text:
Emergency medical responder (EMR)/Primary survey

C-spine control
In the event of an alleged fall / trauma an EMR should always treat for the worst and hope for the best and deligate C Spine control to your partner or someone of equal or higher training, by placing both hands on either side of Pt.head and esuring that there is no movement during the primary assessment. Later when the neck is being examined a Cervical collar must be applied. Remember to size correctly. Treat for the worst and hope for the best.

Level of consciousness
Level of Consciousness is important because it can help eliminate other medical conditions. If a patient is conscious and talking to you, than they have a patent airway and are breathing. It is also safe to say that they have a pulse and know about their injuries. This doesn't mean you don't do a patient assessment. However, your Airway, Breathing, Circulation, mechanism of injury portions of the exam are progressed. On the other hand, if a patient is completely unresponsive the medic knows that the patient could be in severe trouble.

The patient's level of consciousness must be analysed using the Glasgow coma scale. To asses the patient using the Glasgow coma scale, the EMR must assess three elements of the patients response to stimuli (how the patient responds with his/her eyes, how the patient responds verbally, and how the patient responds physically with his/her motor functions). The total of the points scored on each will give the patients score. A score of 15 is the highest possible score, while a 3 is the lowest possible score.

Eye response

 * 4 points: Eyes open spontaneously.
 * 3 points: Eyes open to the sound of speech.
 * 2 points: Eyes only open as a response to pain.
 * 1 point: Patient does not open eyes at all.

Verbal response

 * 5 points: Alert and oriented.  The patient is aware of Person (who he/she is, name, age), Place (where he/she is and why), Time (what day or month it is), and Event (what happened which required the EMR to attend).
 * 4 points: Confused.  The patient is coherent but not entirely aware of person, place, time, and event.
 * 3 points: Inappropriate speech.  The patient uses random or exclamatory articulated speech, but no conversational exchange.
 * 2 points: Inappropriate sounds.  The patient grunts, groans, moans, or makes other sounds without using any actual words.
 * 1 point: None.  The patient does not make any noises with the exception of noises made by a partial airway obstruction (i.e. snoring, wheezing, and gurgling).

Motor response

 * 6 points: Obeys commands.  The patient obeys commands for movement (i.e. squeezes fingers on command, moves feet on command).
 * 5 points: Localizes to pain.  The patient makes purposeful movement to reduce pain.
 * 4 points: Withdrawal from pain.  Patient pulls away from painful stimuli.
 * 3 points: Abnormal flexing.  Decorticate response
 * 2 points: Abnormal extension.  Decerebrate response
 * 1 point: No motor response.

Airway
Check to make sure the airway is clear. If the casualty is conscious, you can see if their airway is clear simply by asking them a question and see if they're able to speak.

If the casualty is unconscious, attempt to give a rescue breath.
 * If the breath goes in (the chest rises with the breath), then the airway is cleared. Check for a gag reflex by rubbing the tip of the patient’s eye lashes, if the patient’s eyelid does not twitch than no gag reflex should present. Insert an oropharyngeal airway to ensure the tongue does no slide back, blocking off the airway.
 * If the breath does not go in, there is an obstruction. First try to clear the airway by using the jaw thrust maneuver if C-spine control has been taken or by the head tilt chin lift maneuver if C-spine control was not required.  Try to give ventilation again.
 * If a second attempt at ventilation is unsuccessful, begin chest compressions to attempt to dislodge the obstruction. Give thirty chest compressions and then try again to give a breath. Repeat until you are able to get the chest to rise.

Breathing
Check to make sure the casualty is breathing. If the casualty is conscious, you can check their breathing simply by asking them a question and see if they're able to speak and asking if they're having difficulty breathing.

If the casualty is unconscious, hover your ear a few inches above the casualty's mouth and feel/listen for air. At the same time, watch their chest to see if it rises. If the casualty is not breathing, use a pocket mask or bag-valve mask to breath for them.

A normal rate of breathing should be as follows:
 * Adult – 12-20 Breaths per minute
 * Child – 15-30 Breaths per minute
 * Infant – 25-50 Breaths per minute

Circulation
Check the patients rate, rhythm and quality of circulation by palpating both the distal and carotidian pulse at the same time. Palpate for fifteen seconds and then multiply the number of beats by four to determine rate (beats per minute).

Note the rhythm of the pulse, is it normal or "offbeat"?

Note the quality of the pulse, is it strong and bounding, is it weak and thready, or is it some other variation?

Head

 * Ask the patient if they have any pain in their head.
 * Look for:
 * Deformities
 * Contusions
 * Abrasions
 * Punctures
 * Penetrations
 * Burns
 * Lacerations
 * Swelling
 * Cerebrospinal fluid coming from the eyes, ears, or nose.
 * Feel for:
 * Tenderness
 * Instability
 * Crepitation

Neck

 * Ask the patient if they have any pain in their neck.
 * Look for:
 * Deformities
 * Contusions
 * Abrasions
 * Penetrations
 * Burns
 * Lacerations
 * Swelling
 * Jugular vein distention
 * Feel for:
 * Trachea deviation
 * Tenderness
 * Instability
 * Crepitation

Chest

 * Ask the patient if they have any pain in their chest.
 * Look for:
 * Deformities
 * Contusions
 * Abrasions
 * Penetrations
 * Burns
 * Lacerations
 * Swelling
 * Equal and bilateral chest rise and fall
 * Paradoxical motion
 * Subcutaneous emphysema
 * Listen with a stethoscope for:
 * equal chest sounds
 * clear chest sounds
 * Feel for:
 * Tenderness
 * Instability
 * Crepitation

Abdomen

 * Ask the patient if they have any pain in their abdomen.
 * Look for:

 * Deformities
 * Contusions
 * Abrasions
 * Penetrations
 * Burns
 * Lacerations
 * Swelling
 * Eviscerated Organs
 * Feel for:
 * Distension
 * Tenderness
 * Rigidity
 * Pulsating masses

Pelvis

 * Ask the patient if they have any pain in their pelvis.
 * Look for:
 * Deformities
 * Contusions
 * Abrasions
 * Penetrations
 * Burns
 * Lacerations
 * Swelling
 * Incontinence
 * Defecation
 * Priapism
 * Feel for:
 * Tenderness
 * Instability
 * Crepitation

Lower extremities

 * Ask the patient if they have any pain in their legs or feet.
 * Look for:
 * Deformities
 * Contusions
 * Abrasions
 * Penetrations
 * Burns
 * Lacerations
 * Swelling
 * Feel for:
 * Tenderness
 * Instability
 * Crepitation
 * Equal pedal pulses
 * Equal motor function (conscious patient only)

Deadly bleed check
At this point it is imperative to check under the patient for deadly bleeding by placing a clean gloved hand under the patient at every elevated space and then checking the glove for blood.

Upper extremities

 * Ask the patient if they have any pain in their arms or hands.
 * Look for:
 * Deformities
 * Contusions
 * Abrasions
 * Penetrations
 * Burns
 * Lacerations
 * Swelling
 * Feel for:
 * Tenderness
 * Instability
 * Crepitation
 * Equal distal pulses
 * Equal motor function (conscious patient only)


text:
Emergency medical responder (EMR)/Transport decision

Load and go
Under the following circumstances a patient must always be a load and go: -
 * Altered level of consciousness.
 * Any compromise to the airway.
 * Any compromise to the Breathing.
 * Any compromise to the circulation.
 * Deadly bleeding.
 * Change in skin colour, temperature, or condition.
 * Spinal immobilization has been taken.
 * Pelvic fracture.
 * Femur fracture.
 * Internal bleeding.

If an EMR determines the patient to be a load and go, the following protocol must be followed. Note the patient history can usually be taken at the same time as the patient is being packaged.
 * 1) Patient history.
 * 2) Package patient.
 * 3) Begin transport.
 * 4) Check vitals (recheck vitals every five minutes or if a change in the patients condition occurs).
 * 5) Perform a reassessment survey.
 * 6) Begin treatment.

Stay and stabilize
If none of the above conditions exist, an EMR may choose to stay and stabilize the patient before transport.

If an EMR determines the patient to be a stay and stabilize, the following protocol must be followed.
 * 1) Patient history.
 * 2) Check vitals (recheck vitals every five minutes or if a change in the patients condition occurs).
 * 3) Perform a reassessment survey.
 * 4) Begin treatment.
 * 5) Package patient.
 * 6) Begin transport.

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


text:
Landsknecht (game)

Part of The School of Strategic Studies>Universal Tactical Simulation

Description
A wargame, played on a chessboard or other checkered surface, with either miniatures or just bits of paper or cardboard. Loosely simulates combat during the late Middle Ages and early Renaissance in Europe. It is a very simple game that introduces very basic military concepts such as formation, drill, enfilade, defilade, and battlefield manoeuver.

Object
To defeat, rout, or annihilate the opposing force.

Setup
The field of battle is an 8x8 checkerboard the same as those used in the game of Chess. Setup varies depending on scenario.

There are three different basic types of unit:
 * Infantry: solid in defence
 * Cavalry: fierce in attack
 * Ranged: long-ranged attack

Every unit is representative of a standardized Late Medieval German unit of heavily-armoured trained militia or mercenaries. Units can be represented on the board in any number of ways, from bits of paper to painted figurines. Ideas will be given along with this document. For example, printable flag pages (such as this one for the Holy Roman Empire) can be made to add colour to your board and help identify friendly pieces:

The size of each square is approximately 25x25 yards, making the battlefield 200 yards long and wide.

The people in each unit, for ease of play, are represented by "gleven" which were an arbitrary number and composition of troops that was the basis for the makeup and command structure of German mediaeval armies. A "Gleve" is a 'levy' in English.

Some gleven were 2 horsemen, some were up to 10 footsoldiers, but this game uses the term to denote 20 troops, meaning the average square fits up to 20 gleven of troops organized in two units of 10 gleven each. A typical group of German infantry would contain 2 Rotten (platoons) of 10 men in each gleve.

Each square can accommodate two of any type of unit, the maximum size of each unit being 200 people. This is based on the idea that each unit is 25 files across and 8 ranks deep. This is the standard for regular one-arms dressing, meaning every man is exactly one arms length from the other in any direction.

Open order is possible so skrmishers may be created. Open order cuts the number of gleven per square in half as the order is two arm lengths from each man.

Close-order or shoulder dressing packs men shoulder-to-shoulder, and this may be done for shield walls, pike hedges and nifty formations like the Spartan Phalanx or the Roman Testudo. This doubles the number of gleven in a square.

The only exception to this rule is that only one cavalry unit of 25 files with 8 ranks may fit into one square, not two such units. Cavalry can never be in any less than standard order, and cavalry skermishers can open their order as above.

The changing of order could be done such that a small number of men are holding a long front, or it can be used in skermishing. No unit in close order can charge. No unit in open order can set against charge. open order allows instant facing and direction changes without any penalty, skermishers can turn about as much as they want and change facing however they wish. Horse archers must ride in skermish order.

At setup, players may decide on the order (closed, open, regular) in which their troops occupy the board.

Movement
Generals will roll a die at the beginning of each round with the higher roller deciding who will move first in that round. The one who moves first may move all or none of their units to the maximum of their allowable movement each round, followed by the second mover. Units are not moved in alternation.

A troop of soldiers have a number of choices of movement which can be broken down into TURNS, FORMS, and MARCHES.
 * A TURN is where a unit turns 90 degrees or 180 degrees in place. The frontage of the unit on the battlefield does not change, but the facing does.
 * A FORM is where the unit makes a change of facing AND frontage. The entire unit remains in the same square, and can change their frontage to the right or left 90 degrees.
 * A MARCH is where the unit moves by marching forward or charging. A MARCH may be undertaken after a TURN, but not after a FORM.

Marches
There are two types of MARCH: a standard march and a charge. Each unit has different numbers of squares it may travel doing either.
 * Infantry:
 * March-1 square
 * Charge-2 squares

 * Cavalry:
 * March-2 squares
 * Charge-6 squares

 * Ranged:
 * March-1 square
 * Charge-2 squares

(but ranged troops do not gain an attack bonus for charging into combat)

Turns and Forms
Whenever a unit TURNS and then proceeds to MARCH in column of eights, the unit is considered to end their round by turning to advance or retire. For example, the unit may go back to facing their previous front or rear, but never will they face in column of eights at the end of the turn.

A unit may TURN or FORM 90 degrees, or TURN 180 degrees, but TURNing or FORMing cannot be done in increments of 45 degrees.

In order to give the units more freedom of movement, the incline (a 45 degree turn) may be used such that the unit may move directly forward, or to the forward left or right. The unit facing is returned once again to the way in which it began the round.

Combat
A unit's combat effectiveness is determined by its Facing, Depth

Frontage, Flank, Rear
The unit's frontage is defined as the front three squares of the 8 that surround it.

Its flank is the side two squares on either side, and its rear is the back one square.

There is some overlap of flank and rear, and it is described with the help of the picture to the right. The overlap of the flank and rear is resolved by the direction from which the attacker enters the adjacent square. If the attacking unit enters the adjacent square from the border that is coloured yellow, that attack will be considered a flank. If the attacker enters from the border that is coloured red, that attack will be considered an attack on the rear.

A unit may attack to the three squares of its frontage.

Combat happens in a square to the front of the attacker. Base-to-base combat requires that the squares the units occupy must be adjacent.

Depth and Dice for Attack
The strength of a combat unit is determined by its depth in ranks. Each rank which can fight is worth 1 die in combat.

For a unit composed of one gleven, there is only one rank. Two gleven is two ranks, three gleven is three ranks, and after this it doesn't matter because the maximum number of ranks that can enter combat is three.

If, for example, two units of Infantry are in pitched combat, they will each roll one die per rank in combat to a maximum of three.

If there are 4 gleven in one unit and three in the other, in combat they will both roll three dice respectively. The total amount of pips that show on the dice rolled by each side are added up.

This is the strength of the unit in attack, and for every four pips, one gleve of enemy Infantry is considered to have become casualties.

For every remainder of two or three pips, a gleve is given a "step loss" - that is half their number is composed of casualties. Place a step loss counter on the unit. Any less than two pips of remainder is discarded.

Modifiers to Combat
Different bonuses are given to the attacker and defender in certain circumstances. Follow these guidelines for awarding extra combat dice to the units who outmanoever others:

+1 die		Defender (Infantry only) did not move this turn and was charged by Infantry (order: "set against charge").

+2 dice		Defender (Infantry only) did not move this turn and was charged by Cavalry (order: "prepare to receive cavalry").

+1 die		Attacker charges a foe that moved last turn (Cavalry gain a +2 dice bonus).

+1 die		Attacker attacks foe on the flank. In this case, the Defender may not roll more than 1 combat die.

+2 dice		Attacker attacks foe in the rear. Defender may not roll any combat dice.

Running Combat
Combat is run simultaneously, so all casualties are removed after all the combat has been done, not before.

The attacker must use one "move" in order to attack. This means that the attacker must enter a square adjacent the target and then still have one move left to enter combat.

Archers have a range of up to 6 squares. They roll 1 combat die for every two gleven of archers that fire, and then compare this result to the range table: This suggests that at close range, archers are particularly ineffective due to the need for direct fire, and in their range "sweet spot" they are far more effective, as all ranks can concentrate fire on the target. Effectiveness then decreases again due to a lack of accuracy. To read the table, simply note that when a band of archers rolls a total number of pips N, at range 1, the total amount of damage done to the enemy is N/7, rounded down to a minimum of 0. At range 2, the total amount of damage done to the enemy is N/4, and so on.

Cavalry, once they attack an Infantry or Archer unit, MUST force their opponent back into retiring or else they are considered 'bogged'.

This means the cavalry are caught up in the mass of troops and cannot manoever. A cavalry unit caught in such a way is subject to a penalty of -1 combat dice to a minimum of 1 die.

Archers cannot charge or set against charge in the way Infantry can, but they can fight base-to-base like Infantry. All German Archers had to have armour and swords as well as bows.

Morale
Morale is one of the major determinants of battlefield loss or victory. Each full unit of men, mainly due to the cohesion of forces working in close quarters, is affected by one morale value. Every unit represented as one mass on the board will need a morale die to represent its morale level. All regular units begin at morale 5. All rabble and irregular units begin at morale 3. Specially religious or elite units may begin above four due to their fanaticism or contempt of death. Morale checks are required when a unit is attacked and ends up losing out in combat, when a unit retires due to stress, when attacked by weapons that cause fear, and when a unit is being rallied by its commander.

Morale Improvement
Units which succeed against opponents have a chance to improve their morale by passing a leadership test. Any unit facing a unit that falls to “shaken” status may make a command check to gain morale. In addition, command checks can be made (as per the rally rules) in stationary and unengaged units to raise their morale back to “normal.” Highly skilled commanders may be able to rile their troops up in this way so much that they can become “spirited” or even “frenzied.”

Making a Morale Check
Morale is rolled against the unit’s combined morale rating. Typically, morale for any unit is 7, though veteran troops normally have 8 or 9, and rabble can have 5 or 6. The check is made with two dice. If the result is equal to or lower than the unit’s morale rating, then the check has been passed. In the event of the roll being higher than the rating, the check has been failed.

Modifiers to Morale
Modifiers to Morale include if the target unit is:
 * Attacked from the rear –1
 * At half strength or less –1
 * Attacked by a frenzied unit –1
 * At quarter strength or less –2
 * Successfully charged –1
 * Backed against an obstacle (wall or river, etc.) -2
 * Attacked by double the amount of men in their own unit –1
 * Not under the effects of a commander –2
 * Green troops, engaging the foe for the first time –1
 * Fatigued –1
 * Pushing back a foe +1
 * Forcing a foe to rout +1
 * Reloading ranged weapons –2

Advanced Unit Types
Other types of troops exist than the basic three above.

Sword and Pike Infantry
Infantry comes in both sword and pike varieties, but is considered for the sake of a simple game to be the same thing. In the case of making a differentiation between sword and pike infantry, the following is taken into consideration:
 * sword is a more versatile melee weapon than pike.
 * pike sets against charge where sword cannot.
 * swordsmen may carry shields.
 * pikemen will engage before swords, and more of them can attack the enemy, especially in a closed order formation.
 * swordsmen work best in skermish and in shield walls, there is no middle ground.

Therefore, to compensate for these problems, apply the following rules of thumb:

 * It is considered only the first three ranks of a sword unit may fight if the unit is in regular order. If in close order, only the first rank alone may enter combat.  If in skermish order, the swords may attack with all three ranks.
 * Pikes may always attack with three ranks in any formation.
 * Pikes can never skirmish. You may if wished, but it is suicide.
 * pikes may set against charge.
 * Swordmen may use shield wall if they are so trained.
 * Every sword gleve gets a shield save when threatened with annihilation. A roll of 1-2 on a d6 reduces the damage to a half-loss only.  A half-gleve may be saved completely from harmby a roll of 1-2.
 * When a sword unit attacks pike, roll the attacks. Generally, a pike unit will have more dice to bear on a sword unit as it can pack more densely. If the pike attack is higher than the sword attack, apply the damage immediately to the swords, and roll sword morale.  If the number of gleven in a sword unit changes enough to change the amount of attack dice it has, roll again for damage against the pikes, otherwise run the first combat as usual.
 * If swords can hold against pikes for one turn, they gain a bonus of being able to attack with four ranks. The shield save is also changed: a roll of 1 saves the gleve, 2-3 the gleve is only cut in half.
 * Sword skermishers that have passed the first assault of the pikes may infiltrate the pike ranks, doing one full free attack and causing the pikes to withdraw automatically.

Arquebus
The Arquebus is a ranged firelock weapon with an effective range of about 40-50 yards. Though the ball from an Arquebus can continue for a much greater distance than this, the vagaries of air pressure (that also plague slicing golf balls) make the weapon highly inaccurate. In Arquebus troops, only the front rank may fire. This lends them to use in close order, from which a maximum of two gleven may bring their fire to bear. An Arquebus takes a full turn to reload, and an Arquebus unit cannot perform any other action while reloading. Arquebus do damage per gleven based on the following table: This table implies that arquebus units side-by-side may concentrate fire to be effective at long range. Arquebus, when attacked, if they are in good order and facing the attacker, may fire prior to entering combat. This damage is resolved before the enemy attacker makes an attack. In all cases when a unit is fired upon by Arquebus, they must make a morale check, because Arquebus cause fear.

Swiss Pikemen
Swiss Pikemen are so exquisitely trained that they can turn without effort, and face the direction of the enemy - even when it isn't their turn. In this way, Swiss pikes never have to turn, they can move in any direction the player wishes. When receiving attacks from different directions, Swiss troops suffer no derogatory morale, and if they are attacked from more than one different direction, they can form square such that all sides of their unit are counted as "front." Forming square occurs at any time, and the Swiss player can even do it when attacked in the opponent's round. If this is the case, the Swiss unit may only move half rate in the next turn. Swiss Pike units are formed of 40 gleven and fill a full board square, and should be represented by a Cavalry-size box.

Spanish Tercio
Spanish Tercio are a blend of Pike and Arquebus that is particularly effective. Represented on the board by a band of Arquebus with a unit of Pike behind, they may choose, at any time, to switch positions at the cost of only one movement point. If the Tercio player saves a movement point at the end of his turn, the Tercio may do this at will during the opponent's turn.

Scenarios
Make some!

title: Landsknecht (game)


text:
User:AdenosineTriphosphate

Hi, I'm adenosine Triphosphate (a.k.a ATP) and I am interested in math and sciences. I can help with any topic in biology and math (up to calc II) so far.

title: User:AdenosineTriphosphate


text:
School:Economics/Game theory

In collaboration with The School of Game Design and Board Game Studies =Introduction= Game theory is the analysis of decision-making through the use of "models." In addition, each "actor" in the game has incomplete knowledge of the other "actors'" decision-making methodology.

=The "Games"=
 * Prisoner's Dilemma
 * Stag Hunt
 * Chicken

title: School:Economics/Game theory


text:
School:Economics/Game Theory/Games

In collaboration with The School of Game Design and Board Game Studies =Introduction= These are the games used in Game Theory

=The Games= From Wikipedia: List of games in game theory.

title: School:Economics/Game Theory/Games


text: Category:Networking

title: Category:Networking


text:
Bachelor of Science in Physics

Overview
The physics curriculum here is meant to reflect what is necessary to earn a Bachelor of Science in Physics.

Course List
This is a list of common topics covered in a physics major, as the courses become available they will be replaced with links

General Physics Topics

 * Classical Physics (Basic Mechanics, Basic Fields, Thermodynamics, Bulk Matter, Oscillations as a Unifying Concept, Optics -- All Mostly Descriptive and Basic Calculations)
 * Modern Physics (Kinetic theory, Relativity, Quantum Theory, Quantum Mechanics, Atomic and Molecular Physics, Quantum Statistical Mechanics, Condensed Matter Physics, Subatomic Physics -- All Mostly Descriptive and Basic Calculations)
 * Classical Mechanics (Kinematics, Solving Newton's Equations, Lagrange's Equations, Conservation Laws, Oscillations, Systems, Central Forces, Accelerated Frames, Rigid Bodies, Coupled Oscillators, Intro to Chaos)
 * Electricity and Magnetism (Electrostatics, Electric Fields in Matter, DC Circuits, Magnetostatics, Magnetic Fields in Matter, Induction, AC Circuits, Maxwell's Equations)
 * Special relativity (Relativistic Kinematics, Relativistic Dynamics, Conservation Laws, Covariant Formulation of Lagrangian Mechanics, Covariant Formulation of Electrodynamics)
 * Electromagnetic Fields (Review, Potentials, Radiation Theory, Electrodynamics in Matter, EM Waves, Lagrangian Field Theory)
 * Advanced Classical Physics (Optics, Thermodynamics, Kinetic Theory, Classical Statistical Mechanics, Classical Information Theory, The Vibrating String, Elasticity, Fluid Dynamics, Plasma Physics, General Relativity)
 * Quantum Mechanics (The Schroedinger Equation, Dirac Notation, The Formulation of Quantum Mechanics, One-Dimensional Systems, Angular Momentum and Spin, Three-Dimensional Systems, EM Interactions, Perturbation Theory, Other Methods of Quantum Mechanics, Scattering)
 * Statistical Mechanics (Quantum Statistical Mechanics, Microcanonical Ensembles, Canonical Ensembles, Grand Canonical Ensembles, Phase Changes, Superconductivity and Superfluidity, Condensation, Phase Equilibrium
 * Applied Quantum Mechanics (Atomic Physics, Molecular Physics, Many-Body Systems, Solid State Physics, Quantum Information Theory, Quantum Optics, Nuclear Physics, Particle Physics)

Mathematics Courses

 * Calculus (Limits, Derivatives, Indefinite Integrals, Definite Integrals by the Fundamental Theorem of Calculus, Series Expansions, Maxima and Minima, Curve Tracing, Mean Value Theorem, Linear Approximations, Arc length, Surface Area, Volume of Revolution, Methods of Integration, Centroid, Mean Value by Integration, Series Convergence, Divergence, Operations on Series, Power Series, Introduction to Differential Equations, Improper Integrals, Partial Derivatives, Multiple Integrals)
 * Linear Algebra (Complex Numbers, Vectors and Vector Algebra, Matrix Algebra, Systems of Linear Equations, Vector Spaces, Finite-Dimensional Vector Spaces, Linear Mappings and Operators, Matrix Representation of a Linear Mapping, Determinants, Inner Product Spaces, Eigenvalues and Eigenvectors, Similarity and Canonical Forms, Dual Vector Spaces and Functionals, Bilinear and Quadratic Forms, and Operators on Inner Product Spaces, Numerical Linear Algebra)
 * Vector Calculus (Vector Differentiation, Vector Integration, Space Curves, The Del Operator - Gradient/Divergence/Curl, The Line Integral, The Surface Integral, The Volume Integral, Surface Representations, Other Coordinate Systems)
 * Ordinary Differential Equations (First-Order Ordinary Differential Equations, Numerical Solution of Ordinary Differential Equations, Higher-Order Differential Equations, The Laplace Transform, Approximate Solutions of Ordinary Differential Equations, Systems of Differential Equations, Stability Theory, Series Solutions of Differential Equations, Special Functions, Flows, The Phase Plane, The Calculus of Variations, Dynamical Systems, Green's Functions)
 * Mathematical Methods of Physics I (Data Analysis, Probability Theory, Mathematical Statistics, Abstract Algebra, Group Theory, Functions of a Complex Variable, Fourier Series, Fourier Transforms, Asymptotic expansions, Boundary Value Problems, Hilbert Spaces, Linear Operators on Hilbert Spaces, Lie Groups and Lie Algebras)
 * Mathematical Methods of Physics II (Partial Differential Equations, Methods of Solving Partial Differential Equations, Numerical Solution of Partial Differential Equations, Complex Integration, Power Series, Residue Theory, Conformal Mapping, Potential Theory).
 * Mathematical Methods of Physics III (Set Theory, Point Set Topology, Measure Theory, Functional Analysis, Distributions, Differential Forms, Tensor Analysis, Differential Geometry, Linear Programming, Graph Theory, Algebraic Topology, Complexes)

Astronomy

 * General Relativity

Applied Physics

 * Solid State Physics
 * Continuum Mechanics

title: Bachelor of Science in Physics


text:
Portal talk:Multilingual Studies

Language departments
Language departments at this (English) Wikiversity corresponding to the four current Wikiversities:
 * Topic:English - en.wikiversity.org
 * Topic:German - de.wikiversity.org
 * Topic:Spanish - es.wikiversity.org
 * Topic:French - fr.wikiversity.org

We need to coordinate these four first and synchronize some resources on all four versions. We'll tackle the Betas when we get more folks on board. CQ 17:33, 24 January 2007 (UTC)
 * FYI, it seems that Wikiversities tend to be weakest in their own language—"Topic:Anglais", for example, is much more comprehensive at the French Wikipedia than it is here, and "Topic:French" is much further ahead here than it is at the French Wikiversity. The Jade Knight 03:01, 17 March 2007 (UTC)
 * Interesting phenomenon, JK! BTW, Do you know much about Transwiki? I started a Transwiki unit here, but I really need to know more about its past and current culture. I'm thinking that we should use the #wikiversity hub channel for conducting a "symposium" thingie in real time. Erkin Yilmaz, Juandev and Apergos seem interested in something of that nature. Multilingualism is a hot topic at the Wikimedia strategy wiki and it would be a great way for Wikiversity as a Wikimedia sister project to contribute. --CQ 15:59, 6 September 2009 (UTC)

title: Portal talk:Multilingual Studies


text:
The Ontological Argument

Part of Philosophy>Philosophy of Religion

Overview
The ontological argument proposes that God's existence can be proved a priori, that is, by intuition and reason alone. It was first put forward by Anselm of Canterbury in the Proslogium.

The argument works by examining the concept of God, and arguing that it implies the actual existence of God; that is, if we can conceive of God, then God exists — it is thus self-contradictory to state that God does not exist. This is obviously a controversial position, and the ontological argument has a long history of detractors and defenders.

The argument's different versions arise mainly from using different concepts of God as the starting point. For example, Anselm starts with the notion of God as a being than which no greater can be conceived, while Descartes starts with the notion of God as being maximally perfect (as having all perfections).

Suggested Reading

 * St Anselm, "The Ontological Argument" From Proslogium.

 * William L. Rowe, "The Ontological Argument."
 * Gaunilo of Marmoutiers, "On Behalf of the Fool."
 * Gaunilo of Marmoutiers, "On Behalf of the Fool."

Enyclopedia Articles

 * The Ontological Argument from [The Internet Encyclopedia of Philosophy] article by Kenneth Einar Himma
 * Ontological Arguments from the [Stanford Encyclopedia of Philosophy]
 * Ontological Argument from Wikipedia]

Lecture Notes

 * Existence of God: Ontological Argument by Sally Haslanger. Part of 24.00 Problems of Philosophy, Fall 2005

title: The Ontological Argument


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Rice toppings

Dal Curry
This traditional Indian dish, normally served as a rice topping, involves common ingredients such as lentil or dal in Indian culture. The variety of lentils available each hold a unique taste which you can find in your local Indian store. Experimentation is a good thing in this recipe for a combination of two or more lentil types may be used for an exotic taste.

Ingredients

 * 100g lentil (Thoor, Moong, etc)
 * 1 onion coarsely chopped (red preferably)
 * 1 tomato coarsely chopped
 * 2-3 whole garlic cloves
 * 2-3 Kashmiri red chilies (Sabut mirch)
 * 1/2 tsp mustard seeds
 * 1/4 tsp turmeric powder (Haldi powder)
 * 1/2 tsp chili powder
 * 1/2 tsp salt
 * vegetable cooking oil
 * 10-12 curry leaves
 * 1 tsp finely chopped coriander leaves
 * Asafoetida powder

Instructions
In a pressure cooker or cooking vessel, add the dal, turmeric, 1/2 tsp oil, and 3-4 cups of water (depending on whether you want a thick or thin consistency). Cook dal for 30 minutes. Once the dal is semi solid to the touch, remove from heat and keep aside. In a pan, on medium heat, fry the garlic and onion in 2 tsps of oil till the onion is translucent. Next, add the chopped tomato. After 3 minutes, add the chili powder and salt. Continue frying until the fat separates or the consistency is similar to mashed potatoes'. Add the cooked dal and bring to a boil, remove from heat, and set aside. For tempering, place 1/2 tsp oil in a shallow pan and heat till smoking. The oil should be hot enough to pop the mustard seeds. Add said mustard seeds, curry leaves, chilies, and a pinch of Asafoetida powder. Remove within 20 seconds and add the contents to the dal. Garnish with the coriander and serve.

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Networked Learning

Networked learning is a process of developing and maintaining connections with people and information, and communicating in such a way so as to support one another's learning.

Information and Communication Technologies
Following is a range of processes for communicating online and accessing a wide variety of information. Familiarise yourself with these processes, experiment, find and make contact with people and information relating to your areas of interest. If you feel confident in assisting people in the development of networked learning skills.

 * /Instant Communication/
 * /eMail Lists/
 * /Blogs/
 * /Wikis/
 * /RSS Feeds/
 * /Podcasting/
 * /Finding and reusing learning resources/
 * /Tags and social bookmarking/
 * /Audio and video blogging/
 * /Using free and open source software/
 * /Networking distributed group communications/

Research projects

 * Networked learning a biomass heat transfer system (work in progress) Leighblackall (talk) 11:19, 24 December 2012 (UTC)

title: Networked Learning


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GNU Image Manipulation Program

GIMP is an image manipulation package managed by gimp.org and available for Linux, Windows, and Mac OS X. GIMP is "free" in the GNU sense of the word; the user is free to use, copy, study, modify or redistribute GIMP as Free software.

 * 1) GIMP Homepage

Books for this lesson
 * 1) The Gimp

Installing GIMP
Add notes for installing GIMP on your operating system below.

Linux
GIMP is included as the standard image editor on most general purpose Linux distributions, including Debian, Ubuntu, Fedora, Mandriva, and SUSE, etc..

Installing GIMP for Windows
Visit the GIMP for Windows Current Stable download page.

You basically download 2 packages:
 * 1) The GIMP installer
 * 2) The help package in your language (optional)

Run the installers. If you have problems leave a message on the |talk page.

Macintosh
To run the GIMP on the Macintosh in OSX prior to 10.5 (Leopard), you need to do two things, first install X11 then install GIMP. OSX 10.5 comes with X11 bundled.

GIMP uses the X Windows System, which is a an open source way to support a graphical user interface. If you have OSX 10.4 (Tiger), X11 installs very easily from the OSX 10.4 install disk (Apple's webpage for X11). Insert your OSX 10.4 install disc #1 and scroll down to find the "Optional Installs". Double click on the Optional Installs package. Go through a series of dialog windows until you reach a window where you can select the type of software you want to install. X11 is in the "applications" folder. Click the check box next to X11 in order to install X11. Click the install button.

Suggestions. Install GIMP A simple way to install GIMP is to use Gimp.app. Download Gimp-2.2.11.dmg (Universal) and double click on the disc image to start the installation.
 * Before you install X11, take the time to backup your hard drive.
 * Before you install X11, take the time to repair your hard drive using disc utility.
 * After you install X11 from the software install disk, run Software Update and get the latest version of X11 from Apple.

There is also a growing MacGIMP community project at www.wilber-loves-apple.org. Also with more recent builds for OSX 10.4/10.5 users.

Warning The GIMP organization also has instuctions for downloading the source code for GIMP. This is NOT what you want or need. Be sure to access the SourceForge version (called "GIMP.app") as mentioned above.

I downloaded the file using FoxFire and dTaOneClick. This plug in for FoxFire allows you to stop and start the download which took me about 8 hours at 31K baud.
 * Downloading "GIMP.app"

Learning resources

 * Getting started
 * Gimp Introduction for Beginners (Youtube) by Chris Navarre
 * Gimp Tutorials (Youtube) by TJ FREE

Using Gimp

 * /GIF Animation/
 * /Image maps/

To do list

 * Make an article on how to use every specific tool.

title: GNU Image Manipulation Program


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Film Scoring

 * Please go to The new combined film scoring course

This course requires GarageBand. GarageBand is inexpensive, easy to use, yet powerful enough to do film scoring. GarageBand '08 is a small but terrific improvement over the previous versions. This course is for high school and college students who already make their own motion pictures.

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Course Film scoring intro for non-musicians Click here to see other courses

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Film Scoring Lessons For Filmmakers

 * Designed for filmmakers
 * Here is a series of lessons in film scoring for anyone who wants to create music for motion pictures but is not a musician. If you are a musician or have any musical skill, go to Film Scoring For Musicians.

 * This course is only for filmmakers who want to add music to their motion pictures. Filmmakers should send me a sample scene that they have created before they begin this course.

 * Currently, the Film Scoring For Musicians Course is more complete. If at all possible, please take that course.

Requirements

 * 1. Apple's GarageBand (required)
 * This course uses Apple's GarageBand 3.

 * I have not found anything easier, faster, and high quality than GarageBand.   GarageBand works on both the Intel Macintosh PC and the old G5 Macintosh computers.

 * 2. Symphony orchestra instruments (required - select one or more)

 * You should also have some of the following :

 * Apple's Jam Pack:Symphony Orchestra which creates many of the sounds of a symphony orchestra. Highly recommended by your instructor.

 * Free → Fitch Cello package for GarageBand which is available for for downloading.

 * Free → Ben Boldt's instrument package for GarageBand called "Boldt 24-Pack"

 * Free → Ben Boldt's instrument package for GarageBand called "Boldt 24-Pack - Volume II"

 * WARNING - Not recommended
 * MOTU Symphonic Instruments works with GarageBand but I do not recommend it. This package is awkward to use with GarageBand.  Unless you have a special reason, do not buy this package to use with GarageBand.  Even MOTU does not promote this package for use with GarageBand.  Only the Guitar Center promotes this package for use with GarageBand which I feel is a mistake.

 * No acoustic loops
 * Note : In this course, we do NOT use acoustic loops. Loops are wonderful for documentaries, corporate video, event video and multimedia but never for narrative motion pictures. Midi loops are OK but with acoustic loops, you cannot modify (simplify or change notes) the music which makes is useless for dramatic scenes.

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Ideal student for this course

 * Musical sound effects - The ideal student for these lessons is a filmmaker who likes to make sound effects on the piano which match the action of the movie.

 * Computer nerd - This course uses a lot of software so it helps to be a bit of a computer nerd.

Start here!
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 * To begin the course
 * Start with the first lesson by clicking here.

 * }

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The theory course in a nutshell

 * Here is the entire course abbreviated :

 * Film scoring for filmmakers (the theory)
 * Filmmakers can simply create moods for their movies. They do not need a complete film score.  This course shows you the shortcuts.

 * The sources of music
 * There are five sources of music in a scene :

 * 1) The melody in the actors' spoken words
 * 2) Sound effects (because they have pitch and rhythm)
 * 3) Narrative music which tells a story
 * 4) Background music to enhance the mood of the scene
 * 5) Songs

 * Your music is important
 * Actors in modern (more realistic) motion pictures do not have melodic speaking voices. A song has only one mood.  Therefore, you must rely on narrative music and background music to create the mood and help tell the story.

 * Music by filmmakers
 * Filmmakers can create the moods for their movies by using :

 * 1) Individual notes or chords
 * 2) Delicate rhythms (think tiny bells)
 * 3) Simple melodies

 * Filmmakers who are not musician can get all of these elements from the MIDI files of classical music created before 1923. By taking fragments from the classics, you get excellent sounding music that will create the moods for your motion pictures.

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The lessons in this course

 * Here is a summary of all the lessons of this course :

The basic theory

 * The lesson on film scoring theory gives you the background info on music in motion pictures.

Pop quiz

 * To help you understand about narrative music, take this fun "Musical Pop Quiz" [[Image:Nuvola apps juk.png|32px]] - 4 points.

 * Note: Narrative music often requires special film editing so the narrative music and the dialog will not overlap. The film editor must add gaps between the dialog for the narrative music.  You don't have to do this for soft background music but you must do it for narrative music because it is so loud.

--

Step 1 - Single notes

 * Musical effects can be created with just single note. As a sample exercise, you need to learn to create a mood of fear with a single musicial note (or a single chord) by using GarageBand with one of the many violin trills from Jam Pack:Symphony Orchestra or with the Boldt Starp Strings from Boldt 24 Pack.

 * Once you have created this sound of fear from a single note or chord, please send me your project file or your audio file for this sound.  (10 points)

--

Step 2 - Delicate rhythms

 * Musical effects can be created by delicate rhythms (but not drums.) As a sample exercise, I want you to use tiny bells or a harp to create a fast, repeating rhythm that sounds extremely happy.  This is the sound of joy.

 * Once you have created this sound of joy from a rapid rhythm of tiny bells or harp, please send me your project file or your audio file. (10 points)

--

Step 3 - Tiny melodies

 * Musical effects can be created with simple melodies. As an exercise, I want you to create a dramatic feeling.  Then create other simple tunes that tell a story or create a feeling.

 * Once you have created a very dramatic mood using a melody, please send me your project file or your audio file.  (10 points)

--

Step 4 - Butchering MIDI files

 * For filmmakers, the greatest source of musical sounds is midi files. But extracting notes from midi files of music created before 1923, you can get the masters to create the three kinds of musical sound effects you need for your motion pictures.
 * Once you have created a very dramatic mood using a melody, please send me your project file or your audio file.  (10 points)

--

Step 5 - Write a film score

 * Finally, use the points you have earned to purchase the disk called "Blindman's Production" from the Star Movie Shop. Then use the music you have created in steps 1, 2 and 3 as the film score for this scene.  You will be surprised how well this works!

 * You will need the sound of fear (when the blind man trips over the box), the sound of joy when the man and woman hold hands and dramatic melodies to explain that the man is blind.

 * Send me your project file or your audio file or your complete movie of the scene when you are done with this assignment. (20 points)

--

Start now

 * Go ahead and begin. You don't have to read the lessons to begin. If you have problems, go to the individual lessons for more detail.  These are the Theory of film scoring, the sound of Fear, the sound of Joy, the sound of Drama and the Film scoring workshop.  Otherwise, once you have completed the steps above, you are finished with this course.

 * }

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The next page

 * Start with the theory of film scoring. Click here to begin.

 * }

(aka. Film Scoring Introduction)

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title: Film Scoring


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Film Scoring/Theory of Film Scoring/What is Narrative Music?

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto" This repeats and expands on the previous page.
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If you are getting bored, click here to have some fun!

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What is narrative music?

 * There are many kinds of music in a motion picture but narrative music is the most fun.

 * Narrative Music simply means "music which tells a story".

 * Before we begin, you must understand what is narrative music and how it differs from other kinds of music such as background music and songs.

Narrative music is the most important music

 *  Just another actor
 * Narrative music is like another actor in the movie. Narrative music is like the announcer for a movie.  Narrative music tells the audience what mood they should feel.  Without narrative music, the audience might not know how to feel.  The audience needs someone to guide them.

How long is narrative music?

 * Narrative music has an average length of 3 seconds but each theme can be as short as one second or as long as ten seconds. Often narrative music will be linked together to make a single, long piece of music with many different moods, one mood after another.

 * However, be aware that for all of your homework assignments in in the course on film scoring are all three (3) to five (5) seconds long. Keep it simple!

Narrative music vs. dialog (Dialog always wins)

 * Narrative music is usually very loud therefore narrative music can never be used when there is dialog. In motion pictures, dialog is always the most important thing.  Therefore, never have narrative music when there is dialog because you will not hear the dialog.

 * A Confict!!!
 * Do you see the conflict?

 * By now, you should be thinking, "When there is dialog, I need narrative music to explain the moods to the audience. But when there is dialog, there is no place to put narrative music."

 * This seems to be a major conflict. "I need music but I have not place to put it."

 * So how do you add the necessary music if there is no room? That is the question!!!!

 * Dialog is the winner
 * By the way, when there is dialog and narrative music together, only one wins. The winner is the dialog.  The looser (the musical sound track) will be turned down by the movie's mixer at the last stage of movie post-production.  Therefore, you must find a way to add narrative music while not stepping on the dialog.  How can that be?

The Solution

 * Below, I explain the solution to this problem. To make room for the dialog, you edit the scene, adding gaps for the music.  These gaps will stick out horribly unless the gaps are exactly the same length as the narrative music.

 * And there is a perfect solution for that problem too. You must learn to be both the film editor and the film composer.

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What is Musical Sound Effects?
Filmmakers do not need to create music. They only need to create the proper mood. Many times, filmmakers can do this with just musical sound effects.

Musical sound effects are extremely short and simple musical tones, rhythms, or melodies.
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Foreground music
The music (and musical sound effects) for a motion picture can be loud or can be soft.

Loud music is called foreground music.

Many timess, loud music helps tell the story so it is called narrative music.

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"Don't forget the background music"

Background Music
Background music quietly adds to the mood of the scene.

Since narrative music is loud (just like the actor's dialog), narrative music can never be on top of dialog. But background music, being much softer, can play when the actors says their dialog.

Even though background music often contains rhythm (which you will learn about in the lesson about the "Sound of Joy", you must never use drums. This is the same frequency as the voice and creates spikes in the volume.  This makes listening to the dialog harder.)
 * Rule for background music : No drums
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Exceptions to the rules
Above, you learned that you must never have narrative music when you have dialog because narrative music will drown out the dialog. Naturally, there is an exception to this rule.

 * What if you do not want the audience to hear the dialog? What if you want the audience to fight to hear the words of the actor?  What then?

Silence of the Lambs
Watch Silence of the Lambs. Listen to when Dr. Hannibal Lecter is saying very bad things. The dialog by itself is very simple. But by adding narrative music on top of the dialog, the audience cannot hear the dialog clearly. The audience must strain to hear the words. This creates tension and makes the audience feel uncomfortable.
 * }

You need to be a film editor, too!

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How to make room for narrative music?
The solution -- ( You are going to learn a great secret of extreme value! )
 * If narrative music is so important, how do you fit it into the scene? Since narrative music is never supposed to be on top of dialog, where do you put it?  Narrative music is so loud, it would drown out the dialog so it must be placed before or after each sentence or phrase, never on top.

 * So how do you find space between actor's dialog for the narrative music?

The answer ( Pay attention!!! This is very, very, very important! )
 * You make room. You physically cut the dialog apart in the motion picture to leave a gap for the narrative music.  During post-production, it is too late to ask the actors to pause in the middle of their dialog.  Therefore, you must add the gaps as you edit the film.  You must change the timing of the dialog using a film editing program.  (Do you see a problem with this?)

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Wear two hats

 * Working with the film's editor
 * How do you convince the editor of the motion picture to create the necesary gaps for your music between the lines of dialog of the actors? This is not easy!

 * The perfect solution
 * The perfect solution is you should learn film editing as well as film scoring so you can become both the film's editor and the film's composer. Then you have completed control.  Then you can create the music and add the gaps in the dialog at the same time!  That saves a huge amount of time.

 * This way, you will always have the correct length of the music and the pauses between the dialog. This is the best way to get a perfect edit of a dramatic scene.

 * Think about this. You can do it!!!

 * }

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The next page

 * To understand narrative music, take this pop quiz
 * Page 3: A very fun pop quiz! [[Image:Crystal Clear action forward.png|24px]]

 * }


text:
Film Scoring/Theory of Film Scoring/Examples of Narrative Music

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A movie with narrative music

 * Look at this wonderful example. It has terrific music which narrates the story.

 * In the pop quiz which follows, you are asked to plan the narrative music for a student film.

 * These two movies are surprisingly similar. Both movie require music to explain the characters and to explain te actions in the movie.  Think about what you have learned about narrative music as you watch these two movies.

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George Lucas In Love
A satire on both Star Wars and Shakespeare in Love.

Read about this famous movie at Wikipedia.

 * }

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The short movie called George Lucas In Love
This is a fun movie. You will really enjoy watching this movie. (If not, you are in the wrong class!)

Click HERE to download this short movie from Google and take a look. (On a dial up connection, this takes about two hours.)

Music narrates the story
As you can see, it is the music which tells the story. All of the mood for this movie comes from the music. Amazing

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The music of George Lucas In Love

 * Watch the movie and listen to the music. Almost all of the music narrates the story therefore, this music is narrative music.

 * Typing music (Traveling music) [[Image:Crystal Clear app knotify.png|30px]]

 * This music introduces the movie, not just the fact that George Lucas is busy typing but the fact that this movie will be entertaining. This is like the opening paragraph of a book.  It grabs the imagination of the audience and draws them into the story.

 * Arron's Introduction (Darth Vader) [[Image:Crystal Clear app knotify.png|30px]]

 * In just five seconds, everyone knows clearly who Arron is and what the audience should feel about Arron. This music gives Arron the audience's full attention.

 * Arron's Script [[Image:Crystal Clear app knotify.png|30px]]

 * In three seconds, we learn that Arron's script is powerful, almost magical.

 * Background music for Chibaka and Hal. [[Image:Crystal Clear app knotify.png|30px]]

 * The music for the night club and the Dark Side

 * No Music - Professor

 * There is no music for the professor.

 * Notice how awkward the silence is after all that great music. That is the mood that is needed.  Silence created it.

 * Mariam's Love Theme [[Image:Crystal Clear app knotify.png|30px]]

 * The love theme starts when Miriam says, "Your George Lucas, right?". The music tells us all about Miriam in just a few short seconds.

 * Good Advise Music - "Write what you know." [[Image:Crystal Clear app knotify.png|30px]]

 * Note that this music is turned down when Miriam says, "Just like bulls-eyeing Warmrats". Narrative music and dialog do not mix.

 * "You are my inspiration." [[Image:Crystal Clear app knotify.png|30px]]

 * This is background music since it plays whey they are talking and the music does not interfere with the dialog.

 * Credits [[Image:Crystal Clear app knotify.png|30px]]

 * This music says that the movie had a message and that you have just learned that message.

 * Note that the credit music is turned down for the dialog about Howard the Duck.

 * }

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The next page

 * You have just seen how music makes a movie great. Now look at a movie which still needs music.
 * "The Spy Story" [[Image:Crystal Clear action forward.png|24px]]

 * }


text:
Mad Max's - Assignments in Film Scoring

Under Construction This Week
{| cellpadding="20" cellspacing="5" style="width: 95%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: #ffffaa; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="2" | The sound of fear!
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Part 1 : Create a musical sound effect for "Fear".

 * We are going to start very easy. Your first assignment is "Fear".

Fear is one of the most basic musical themes in horror movies. If you plan to write film score (or if you are budding film director or film producer) for your first motion picture (which often is a horror film), you need to learn how to create the emotion of fear. Also, fear is the easiest mood to create with music.

Your First Assignment
Your first assignment is to have fun. Create 3 to 10 seconds of a musical sound effect for fear. You can do whatever you wish… or you can follow the instructions below.

Step 1. Create a musical sound effect

 * How do you create the sound of "FEAR"?
 * Listen to the different violin trills in GarageBand with Jam Pack:Symphony Orchestra (or whatever software you use.) Just a single note (a single press of the key when you have selected a violin trill software instrument) gives you an entire violin trill which is ideal for the explaining to the audience that they should feel the emotion of "Fear".

 * Adjust the volume
 * When you create a sound with a single musical note (in this case, a violin trill), something seems wrong. The volume is either on or off. That is not right.

 * Fortunately, you can go back and adjust the volume of the note over time. This is makes the note expressive.  It makes the note come alive.

Step 2. Export your music

 * Save your work
 * Export your music (your single note played expressively to create the mood of "Fear".)

Step 3. Upload your music

 * Send me your sound effect
 * If you know how, upload and store your musical sound file to Wikiversity. Put your name, the sound of fear, and "Mad Max's class" in the description.  Email me with the files name so I can look at it.

Note: Wikiversity can only accept OGG files which is a new, free format for music sound similar to MP3 but free from royalties. If you do not have this capability, just send your audio file to me and I will convert it and upload it. To email me, you simply Click Here.

 * style="width: 40%; background-color: #EFFFEF; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 10px;" |

Part 2 - Create other moods
Once you have finished creating the sound of fear, you should also try creating the sound of:

The Sound Of Danger

 * Danger

 * Once you have created the sound of fear, the next sound you should create is the sound of danger.

 * You can create the sound of danger in two ways.

 * 1. You can make a sound like fear but very low pitch.

 * 2. You can use a very short melody with very dark sounding instruments.  This is much more difficult so start with just the sound of fear made with very angry sounding musical instruments.

The Sound Of Joy

 * Joy (Happy, magic fairies)
 * Joy is very different from fear and danger. Joy cannot be created with a single note as with the sound of fear.  For this, you want four or five notes that repeat over and over again very quickly, very lightly.  Bells are great for this.   To help you, there is a complete lesson for creating the  the sound of joy.

 * sad

 * busy

 * disgust

 * humor

 * waiting / boredom

 * anger

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 * }
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More advanced Techniques
In the exercise above, you used on only one track. Now try creating the sound of fear with multiple tracks.

Option 1 · Rich and thick sound
One way to enhance music is to add a second voice which enhances your first voice. That is, you can try adding a second track and create a sound which enhances the sound on the first track. As an example, try adding a second trill note which follows the first trill note but pick a second note which sounds really awful. That is, pick to pitches which have conflicting harmonies.

Option 2 · Add a new sound
Another way to enhance music is add a second melody, on if the sound is short, add a totally different sound which conflicts and interacts with your original sound. That is you can add a second multiple tracks which have additional sounds. A good example is to listen to the sound effects of the Orchestra Kit and add one at the beginning or the end of your musical cue for "Fear".

Option 3 · Add a melodic rhythm
Another way to enhance music is to add rhythm created with musical notes (rather than with drums).

Option 4 · Add drums
Drums should never be used anywhere near dialog. Drums and dialog have the same frequencies and so can be very confusing to an audience. When possible, never use drums. However in some cases where no one is talking and only screaming in terror, drums will not distract the audience who is also screaming in terror.

Option 5 · Add a sound effect
Programs like GarageBand allow you to mix music with ordinary sound files. Pick a fearful sound effect and combine it with your violin trill. Perhaps the sound of fingernails on a chalk board will make your violin more disgusting.

{| cellpadding="20" cellspacing="5" style="width: 95%; background-color: inherit; margin-left: auto; margin-right: auto"
 * }
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Please submit your "Sound of Fear"

 * I am very curious what you can do to create the sound of fear. Show me what you have done!!! To email me, you simply Click Here.

 * }

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Go to the next lesson.

 * Narrative music created by Mad Max's students.

Contact Your Instructor

 * Your instructor for this class is Robert Elliott. To email me, you simply  Click Here.

 * }

title: Mad Max's - Assignments in Film Scoring


text:
Mad Max's - Computer Set Up for Film Scoring

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
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What computer software do I need?

 * You need a complete Symphony Orchestra
 * Filmmakers (who are not musicians) need a music program which is easy to use and contains a complete symphony orchestra. Apple's GarageBand combined with Jam Pack:Symphony Orchestra is both easy to use and a terrific sounding symphony orchestra.

 * Therefore, this course is designed around GarageBand with Jam Pack:Symphony Orchestra. However, there are other interesting alternatives for you to consider.  One is even free.  See below.

Part 1 -- Music Programs

 * GarageBand -- from Apple Computer, Inc.
 * Apple Computer, Inc. created the first professional-quality music program which is easy to use for beginners who want to create their own music. GarageBand is free with all new Macintosh computers.  This is good because GarageBand needs a really powerful computer.  Highly recommended.  (Note: GarageBand does not come with the sounds of a symphonic orchestra.  To get this, you must purchase Apple's Jam Pack:Symphony Orchestra or download the free packages from Ben Boldt.  See below.)

 * or :

 * Notion Protégé demo -- from VirtuosoWorks
 * The Notion Protégé disk contains a fully working demo (30 days) for its low end version of Notion 1.5 which offers sounds from the London Symphony Orchestra and is ideal for learning film scoring and creating film scores if you know musical notation. Highly recommended.

 * or possibly :

 * Session -- From Avid's M-Tools

 * A program similar to GarageBand for Windows XP is avaialble from M-Audio. According to M-Audio, Session will not run without an M-Audio Fast Track USB audio interface.   (Your instructor has not tested this program.)

 * or on Windows, possibly :

 * Unknown Program code name "Monoco" -- From Microsoft

 * A program similar to GarageBand for Windows Vista might become avaialble from Microsoft next year.   (Your instructor has not tested this program.)

Not Recommended :

 * [[Image:Crystal Clear action stop.png|24px]] Logic Pro and Logic Express [[Image:Crystal Clear action stop.png|24px]]
 * Under no circumstance do I recommend Logic to filmmakers. I have tested this progeram and it is not suitable for anyone but a professional musician.  Hopelessly confusing, extremely buggy and not designed for film scoring.  Filmmakers, do not buy the current version. Robert Elliott

Part 2 -- Symphony orchestra sounds
In addition to GarageBand, you need to be able to create the sounds of a symphonic orchestra inside your computer. GarageBand comes with some great sounding software instruments (that is instruments inside your computer). But these are not enough for filmmakers. Filmmakers need the sounds of a symphony orchestra.

 * Ben Boldt's free instrument packages
 * These are add-on packages which are free from Ben Boldt. I have not tried these because I do not have a way to download files that large.  If you can download these, send me a copy.  To download, go to http://benboldt.spymac.com/instruments.html.

 * Apple's Jam Pack: Symphony Orchestra
 * This is an add-on package from Apple which contains many of the sounds of an orchestra. Jam Pack : Symphony Orchestra works with GarageBand. Note : this package has many features.

 * The only feature of Jam Pack : Symphony Orchestra that we use is the software instruments. We do not use loops at for film scoring.  Loops are for documentary filmmakers and people who video events such as weddings, funerals and football games; not for narrative filmmakers.

 * or :

Not Recommended :

 * MOTU Symphonic Instrument
 * MOTU's Symphonic Instrument is a stand alone package and operates with or without MOTU's Digital Performer or GarageBand.This is an alternative package for Jam Pack: Symphony Orchestra from the Mark of the Unicorn.

 * Your instructor does not recommend MOTU Symphonic Instrument to people who use GarageBand. Awkward, slow to set up, memory hog.  Only the voices are exceptional.

Part 3 -- Music software alternatives

 * Totally different alternatives are:

Tascam's GigaStudio
 * This is a highly recommended product for Windows for musicians. (Your instructor has not tested this product.)

Finale (Only the full version has natural-sounding instruments.)
 * This unique program is for musicians who read and write sheet music.

 * Never Recommended
 * Because this film scoring course is designed for non-musicians, I recommend that you do NOT, under any circumstance, use Apple's Logic Express or Logic Pro. These programs are for professional musicians.   (Your instructor has tested this products and was not, I repeat, not happy.) Robert Elliott

Install the Software

 * GarageBand
 * As soon as you have installed the software, you are ready to begin. GarageBand come installed on all new computers or it comes as part of iLife. Use Apple's Software Update to update GarageBand to the current version.

 * GarageBand requires very little learning.  One reason is it does very little.  It is extremely slimmed down to just the essencials

 * The secret to use GarageBand is to find all the hidden features such as importing MIDI and creating a regions and notes with a pencil tool.

 * Notation Protégé
 * Installation is very easy with this program. The program has a useful tutorial but it comes with no manual; only a reference card.

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Why "software instruments"?
Until two years ago, there was no way for you to create the sounds of a symphony orchestra. Until two years ago, the sounds created by a computer were close to dreadful.

Music by Radio Shack; Ugh!
Until two years ago, the typical low budget filmmaker purchased a keyboard synthesizer from Radio Shack for under $200 US and used that to create a musical score. Ugh!!!!

No matter how hard you try, you cannot get a synthesizer to sound like a real symphony orchestra. And even with the best musician, it is almost impossible to get a good sounding musical score from a cheap keyboard synthesizer. Therefore, your motion picture was branded as cheap.

Today
But all of a sudden, you now can have a realistic sounding symphony orchestra inside your computer thanks to "Software Instruments".

Even better, you can create wonderful sounding musical scores with little or now musical talent. Wow!

Organic sounds feel good!
There is a trick to scoring a motion picture by non-musicians.

Anything created by a symphony orchestra sounds good. Even bad music created by a symphony orchestra sounds good.

When people hear you do weird things (such as creating musical sound effects using musical instruments from the symphony orchestra), the audience thinks that you know what you are doing. They think you are a genius! They think you meant it to sound that way.

As long as you use sounds which seem organic (real and natural), your music will be considered 100% professional... no matter how bad it is.

That is why you need software instruments!!!!

Tricks of the trade
And of course, there are a few tricks of the trade to make your music sound better. That is what you will learn in these lessons.

You will learn how to create a mood with a single musical note (such as a violin trill), with fast repeating rhythms (with delicate bells or a harp) and with very simple melodies which give the movie additional meaning.
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What? No Midi Keyboard?
One advantage of GarageBand is there is no need for a Midi keyboard to create music on the Macintosh computer. The GarageBand program allows you to use your computer's keyboard. Since the computer's keyboard is not velocity sensitive, you will need to go back and adjust the velocity for each note. However, this is not as bad as it might seem since this course in Film Scoring is for non-musicians who will have to do this anyway because they play so badly.

However, if you wish, you can add a Midi keyboard to your computer system.

 * }

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Another option - Record real live musicians
Create an audio recording studio inside your computer

 * What if you don't have a fancy computer?
 * The purpose of this class is to make organic sounds which create a mood. Therefore, if all else fails, you can use your computer to record actual sound effects which have a musical tone to them.  Or even record live music which can be used as a sound effect.

 * Live sounds work too!
 * As an example, simply record the sound of fingernails on a blackboard, the sound of a very low note on a piano, the sound of someone making a sqeaking sound on a violin. Then you combine all these sounds elements to create a wonderful musical sound effect.

 * "Is there are musician in the house?"
 * Or simply record someone playing musical instruments as they watch the movie. Using any musical instrument and a real, live musician, you can create both a film score and terrific musical sound effects.  Rather than play the musical instrument in the normal way, try to play a musical instrument as you would to impress 5-year-old kids at a birthday party by using lots of exageration.

 * Hardware/Software Required
 * To record audio directly into your computer, you need a computer with a microphone and a device which connects the two.

 * For computer software, you can use a very simple audio program (perhaps Audacity; I have not tested this yet.) Or you can use a full DAW (Digital Audio Workstation) software package such as ProTools Lite or MOTU's Digital Performer or even GarageBand.  The fancier programs can be much easier to use (with the exception of Apple's Logic which is NOT recommended at this time) but if you get an easy to use program that is simple, you can do some fantastic things.

 * Lots of effort
 * Recording and processing real music and musical sound effects requires a huge amount of effort to create a musical score. Yet, this method has some great advantages.  Using software instruments in GarageBand takes only a few minutes to obtain musical sound effects but GarageBand still has its limitations.  Recording actual sounds gives you more freedom… once you have built your recording studio (to keep the noise down) and mastered the art of audio recording.

 * }

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The next page

 * The next page gives you your final exam for the course.  You should start on it but continue on with the other lessons at the same time.
 * The final exam for the introduction to film scoring for filmmakers [[Image:Crystal Clear action forward.png|24px]]

 * }


text:
Film Scoring/Movie Scoring Projects

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

 * bgcolor="#b0ffff" style="border: 1px #cccccc solid;" |Supplemental B: A simple movie for scoring
 * }
 * }

{| cellpadding="20" cellspacing="5" style="width: 95%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: #ffffaa; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="2" | Tell me! How would you score this movie?

The movie poster prop for the movie "Seduced by the Dark Side!"
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A movie that needs music

 * On the right is the storyboard for a tiny motion picture. This  movie needs music.  Look at it and tell me what music is needed.  Email me with your answer.

What do you think?

 * (#1) A smiling face music
 * When the movie starts, we see the face of a young person. As the camera moves closer, the young person smiles.  What should the audience feel?  Tell me!  [[Image:Crystal Clear app xfmail.png|30px]]

 * (#2) The Star Wars poster music
 * Then we see what the young person is watching. It is a poster for the movie, Star Wars.  What should the audience feel?  What kind of music will create that mood?   Tell me!  [[Image:Crystal Clear app xfmail.png|30px]]

 * (#3) Older person thinking music
 * When the older person is thinking, what kind of music should there be?  Tell me! [[Image:Crystal Clear app xfmail.png|30px]]

 * (#4) The Macintosh music
 * When the young person eagerly says, "Macintosh", what music should there be?  Tell me!  [[Image:Crystal Clear app xfmail.png|30px]]

 * (#5) Young person thinking music
 * When the young person is thinking, what music should play?  Tell me!  [[Image:Crystal Clear app xfmail.png|30px]]

 * (#6) The Macintosh music
 * When the young person exclaims, "Seduced by the dark side!", what music should there be? How should the audience feel? Tell me!  [[Image:Crystal Clear app xfmail.png|30px]]

 * (#7) Older person smiles music
 * When the older person smiles, should we still hear the music from before or should there be new music? Tell me!  [[Image:Crystal Clear app xfmail.png|30px]]

 * (#8) Walking home music
 * What music should we hear when the younger person and the older person walk home together? Tell me!  [[Image:Crystal Clear app xfmail.png|30px]]

FrameForge 3D Studio is great fun!

 * Highly Recommended
 * The images in this storyboard to the right were created quickly and easily using the free demo version of FrameForge 3D Studio. This is a wonderful program that all filmmakers should immediately download.  Your instructor highly recommends this program.

 * Free Demo Version
 * When you requrest to download the demo version, just for the fun of it, list your middle name as "WikiU". Robert Elliott 16:09, 7 December 2006 (UTC)

 * style="width: 40%; background-color: #f0f0ff; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 10px;" |

The storyboard for "Seduced by the Dark Side!"

EXTERIOR - The local movie theater - NIGHT

(1) The Young Person and Old Person stand looking at the movie poster outside the theater.

Slowly dolly in. A smile begins to form on the young person's face.

Cut to the poster and dolly in slowly.

(2) Young Person: "That was a great movie..." Cut to a side view.

(3) Young Person (contined): "but I do not understand one thing." The young person's head turns to the older person.

(4) Old Person: "What's that?" Wide angle shot to show emotional distance between the two characters.

(5) Young Person: "How can anyone be seduced by the Dark Side?"

(6) The old person thinks for a while. Old Person: "Humm!" Thinking very slowly.

(7a) Old Person: "What computer do you..."

(7b) Old Person(off camera): "... have at home?" Cut in mid sentence to see the young person's anticipation.

(8) Young Person (eagerly): "A Macintosh!" The young person's face lights up with excitement.

(9) Old Person: "But what computer does your father use at work?"

(10) The young person thinks for a moment. Young Person: "Humm!"

(11) Young Person (amazed and excited): "Seduced by the Dark Side!"

(12) The Old Person smiles. Old Person: "Ahh!" The face lights with a knowing smile.

(13) Old Person and the Young Person walk toward home together. Lock the camera for a matte painting.

The camera remains locked. When the matte painting is added, the shot will look like a scene out of Star Wars at Port Isley.

(14) Fade to Black.

The End
 * }

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The Next Page

 * Now you begin learing and practicing the three basic methods of creating film scores for filmmakers who are not musicians.
 * Lesson 1: Creating the sound of fear [[Image:Crystal Clear action forward.png|24px]]

Contact Your Instructor

 * Your instructor for these courses is Robert Elliott. To email me, you simply @undefined.

 * }

title: Film Scoring/Movie Scoring Projects


text:
User:Dedalus

Dedalus

title: User:Dedalus


text:
Category:Translators deu-eng

Wikiversity translations

Translator's template: translator deu-eng

title: Category:Translators deu-eng


text:
User:JWSchmidt/history

Much of the early discussion about the Wikipedia-related textbook project can be found in the archives of the Textbook email list. Wikibooks was launched as a project on July 10, 2003. The Wikiversity page at Wikibooks goes back to at least 21 August 2003. The idea behind Wikiversity was to create "a free, open learning environment and community." There was some debate about how best to incorporate an explicitly education-oriented "learning community" into a Wikipedia-daughter project. One idea involved re-naming the textbooks project to Wikiuniversity. In early discussions of the name and scope of the new "textbook" project, the idea was advanced that Wikibooks could be the "book store" for a more general education-oriented project: Wikiversity. However, the name selected for the new project was "Wikibooks". Wikibooks was given a narrow mission and the "open learning environment" became an appendage to the central textbooks project.

see also: History of Wikibooks/Notes
 * Early Wikiversity page, see also the history of Some ideas about Wikiversity.

The first Wikiversity website
How was the German language Wikiversity website started? Apparently someone asked Brion and he just set it up.

Wikiversity mentioned in Wikimedia Quarto.

The website is noticed. According to the stats page, the German Wikiversity was started in March 2005 (the Wikiversity page on German Wikibooks goes back to February 2005).

A request was made by Aya for an English language Wikiversity website (29 July 2005), but the Wikiversität page at the meta-wiki started in September 2004.

Wikiversity at Wikibooks put up for deletion
The effort to remove Wikiversity from Wikibooks was started by User:Aya who claimed an interest in Grand Theft Auto: San Andreas. Starting in November 2005 there was much debate about what kinds of books should be included at Wikibooks. By March 2006 the decision had been made to remove some video game related materials out of Wikimedia Foundation projects. The Grand Theft Auto material was removed in April of 2006, however, Aya never showed great interest in editing at Wikibooks and had already left the project (see below).

After joining the Wikibooks project in the middle of June, Aya requested bureaucratship on July 28 and became an administrator and a bureaucrat a few days later(10:03, 30 July 2005 Datrio changed group membership for User:Aya@enwikibooks from (none) to sysop, bureaucrat), prompting a comment: "I think that before asking for a status, it would be interesting to get informed on what you can precisely do with that status :) As a bureaucrat, you appear to me very little informed." - Anthere 07:25, 31 July 2005 (see)

On August 3, 2005, Aya declared Wikiversity an unauthorized project, prompting Angela's email about Aya's comments on the wikiversity page (Aug 4, 2005). A week later, Aya initiated the deletion vote to remove Wikiversity content from Wikibooks (started Aug 11, 2005).

The discussion about deleting the Wikiversity pages from the Wikibooks project can be found on a dedicated page for the deletion discussion. It included strong calls for deletion from people with very few edits on Wikibooks. On August 14, Jimbo made the removal of Wikiversity from Wikibooks official, apparently with the intention that the Wikiversity-related pages at Wikibooks be moved to a new wiki where that content would not be in conflict with the stated mission and could be in line with his call that we "free the curriculum". On August 16 a proposal to make Wikiversity a stand-alone project was advanced (see mail list post).

The community vote on the proposed independent Wikiversity project ended on 1 November 2005, with the project being approved by the community. Aya made only one minor edit after November 1. The Wikimedia Foundation Board of Trustees objected to the original Wikiversity project proposal and called upon the Wikiversity community to modify the proposal so as to remove any indication that Wikiversity would deal with credentials while describing an achievable plan for the Wikiversity online learning model (see: History of Wikiversity).

Quote from Colloquium
Hi JW

When I stumbled on the following quote in the Colloquium I felt it might clarify the thinking going into the Wikiversity's formation. There's a lot of bits and pieces all over the place regarding the formation. It would be good to gather this stuff up before memories fade and the links become lost.

I'm adding a link to the "History of Wikiversity" page on the Newcomers page.

 * "That the Wikiversity evolve a structure that supports two kinds of students — those that are mature and quite comfortable in directing their own education independently; and those who seek a structured environment with clarity of roles, procedures and expectations." <-- Based on our previous exchanges, I wonder if "those who seek a structured environment", is a reference to the traditional educational structure that has grown up around bricks-and-mortar educational institutions. In my opinion, wiki technology is not best suited to traditional educational structures and that is why the Wikimedia Foundation Board of Trustees refused to approve the Wikiversity project until a different type of educational structure was proposed for this project. No matter what kind of structures Wikiversity can eventally support, here at the start of the project we need participants who can help create Wikiversity's educational content by editing wiki pages. Towards that goal, I think we can, "run small experiments, tests, see what works, what doesn't, and be prepared to be flexible and change, and not be too locked into stone about how things should work." We need to discover the best ways to use wiki technology to grow and support learning communities. — JWSchmidt 10October2006

Kind regards,

morley 16:26, 8 November 2006 (UTC)

It might be constructive to make a short list of questions that could be sent to the Board members who rejected the original Wikiversity proposal. I have no great confidence in the accuracy of my personal guesses about the basis of the Board's choices and possible reasoning behind those choices. Maybe this would be a good "living history" project for the Wikiversity School of History. --JWSchmidt 17:11, 8 November 2006 (UTC)

2007 meeting

 * IRC meeting: What is Wikiversity? will be 8 December 2007
 * Main meeting page

title: User:JWSchmidt/history