do you save a PowerPoint 2007 file as a web page?

Insert/Smart Art/Choose a Smart Art Graphic/Right click on a Smart Art Graphic/Format Shape/Color/Choose a Color
 * How do you change the color of a SmartArt object in PowerPoint 2007?

Insert/Slide number/Check the slide number box/Apply to all.
 * In PowerPoint 2007, how do you include slide numbers on every slide?

Design/Page setup/Slide orientation/portrait
 * How do you change the slide orientation of a PowerPoint 2007 presentation to portrait?

right click on the text box/ format shape/ text box/ under autofit, choose shrink text on overflow
 * How do you modify a textbox so that its text shrinks to fill the space in the shape in PowerPoint 2007?

Insert/Shapes/Click Oval shape under Basic shapes/Set the size of the circle by dragging the left mouse button
 * How do you add a circle shape to a slide in PowerPoint 2007?

Drag the words/Format/Choose a Word art style.
 * On the Ribbon in PowerPoint 2007, how do you change text in the textbox to WordArt?

click on a slide/View/Click Slide show
 * How do you open a current presentation in PowerPoint 2007?

View/on the show-hide,select gridlines.
 * How do you turn on the grids in PowerPoint 2007?

The outline view. It is found next to the Slides button.
 * What will allow you to quickly make a PowerPoint presentation as quickly as you can type?

View/Handout Master
 * How do you go to Handout Master in PowerPoint 2007?

Contrast function increses or decreses the contrast of a picture
 * What does the Contrast function do in PowerPoint 2007?

Offics button/Click Current slide under Print range box/OK
 * In PowerPoint 2007, how do you print out the slide you are currently looking at?

Retrieved from "http://en.wikiversity.org/wiki/User:Icns141/In-Class_Active_Quiz/February_12,_Section_2"

Maingear Shift
Manufactured by Maingear Released on November 02, 2009  CPU and speed - Intel Core i7 960 / 3.86 GHz (Quad-Core) Memory - 8 GB (max) / DDR3 SDRAM / 1600 MHz Memory Speed Hard drive - 1 x 1500 GB - Standard - S-ATA - 5400 rpm (1st hard drive)/ 1 x 80 GB - Solid state drive (2nd hard drive) Type of optical device - BD-RE / DVD+/-RW  Monitor - - Graphics Controller - 2x ATI Radeon HD 5870 Video memory - 2GB Networking - 10/100/1000 Gigabit Ethernet - Internal

Manufacturer Warranty - 2 year parts and labor warranty

Price - 1,699.00 USD = 56,282.78 THB

Source Link- http://reviews.cnet.com/desktops/maingear-shift/4505-3118_7-33883466.html --Jycgenius 16:36, 4 February 2010 (UTC)

Apple i-Mac
Manufactured by Apple Released on October 20, 2009

CPU and speed - Intel Core 2 Duo / 3.06 GHz ( Dual-Core )

Memory - 16 GB (max) / DDR3 SDRAM / 1066 MHz Memory speed

Hard drive - 1 x 1 TB - Standard - Serial ATA-300 - 7200 rpm

Type of optical device - DVD±RW (±R DL)

Monitor - LCD display - TFT active matrix / 27inch size / 2560 x 1440 Resolution / 375 cd/m2 Brightness / 1000:1 Contrast

Graphics Controller - ATI Radeon HD 4670

Video memory - 256 MB GDDR3 SDRAM

Networking - Network adapter - Integrated

Manufacturer Warranty - 1 year warranty

Price - 1,899.00 USD = 62,922.62 THB

Source Link- http://reviews.cnet.com/desktops/apple-imac-27-inch/4505-3118_7-33783915.html --Jycgenius 16:36, 4 February 2010 (UTC)

Homework 4
1. What are MMOGs and how do they differ from regular video games?

A MMOG (massively multiplayer online game)is a video game which is capable of supporting hundreds or thousands of players simultaneously (Wikipedia,2009). Therefore, the main difference is that: unlike regular video games (Single or LAN connection), MMOGs give the players a chance to freely interact with other players (internet connection).

2. Would there be stresses in living in a virtual world?

Ofcourse, one can be stressed out for many reasons. The three main stresses I got from my virtual world experience were that
 * 1) My game play was so laggy(slow access to the game), due to bad internet connetion.
 * 2) The quiality of freely given out items are bad. In order to get cool items, I must spend my cash on them.
 * 3) I've been playing around with my cyber friends, and all in sudden, I have got booted out for an hour by an administrator; just because I was noisy.

3. Look at e-bay and see what is being sold from secondlife and other on-line game forum. Is the economy from these games real?

The economy from these games are real. I have met several cyber friends, who have spent more than tens and hundreds of dollars for their better game play. Real money is exchanged with online game money, with which people can buy various online items.

About Me

Video Link ::

http://en.wikiversity.org/wiki/File:ICNS141_Yochan.ogv

ABOUT ME

Name :: Yo Chan Jung

Nickname :: Dennis

ID :: 5280152

Major :: Biomedical Science

Age :: 19

Date of Birth :: 2nd of January, 1991

E-mail :: jycgenius@hotmail.com

title: User:Jycgenius


text:
User talk:Nagarajlsowmiya

I want to know alltypes ofletter of credits also banking documents MT 799

title: User talk:Nagarajlsowmiya


text:
Votian/Main Cases

== Main cases ==

Morphophonology

 * Nominative case has no marker.
 * Plural nominative has only a plural marker -t . It may take only a vowel stem.
 * Thus singular nominative is usually in a grade opposite to plural nominative, caused by consonant gradation in stems e.g.  seppä ('a blacksmith') vs. sepäD ('blacksmiths'),  ammaz ('a tooth') vs. ampāD ('teeth').
 * The singular partitive suffix takes a consonant stem if available e.g.  nōr-ta ('younger' singular partitive ) vs.  nōre̮-t  ( plural nominative ),  päivüt-tä ('sun' singular partitive ) vs.  päivǖ  ( singular genitive ).
 * Thus a singular partitive is usually in a grade opposite to plural nominative, caused by consonant gradation in stems e.g.  seppǟ  ('a blacksmith' singular partitive ) vs. sepäD ('blacksmiths'),  ammassa ('a tooth' singular partitive) vs. ampāD ('teeth').
 * Plural partitive is always in the strong grade  if available  e.g.  rataz ('wheel' singular nominative) vs. rattaita ( plural partitive ),  linnuD ('bird' plural nominative) vs. lintuita  ( plural partitive ).
 * All the genitive suffixes take a vowel stem e.g. rataz ('wheel' singular nominative) vs. rattā  ( singular genitive ), rattajē ( plural genitive ).
 * Thus a singular genitive is usually in a grade opposite to singular nominative, caused by consonant gradation in stems e.g.  kotti ('bag' singular nominative) vs. kotī ( singular genitive ),  uhsi ('door' singular nominative) vs. uhzē̮  ( singular genitive ),  ammaz (' tooth' singular nominative) vs. ampā (singular genitive).
 * Plural genitive is always in the strong grade   e.g.  rataz ('wheel' singular nominative) vs. rattajē ( plural genitive ),  linnuD ('bird' plural nominative) vs. lintujē  ( plural genitive ).

Usage
Baltic Finnic languages oppose I.e.
 * 1)  partial    subject   to  total subject   and
 * 2)  partial    object   to  total object  and
 * 3)  partial    predicative   to  total predicative
 * 1) Partitive marks a  partial    subject   while  nominative   marks a  total subject   of a sentence.
 * 2) Partitive marks a  partial    object   while  nominative  or  genitive  mark a  total object  of a sentence.
 * 3) Partitive marks a  partial    predicative   while  nominative  marks a  total predicative  of a sentence.
 * See the details below.

 * 1) Partitive marks a matter which is measured. In such a case it's preceded by a quantity unit or a number e.g.   kahs pihua sūrimoi  ("Two handfuls of pearl-barley.").
 * 2) Countable nouns will be in singular e.g.   kahs pihua  ("Two handfuls.").
 * 3) Uncountable nouns will be in plural e.g.   pihu sūrimoi  ("A handful of pearl-barley.").
 * 4) Partitive, which expresses partiality, is opposed to  nominative , which marks the whole e.g.   ühs  pihu  sūrimoi  ("A handful of pearl-barley." Here the word  pihu  is in singular nominative.),  koko  pihu   ("A whole handful." ),  kõikk  sūrimaD   ("All the pearl-barley." Here the word  sūrimaD  is in plural nominative.).
 * 5) Partitive marks a  partial    subject   while  nominative   marks a  total subject   of a sentence e.g.  mā-mune̮ita lēB  ("There will be some potatoes (for you)." - plural partitive),  māmunaD om pe̮lloll   ("(All the) potatoes (what we are talking about) are on the field." - plural nominative)
 * 6) Negative constructions may have partial subjects e.g.   be̮лe̮    kaлoi  (" There is no fish." - plural partitive ),   mā pǟllä tiлā eb lē  (" There will be no place (for it) on the earth." - plural partitive ).

 * 1) Partitive marks a  partial    object   while  nominative  or  genitive  mark a  total object  of a sentence e.g.   tōn süvvä lihā i ve̮ita    ("I'll bring (you) some meat and butter to eat." - singular partitive ) vs.  tōn lihā i ve̮i   ("I'll bring all the meat and butter." - singular genitive ),  avān silmäd   ̮ avē  ("I open my eyes." - plural nominative ),   mahzan  ke̮ik̄     sūrē̮       mahzō    ("I am paying all the big tax." - singular genitive ).
 * 2) A  total object  is in   nominative, if
 * 3) the object is in plural e.g.   avān silmäd   ̮ avē  ("I open my eyes." - plural nominative ).
 * 4) the verb is in  imperative mood  e.g.   näütä miллe̮      merkki  ("Show me a sign." - singular nominative ).
 * 5) the verb is in  indefinite voice  e.g.   siллe̮     tuvvas̄       mokoma kirstu  ("They will bring you such a chest." - singular nominative ).
 * 6) Negative constructions have always partial objects. (The examples below are bare constructions for this course.)
 * 7)   en tō ve̮ita   ("I shall not bring (you) any butter." - singular partitive ).
 * 8) the object is in plural e.g.    en tō mā-mune̮ita   ("I shall not bring (you) any potatoes." - plural partitive ).
 * 9) the verb is in  imperative mood  e.g.   elä tō ve̮ita   ("Do not bring any butter." - singular partitive ).
 * 10) the verb is in  indefinite voice  e.g.   ep tuvva ve̮ita   ("Nobody will bring (you) any butter." - singular partitive ).

 * 1) Partitive marks a  partial    predicative   while  nominative  marks a  total predicative  of a sentence.
 * 2) Partial predicative expresses partiality.
 * 3) E.g.  tämä naizikko on tōž soikkoлaisī  ('This woman also is a one of Soikkola Ingrians.' i.e. We emphasize, that she belongs to a group of certain quality - is part of that group. )
 * 4)  sika on üvǟ sukua  ('The pig is of a good breed.').
 * 5)  tütär e̮li ke̮rke̮at kazvua  ("The daughter was tall.") Lempola dialect.
 * 6)  Total predicative
 * 7) E.g.  se on sūr ja varma  ( Rajo dialect "This (man) is big and strong." i.e. We don't tell you, if there is a group of men of that quality (big and strong), where he might belong to. He qualifies as a big and strong one himself. )
 * 8)  tämä on soikkuлaine̮  ( Liivtšülä dialect 'This one is a Soikkola Ingrian.' i.e. We don't emphasize, that she belongs to that group. )
 * 9)  tšen tämä e̮li ?  (Luuditsa dialect "Who was he?")
 * 10) Partitive marks time.
 * 11) If the time unit has an attribute, then the attribute only will be in  adessive , but the time unit itself is in  partitive  case - e.g.  senel̄   päivǟ  ('on that day'),  ühel̄    ke̮rtā tuli sūr tūli  ('Once there was a big wind')
 * 12) Partitive marks origin e.g.  tütär e̮li ke̮rke̮at kazvua  ('The daughter was tall.') Lempola dialect,   tämä naizikko on tōž soikkoлaisī  ('This woman also is a one of Soikkola Ingrians.'),   sika on üvǟ sukua  ('The pig is of a good breed.').
 * 13) Partitive marks cause e.g.  lezzellä e̮li itšävä mēssä  ('The widow longed for her husband.').
 * 14) Partitive marks direction e.g.  tämä taitšinākā viskazi īrtä  ('She threw dough towards the mouse.').
 * 15) Partitive is used with  comparison  e.g.  ke̮ikke̮a sūre̮p pojo  ('a boy bigger than all the others = the biggest boy'),   miä e̮лe̮n paĺĺo vanapi teitä  ('I'm much older than you.') ,   ke̮rke̮apaлt lidnā   ('higher than the town').
 * 16) Partitive is used with certain  postpositions and prepositions  e.g.  enne se̮tā   ('before the war').

 * 1) Genitive serves as an  attribute  of a (following) noun e.g.   poigā tširja  ('a letter from (my) son'),   se on sigā suku  ("They are pig's relatives" = immoral folks),   tševǟllä on lintui лauлu iлoza  ("In spring the singing of birds is beautiful.").
 * 2) In lyrics an attribute should not necessarily precede the noun, what it is qualifying e.g.  pilvi e̮лi tuллu taivā  (" A cloud of the sky had came .").
 * 3) Genitive may serve as an independent  possessive  noun e.g.  se e̮лi minū  (" It was mine ."),   štop  ̮ se e̮лe̮is̄   tämǟ   (" It should be  his  .") vs.  minūn   ̮ e̮ma  ("mine"),  лahzē̮n   ̮ e̮ma  ("something belonging to a child").
 * 4) Genitive marks the agent (in an  ergative  construction) e.g.   f j o k л a    on karū revittü  ("Fyokla has been ripped by a bear ."),   izǟ tuллe̮za kotōsē̮  ("The time, when father comes home .").
 * 5) Genitive may have  dative  functions (like in   Finnish ) e.g.   ke̮ikkī piti e̮ллa  (" Everybody had to be (there)."),   kumpa sinū näüttīp  ̮ pare̮p  ke̮ikkia  ("Which one (of those two) looks the best for you ."),   ohto sinū on savve̮a  se̮tkua  ("It's enough for you to knead the clay !"),   minū be̮лe̮  kuhe̮ mennä  (" I have nowhere to go .").
 * 6) Genitive marks a  total   object  of a clause e.g.  sōje̮tin vē  ("I warmed up the water ").

title: Votian/Main Cases