text:
User:Wwwwolf

Weyfour WWWWolf (homo lupus fennicus).

a.k.a Urpo Lankinen (h. sapiens linguaanglicanawikipaediadministratoricus (wikignomiiforme)).

Who I am
I'm WWWWolf. I'm an admin on English Wikipedia. Instead of studying at the local university, I kind of mop around in Wikipedia. Well, I really try to study too.

What I'd like to see in Wikiversity
When and if Wikiversity moves to research side big time, here's some stuff I wish we would research.

Basically, the big problem is that a lot of stuff on these topics gets deleted from Wikipedia because that's based on hearsay and random users adding random bits of Stuff on the latest craze. The only logical conclusion is that it's not researched well enough. We need studies on these topics. We need them fast.

 * Internet culture and phenomena.
 * Computer games. Ludology is a young science. We need to do more of this stuff.
 * Machinima. See above.

The Game Description Project
Here's a great big philosophical question: What is a video game?

Wikipedia answers that question. Or at least they will continue to answer until some delete-happy source-demanding jackbooted horror monster comes along and deletes the whole lot.

Wikipedia has nice articles on various fundamental concepts of video gaming. Yet, here's the rub: all of it is crappily sourced, at least if you look at the strictest possible interpretation of Wikipedia's verifiability/reliable sources rules.

 * "A computer game is a computer-controlled game where players interact with objects displayed on a screen for the sake of entertainment."

Source?

Wikipedia folks wants sources. Would be extremely cool if some experts of computer games would gather around in Wikiversity, and then tell with peer-reviewed authority that a computer game is a computer-controlled game where players interact with objects displayed on a screen for the sake of entertainment, so that we don't need to go look for some stupid book from God knows where that explains this obvious fact to everyone.

We need to explain the obvious. We have precious few publications as it is that do this fundamental stuff of defining the computer and video games.

title: User:Wwwwolf


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/faa

Excellent Decision!
Now the first three frames are

$$\Rightarrow$$ Fade In $$\Rightarrow$$ $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$ Dolly Out  $$\Rightarrow$$

Special Note:
You have cross the line!!! When you dollied out, you crossed the imaginary line between the Young Person and the Old Person. That means you must stay on this side of the line (away from the poster) for the rest of the movie unless you move the camera during a shot to the other side of this imaginary line. You have made a major decision… probably without even knowing it. This will effect the entire rest of the movie.

The Script
EXTERIOR - The local movie theater - NIGHT

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

Next Frame?
You have a choice of how you can show the poster.

 * Option A
 * You can dolly dolly back (out) to show the back side of the Young Person and the Old Person while the theme of Star Wars plays.

 * Option B
 * After holding for three seconds while the theme of Star Wars play, you can cut to a front view of the Young Person and the Old Person.

 * Option C
 * After holding for three seconds while the theme of Star Wars play, you can cut to a front view of the Young Person.

 * Option D
 * After holding for three seconds while the theme of Star Wars play, you can cut back to the opening shot.

Now Decide!

 * Select either option A or B or C or D

 * If you change your mind, you can go back to the previous page

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.

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


text:
School:Game design

Welcome to the Wikiversity School of Game Design!

We are a community of like-minded game afficionados developing, critiquing, playtesting, and sharing game designs and teachings thereof.

This school should contains various departments and divisions. It should not contain any learning resources but can contain projects for developing such. Everybody is invited to add content.

Departments

 * Department of Board Game Design
 * Department of Board Game Studies
 * Department of Game Design Principles

Learning Projects

 * CisLunarFreighter
 * Lunar Boom Town
 * Video games for education
 * Massive Multiplayer Online RPG Research Project

Affiliated Schools

 * School of Computer Simulation and Game Design

Affiliated Learning Resources

 * Flash
 * Game Maker
 * Game programming
 * Wiki gaming

title: School:Game design


text:
Portal:Board game design

Part of The Game Design School See also Topic:Board game studies

=Introduction= Welcome to the Department of Board Game Design! Here we seek to create a collaborative learning environment for those interested in Game Design as a potential career path (or just a hobby)!

=Courses=
 * University of Westminster SPIR608 Political Simulation and Gaming

=Parts of the Project= This project is divided into numerous areas of interest.
 * Game Creation Guidelines - An open document that will comprise a set of guidelines for the development of your own board game.
 * Pillars of Game Development - Those ideas considered important - if not essential - to designing a great game.
 * Game Mechanics - This part of the project is an attempt to organize and categorize the many types of game mechanics into an easily searchable reference. Hierarchical and subject-driven searches should be supported.
 * Board Game Design Templates - An effort to standardize basic Game Critique, Playtest Report, and Ruleset formats.
 * Game Critiques - A space for the critique and analysis of existing games, and a place for comments that will improve the community's understanding of game mechanics and design as a whole.
 * Games in Development - Where students post games or rules and seek critiques, advice, and playtesting.
 * Games Archive - Once past their playtesting, games can be left here for the enjoyment of the community at large.

=Online Reading Material=

Wikimedia Articles

 * Game
 * Histories of Games
 * Board Game

Online Texts and Rulesets

 * http://www.tradgames.org.uk/ Traditional Games
 * http://www.gamecabinet.com/ The Game Cabinet
 * http://www.gamesmuseum.uwaterloo.ca/ University of Waterloo Games Museum
 * http://jducoeur.org/game-hist/ Medieval and Renaissance Board Games
 * http://www.chessvariants.com/ The Chess Variant Page
 * http://www.thebiggamehunter.com/ The Big Game Hunter

Web Commentaries and Articles

 * Board Game Studies Journal - the academic side of Board Games.
 * The Journal of Boardgame Design - an intelligent look at game development from a long-time game afficionado.
 * Mike Doyle's Art Play - a look at artistic design in games and their pieces.
 * Board Game Design Forum - a community of game designers.
 * How do I publish my game? - Tom Jolly, of Jolly Games, answers the eternal question.
 * The Games Journal - no longer being published regularly, but still a treasure trove of knowledge.
 * The Centre for Ludic Synergy - A philosophical look at the game as a human activity.

=Offline Reading Material=

Non-Fiction
The above book relates to Transactional Analysis - a counselling term - rather than board games...
 * Berne, Eric, M.D.. Games People Play. Ballantine, 1996. ISBN 0-34-541003-3
 * Carse, James P.. Finite and Infinite Games: A Vision of Life as Play and Possibility. Ballantine, 1987. ISBN 0-34-534184-8
 * Huizinga, Johan. Homo Ludens: A Study of the Play Element in Culture. Beacon Press, 1971 (orig. pub. 1955). ISBN 0-80-704681-7
 * Laver, Michael. Playing Politics. Oxford University Press, 1997. ISBN 0-19-285321-X
 * Tinsman, Brian. The Game Inventor's Guidebook. Krause Publications, 2003. ISBN 0-87349-552-7
 * Levy, Richard C. and Ronald O. Weingartner. The Toy and Game Inventor's Handbook. Alpha. ISBN 1-59257-062-3
 * Orbanes, Philip E. The Game Makers: The Story of Parker Brothers, From Tiddledy Winks to Trivial Pursuit. HBS Press, 2004. ISBN 1-59139-269-1
 * Beasley, John D. The Mathematics of Games. Oxford University Press, 1989.
 * Ellington, Henry; Addinall, Eric; and Percival, Fred. A Handbook of Game Design. Nichols Publishing Co., 1982. ISBN 0-89397-134-0
 * Schuessler, Nick, and Jackson, Steve. Game Design, Volume One: Theory and Practice. Steve Jackson Games, 1981.
 * Zocchi, Lou. How to $ell Your Game Design. Gamescience. Catalog # GS 10404

Fiction

 * Banks, Iain M. The Player of Games. Harper Collins, 1997. ISBN 0-06-105356-2
 * Bayley, Barrington J. The Grand Wheel. Wilside Press, 2005. ISBN 1-59-224120-4
 * Dick, Philip K. The Game-Players of Titan. Ace, 1963. ISBN 0-44-106251-2
 * Hesse, Hermann. The Glass Bead Game (aka Magister Ludi). Vintage Classics. ISBN 0-09-928362-X

title: Portal:Board game design


text:
Portal:Board game studies

Part of The Game Design School and the Schools of History, Mathematics, Economics, Strategic Studies and Anthropology

See also Topic:Board game design =Introduction=

Board Game Studies is an interdisciplinary discipline that involves the history and reconstruction of games, the analysis of their impact and effect upon society, and the investigation of the development and mechanics of games to the modern day. This project is a collaboration of like-minded individuals from areas as diverse as mathematics and history, to create an open body of knowledge regarding the history, mechanics, and development of games. This project is divided into papers and commentaries from each of its component disciplines that contribute to a broader knowledge of games in general. While individuals are encouraged to contribute articles of very specific and specialized nature, they are equally encouraged to write from the perspective of a neophyte in their discipline. That is to say, if you know maths very well and you've got an idea for an article on probabilities in Mah-Jongg, you should try to write it as though your intended audience was an archaeologist or historian without a strong mathematics background.

Resources
Archive of this page

title: Portal:Board game studies


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/aaac

Not A Good Decision!
You have cut from one side of the imaginary line between the two actors to the other side of this line.

$$\Rightarrow$$ $$\Longrightarrow$$ Cut To $$\Longrightarrow$$ $$\Rightarrow$$ BAD!!!!

Currently, the line is between the two actors. You can cross it only with the camera rolling. Cutting is not good.

 * Think about this and…
 * go back and try again.

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/aaad

Not A Good Decision!
You have cut from one side of the imaginary line between the two actors to the other side of this line.

$$\Rightarrow$$ $$\Longrightarrow$$ Cut To $$\Longrightarrow$$ $$\Rightarrow$$ BAD!!!!

Currently, the line is between the two actors. You can cross it only with the camera rolling. Cutting is not good.

Also, there is another problem. Very soon, the Young Person will turn to talk to the Old Person so the Young Person's face will point away from the camera. So now is not a good time to cut to the right side of the Young Person.

 * Think about this and…
 * go back and try again.

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


text:
Wikiversity talk:Search

hello pls i'm a new wit d winkiversity and i will like 2 get materials 4 study pls just send d tips 2 follow in my mail nduben4real@yahoo.co.uk i'm interested in u .i'm 4rm nigeria male.
 * Can you please be more specific ? Thanks

title: Wikiversity talk:Search


text: Category:Contributors to the School of Strategic Studies


text: Category:User ja

title: Category:User ja


text:
Category:User ja-2

List of users who can contribute with an intermediate level of Japanese.

 * ja-N : User whose mother tongue is Japanese.
 * ja-3 : User can contribute with an advanced level of Japanese.
 * ja-2 : User can contribute with an intermediate level of Japaneses.
 * ja-1 : User can contribute with a basic level of Japanese.

title: Category:User ja-2


text:
Category:User ja-1

List of users who can contribute with a basic level of Japanese.

title: Category:User ja-1


text:
Template:User ja-2

{| cellspacing="0" style="width:238px;background:#D0F8FF"
 * style="width:45px;height:45px;background:#77E0E8;text-align:center;font-size:14pt" | ja-2
 * style="font-size:9pt;padding:4pt;line-height:1.25em"|この利用者はある程度の日本語を 話すことができます.

cs:Šablona:User ja-2 es:Plantilla:Usuario ja-2 fr:Modèle:User ja-2 it:Template:Utente ja-2 ja:Template:User ja-2 pt:Predefinição:User ja-2

title: Template:User ja-2


text: File:SBTDSbacktwoposter.jpg

title: File:SBTDSbacktwoposter.jpg


text:
Template:User ja-1

cs:Šablona:User ja-1 de:Vorlage:User ja-1 el:Πρότυπο:Χρήστης ja-1 es:Plantilla:Usuario ja-1 fr:Modèle:User ja-1 it:Template:Utente ja-1 ja:Template:User ja-1 pt:Predefinição:User ja-1

title: Template:User ja-1


text: File:CrossingLine.jpg

title: File:CrossingLine.jpg


text:
Template:User ja

cs:Šablona:User ja es:Plantilla:Usuario ja fr:Modèle:User ja it:Template:Utente ja ja:Template:User ja pt:Predefinição:User ja

title: Template:User ja


text:
Category:User ja-N

List of users whose mother tongue is Japanese.

 * ja-N : User whose mother tongue is Japanese.
 * ja-3 : User can contribute with an advanced level of Japanese.
 * ja-2 : User can contribute with an intermediate level of Japaneses.
 * ja-1 : User can contribute with a basic level of Japanese.

title: Category:User ja-N


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/aaab

Excellent Decision!
Now the first four frames are

$$\Rightarrow$$ Fae In $$\Rightarrow$$ $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$ Dolly Out  $$\Rightarrow$$      $$\Rightarrow$$ Dolly Out Further $$\Rightarrow$$

EXTERIOR - The local movie theater - NIGHT

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

(2) Young Person: "That was a great movie..."

(3) Young Person (contined): "but I do not understand one thing."

Next Frame?
You have a choice of how you can show the poster.

 * Option A
 * With his back to the camera, the Young Person says, "That was a great movie...". Then the Young Person turns toward the Old Person and says, "but I do not understand one thing."

 * Option B
 * The Young Person says, "That was a great movie...". Then cut to the Young Person turns to the  Old Person and says, "but I do not understand one thing."

Now Decide!

 * Select either option A or B

 * If you change your mind, you can go back to the previous page.

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/aaaab

Not A Good Decision!
You have cut from one side of the imaginary line between the two actors to the other side of this line.

$$\Rightarrow$$ $$\Longrightarrow$$ Cut To $$\Longrightarrow$$ $$\Rightarrow$$ BAD!!!!

Currently, the line is between the two actors. You can cross it only with the camera rolling. Cutting is not good.

Also, there is another problem. Very soon, the Young Person will turn to talk to the Old Person so the Young Person's face will point away from the camera. So now is not a good time to cut to the right side of the Young Person.

 * Think about this and…
 * go back and try again.

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/aaaaac

fix

Excellent Decision!
Now the first four shots are:

$$\Rightarrow$$ Fade In $$\Rightarrow$$ $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$ Dolly Out  $$\Rightarrow$$      $$\Rightarrow$$ Pedestal Down $$\Rightarrow$$  $$\Rightarrow$$  $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$ Cut To  $$\Rightarrow$$

EXTERIOR - The local movie theater - NIGHT

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

(2) Young Person: "That was a great movie..."

(3) Young Person (contined): "but I do not understand one thing."

(4) Old Person: "What's that?"

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

(6) The old person thinks for a while.

Next Frame?
You want to see the Old Person think.

 * Option A
 * The old person thinks for a while.

 * Option B
 * The old person thinks for a while.

 * Option C
 * The old person thinks for a while.

Now Decide!

 * Select either option A or B or C

 * If you change your mind, you can go back to the previous page.

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/aaaaab

fix

Excellent Decision!
Now the first four shots are:

$$\Rightarrow$$ Fade In $$\Rightarrow$$ $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$ Dolly Out  $$\Rightarrow$$      $$\Rightarrow$$ Pedestal Down $$\Rightarrow$$  $$\Rightarrow$$ Dolly Left $$\Rightarrow$$  $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$ Cut To  $$\Rightarrow$$

EXTERIOR - The local movie theater - NIGHT

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

(2) Young Person: "That was a great movie..."

(3) Young Person (contined): "but I do not understand one thing."

(4) Old Person: "What's that?"

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

(6) The old person thinks for a while.

Next Frame?
You want to see the Old Person think.

 * Option A
 * The old person thinks for a while.

 * Option B
 * The old person thinks for a while.

 * Option C
 * The old person thinks for a while.

Now Decide!

 * Select either option A or B or C

 * If you change your mind, you can go back to the previous page.

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


text:
Game Creation Guidelines

Part of Board Game Design

Introduction
Game design and testing are both iterative processes. Three basic concepts form the fundamental pillars upon which iterative design is founded: Design (or Refining), Testing, and Analysis. The philosophy that underlies iterative design is that the lessons learned from one testing cycle feed directly into improvements in the refining phase of the next development iteration.

A variation on the theme of the run-of-the-mill iterative method is the Spiral Model (Wikipedia link here) of design. The Spiral Model starts from brass tacks, prototyping and evaluating only the essential core of a product. Once a successful prototype is developed, it is thrown away and the scope of the product is expanded, prototyped, and tested again. In the realm of game testing, this might be especially useful with games that are highly abstract and mechanic-driven. Prototyping the central mechanic (especially if it is uncommon or new) allows you to test the fundamentals of the game before adding on additional features. This might also be useful in simulations. Being, by nature, complex, simulations can be made comprehensible (and far more tight) by starting with the essentials and adding on realism in successive design iterations.

This simple iterative design process can be interpreted in many more ways. For example, another style of iterative design is the Design-Prototype-Test model. In game design, you will find that prototyping is an essential component of testing. Playing a game without a good prototype makes it difficult to get the feel for the pieces and flow of play. Prototyping is thus an integral part of testing in the process detailed here.

Some design philosophies encourage the rigorous examination of “usability” throughout the entire design process. This is called Pervasive Usability. While we wish to introduce a rigourous design methodology here for board game design, Pervasive Usability is more suited to things that are made for use, not things that are designed for entertainment. Besides, which game developer has the time or money to assemble a focus group in the early stages of design?

The Process
The process given below is arranged in a novel fashion. Since game design cannot start at the "refinement" stage, the start of the process (design) is marked by an alpha. While a great deal of the design phase is repeated in the refinement phase, there are important things (such as getting the idea in the first place) that are typically not repeated. The omega is production, when the game leaves your hands and is finally produced. The numbered phases of this process are the iterative portion.

A. /Design/

 * 1. /Refinement/

 * 2. /Testing/

 * 3. /Analysis/

'''Ω. /Production/'''

Links

 * Usability First - a glossary of design-related terms
 * Game Biz Advice - lessons on game-making (primarily computer games)

title: Game Creation Guidelines


text:
Game mechanics

This is a part of Board Game Design. For game mechanics in general feel free to contribute to this page.

Introduction
This will be a page for the discussion of organization and experimentation with game mechanics.

List of game mechanics in board games
This list has been developed from BoardGameGeek.

 * /Acting/
 * Action Point Allowance System
 * /Area Control & Area Influence/
 * Area Enclosure
 * /Area Movement/
 * Area-Impulse
 * /Auction & Bidding/
 * Backtracking
 * Betting/Wagering
 * Betrayer/Betrayal
 * Capture
 * Card Dealing
 * Card Drafting
 * Card Drawing
 * Card Driven Campaign/Battle
 * Character Development
 * Chit-Pull System
 * Co-operative Play
 * /Commodity Speculation/
 * Conquest
 * Crayon Rail System
 * Deck Construction
 * Dialogue
 * Dice Rolling
 * Dice Drafting
 * Dice-as-Workers
 * Exploration
 * Hand Management
 * /Hex-and-Counter/
 * Hidden Role
 * King Making
 * Line Drawing
 * Memory
 * Modular Board
 * Negotiating
 * Paper-and-Pencil
 * Partnerships
 * Pattern Building
 * Pattern Recognition
 * Pick-up and Deliver
 * /Point to Point Movement/
 * Riddle Solving
 * Rock-Paper-Scissors
 * /Rondel/
 * Role Playing
 * Roll and Move
 * Russian Roulette
 * /Secret Unit Deployment/
 * /Set Collection/
 * Simulation
 * Simultaneous Action
 * Selection
 * Shell-game
 * Singing
 * /Stock holding/
 * Storytelling
 * Take That!
 * /Tile Placement/
 * /Trading/
 * Trick-taking
 * Upgrading
 * Variable Phase Order
 * Variable Player Powers
 * /Victory points/
 * /Voting/
 * /Worker Placement/

Proposed Taxonomy/Hierarchy
A place to discuss how mechanics can be ordered and organized.

Board

 * /Area Control & Area Influence/
 * /Area Enclosure/
 * /Area Movement/
 * /Hex-and-Counter/
 * /Modular Board/
 * /Pick-up and Deliver/
 * /Point to Point Movement/
 * /Rondel/
 * /Tile Placement/

Cards

 * /Deck Construction/
 * /Card Dealing/
 * /Card Drafting/
 * /Card Drawing/
 * /Card Driven Campaign/Battle/
 * /Hand Management/
 * Russian Roulette

Resource Management

 * /Commodity Speculation/
 * /Stock holding/
 * /Trading/

Role Playing

 * /Acting/
 * /Character Development/
 * /Co-operative Play/
 * /Dialogue/
 * /Riddle Solving/
 * /Role Playing/
 * Storytelling

Unit Placement

 * /Secret Unit Deployment/
 * /Worker Placement/

List of game mechanics in video games

 * /F2P to P2P/
 * /Harvesting Resources/
 * /Taking A Break Mechanics/
 * /Trading/

title: Game mechanics


text:
Game critiques

Part of Board Game Design

Introduction
With this page we want to help improve games (in development and existing ones, because everything can be improved). Please take into consideration, that this page is not to insult, offend, ... people involved in game creation (see also: Wikiversity policies, Wikipedia policies and guidelines). People work in their free time to create content for the general public, so please honor this by helping: provide feedback, which helps. This also needs to be taken into consideration for the other side (if there is something like another side - because we all work for improving the quality). So, any valuable feedback is welcome. So, let's use our precious time for working together.

Rules
Actually from the wiki community you know already, that there are few rules, because we do not want to establish borders. But please take following into consideration:

Expectations
There are different reasons, why someone has another view than other persons. But all depend on one thing, (s)he expected something else (see anomaly in software).
 * To game creators:
 * So, if people are willing to invest their time in giving feedback, help them also right from the beginning by providing them as much information as possible, e.g. a readme.txt, user manual, or just some few lines.
 * Imagine: wouldn't you like to get fast feedback too, when you have a problem? Well this counts certainly also here. Let's not lose people who are interested.
 * Also keep in mind, there can be reviewed anything (not only the prototype).

 * To reviewers:
 * Please note: there are no stupid questions. Everything can help improve the game. Imagine, if you have a problem, probably many more will have the same problem.
 * Try also to give as much accurate information as possible. E.g. sometimes problems are not reproducible on other machines. Help us to handle your problem faster. Every unclear information needs a feedback by someone again. What is obvious for you, can not be for others.
 * If you are missing information, please ask the author.
 * You can use testing techniques to be more efficient: if you have not much info, please use non-systematic techniques.

Type of Feedback
A criticism, review, feedback,... can be categorized in:
 * positive: e.g. great game, I like especially this...
 * negative: e.g. well, I like the game, but this...

or:
 * constructive: an assessment with modification requests, e.g. the other game I know has it implemented like this...
 * destructive: e.g. this game just crashed or depreciatory (please let's not give such) comments
 * Well, desctructive can also be constructive, since it helps improving the quality :-)

In other words, try to provide feedback in an emotional range of neutral to positive. Negative feedback is useful and most appreciated but best received and acted upon by human developers when included in overall comments that sum to a positive experience for the developer who must receive and then be self motivated act upon the feedback to improve the design.

Tools
Tools should be used wherever they are effective, because they help us. But before we use tools (like e.g. bug tracking system) at the beginning of the project, which also demand the time to learn, please start to write your feedback here. What counts is the idea, later we can decide, how to establish, apply more tools.

Analysis of new game concepts and development activities.

 * Please consider providing input or feedback to the cisLunarFreighterCisLunarFreighter project. It is current forming at the conceptual level.   Preliminary major requirements.  CisLunarFreighter_Detailed_Requirements_Analysis Mirwin 05:28, 13 January 2007 (UTC)

title: Game critiques


text:
Games in development

Part of Board Game Design

Introduction
The essential training of a game designer comes in the form of actually making, testing, and playing their own games. This is the place to post your own games, request critiques, and playtest. Please place your game pages in the /subdirectories/ of this folder!

Games in Development

 * Landsknecht - a tactical simulation being built for Strategic Studies
 * cisLunarFreighter A game development project being data mined for Wikiversity learning trail A Hands-On Introduction to Game Design and Production Processes. We are now considering setting up a class in game production methods using only open source methods and materials with both open source and proprietary tools.  Obviously a large challenge is defining process flows efficiently. If there is any interest be sure to drop by and let us know.  Thanks! Mirwin 04:25, 6 November 2006 (UTC)
 * Incremental space colonization A moon colonization game, that is not just a game. The first of successively more and more serious simulations. Start with a game, because its easier. Launchers are too expensive, the strategy is to first build incrementally a remotely controlled industrial outpost. Meaning, a few remotely controlled robots and machine tools will be send, they will build a little mining and manufacturing industry, to build everything else. When the outpost breaks even, it starts building facilities for future human colonists, they come at the very end in a one way ticket, never to return to earth. The whole point, is to minimize launching stuff from earth.--Super Quantum immortal 11:32, 2 February 2012 (UTC)

Game Variants in Development

 * /Liberal Diplomacy/

School of Economics

 * Game Theory: The study of human decision making.
 * Games of Game Theory: A catalog of games used in game theory and analyses of their use and strategies.

School of Strategic Studies

 * The Universal Tactical Simulation: This project aims to develop a workable set of basic rules, that can be applied to any era of history or configuration of forces, for simulation of combat at a tactical (battlefield) level. The rules will, hopefully, be playable by students and have some degree of pedagogical utility. The project takes the human as the basic unit of analysis and attempts, as best as possible, to measure and predict a human's response to the difficulties experienced in combat. This may be accomplished by the use and analysis of smaller games specifically designed to fight single battles in history.
 * Universal Operational Simulation: Drawing from the experience of the Tactical Simulation, this project aims to make a hex-based operational simulation for the purposes of instruction. Like the Tactical Simulation, it will be useful to develop individual games with specific wars and/or eras as their subject, and then extrapolate common themes into a universal "base" of rules from which any other era or war may be extracted.
 * Strategic Simulations: This project attempts to create a set of workable rules for strategic level simulations. These games should be useful to higher-level students as a pedagogical tool and should be playable by large numbers of players. Each simulation is built to illustrate a certain angle of the study of strategy. When enough data and content is gathered, we may attempt to combine the individual simulations into a grand unified simulation of strategic level decision making.

Topic:Software testing
The goal is to give the participants of this course a practical view on testing. We wish to encourage a critical mindset. Here you can find some collaborations.

title: Games in development


text:
Emergency medical responder (EMR)/Critical interventions/Ventricular tachycardia

Ventricular tachycardia is a condition in which the heart rhythm is excessively fast (around 170-220 beats per minute). Ventricular tachycardia can prevent the heart from circulating sufficient blood to oxygenate the body. While Ventricular Tachycardia may be tolerated for some time, it can deteriorate into a lethal heart rhythm called Ventricular Fibrillation.


text:
Emergency medical responder (EMR)/Critical interventions/Ventricular fibrillation

Ventricular Fibrilation (VF) is a cahotic ventricular rhythm preceding the cardiac arrest. VF is characterised by chaotic electrical impulses, which originate in the ventricles. These chaotic impulses fail to create Systole, causing inadequate perfusion.

Defibrillation is the largest part of treatment, depolarizing the heart and allowing a normal sinus rhythm to be reestablished. After several attempts at defibrillation, (usually three) CPR and intubation can be initiated to facilitate better management.

Antiarrythmics, such as amiodarone are widely used in conjunction with a defibrillator, but have little value on their own. The causes of cardiac arrest can vary greatly, (i.e following trauma, to shock and drugs) or can be entirely spontaneous. Recovery can (rarely) also be spontaneous, known as ROSC (return of spontaneous circulation). It is not possible For ROSC to occur in the absence of AHA ACLS treatment. Spontaneous in this sense refers to the resumption of the pulse post depolarization of the myocardial cells.

Prognosis, as with all forms of cardiac arrest is decidedly poor.


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Emergency medical responder (EMR)/Critical interventions/Asystole

Asystole, also commonly known as "flatline" is the absence of all activity in the myocardium, be it electrical or mechanical.

As soon as an absence of a rhythm has been confirmed, CPR and intubation can be started (if not already) to maintain perfusion. The use of epinephrine (adrenaline in the UK) and atropine, to stimulate the heart is the current standard of care, as specified by ACLS guidelines.

As in many forms of cardiac arrest, prognosis is decidedly poor. Asystole remains one of the most important signs in pronouncing death.

Possible reversible underlying causes, to be considered in treatment include the Hs and Ts.

 * Hypovolemia
 * Hypoxia
 * Hydrogen ions (Acidosis)
 * Hypothermia
 * Hyperkalemia or Hypokalemia
 * Hypoglycemia
 * Tablets or Toxins (Drug overdose)
 * Cardiac Tamponade
 * Tension pneumothorax
 * Thrombosis (Myocardial Infarction)
 * Thrombosis (Pulmonary embolism)
 * Trauma (Hypovolemia from blood loss)

Mechanism
Asystole can also be primary or secondary. Primary asystole occurs when the heart's electrical conduction system intrinsically fails to generate a ventricular depolarization. This may result from ischemia or from degeneration (ie, sclerosis) of the sinoatrial (SA) node or atrioventricular (AV) conducting system. Primary asystole usually is preceded by a bradydysrhythmia due to sinus node block-arrest, complete heart block, or both.

Reflex bradyasystole/asystole can result from ocular surgery, retrobulbar block, eye trauma, direct pressure on the globe, maxillofacial surgery, hypersensitive carotid sinus syndrome, or glossopharyngeal neuralgia. Episodes of asystole and bradycardia have been documented as manifestations of left temporal lobe complex partial seizures. These patients experienced either dizziness or syncope. No sudden deaths were reported, but the possibility exists if asystole were to persist. The longest interval was 26 seconds.

Secondary asystole occurs when factors outside of the heart's electrical conduction system result in a failure to generate any electrical depolarization. In this case, the final common pathway is usually severe tissue hypoxia with metabolic acidosis. Asystole or bradyasystole follows untreated VF and commonly occurs after unsuccessful attempts at defibrillation. This forebodes a dismal outcome.

Treatment
Immediate diagnosis of asystole requires the recognition of a full cardiac arrest and a confirmed flat-line rhythm in 2 perpendicular leads. Lightheadedness or syncope may precede asystole when it follows a bradyasystolic rhythm.

If the rhythm is truly asystole and has been present for more than several seconds, the patient will be unconscious and unresponsive. A few agonal (final gasping) breaths may be noted, but detectable heart sounds and palpable peripheral pulses are absent.

The only 3 drugs recommended or acceptable by the American Heart Association (AHA) for adults in asystole are epinephrine, vasopressin, and atropine. In spite of full vagolytic doses of atropine (0.03 mg/kg) and high-dose epinephrine (0.20 mg/kg), or the use of vasopressin 40 units (U), few patients survive to leave the hospital neurologically intact. Atropine is no longer recommended in young children and infants in asystole but can be considered in adults with slow pulseless electrical activity (PEA) rhythms.

Epinephrine is used to increase coronary and cerebral blood flow during CPR. May enhance automaticity during asystole. Can be used for bradycardia in adult and pediatric patients.

In asystole, the heart will not respond to defibrillation because it is already depolarized. However, some emergency physicians advocate a trial of defibrillation in case the rhythm is actually fine ventricular fibrillation, although little evidence exists to support the practice.


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Emergency medical responder (EMR)/Critical interventions/Pulseless electrical activity (PEA)

A condition in which an electrical rhythm remains in the heart but the heart fails to pump. Pulseless eletrical activity (PEA) is also known by its older term electromechanical dissociation. PEA generally occurs secondary to several cardiopulmonary emergencies, such as pulmonary emboli with subsequent hypoxia, acute myocardial infarction (AMI), Congestive heart failure (CHF) exaperation, or trauma to the heart and/ or pleural space resulting in rupture of the heart or fluid build up around the heart (cardiac tamponade).


text:
Portal talk:Chemical engineering

Ideas for atraction
add to the department front page interesting links related to chemical engineering, like:

 * http://en.wikipedia.org/wiki/OpenCola
 * http://en.wikipedia.org/wiki/Vores_%C3%98l

 * Another idea would be to link the Department with wikipedia´s Chemical Engineering Portal.

Accessible publications for Chemical Engineering
It would be a very users attracting method to publish list or access to freely accessible publications. (it could also be a good source for interesting news and topics on ChE)

we could create a == Accessible publications for Chemical Engineering == division

Here I post 2 I've found but they are for ME, feel free to add more!

 * MCADonline Magazine
 * Prototype Magazine

best regards,WiKimik 20:07, 28 October 2006 (UTC)

'A new chlorine-tolerant material may streamline desalination processes.'
http://www.technologyreview.com/Nanotech/21146/?a=f Emesee 06:19, 31 July 2008 (UTC)

title: Portal talk:Chemical engineering


text:
Pneumothorax

A condition in which air enters the pleural cavity, either from the respiratory passages or alveoli and through the visceral pleura  for example by rupture of a bleb or a bullus after a cough or spontanteously, or through the chest wall in association with chest trauma. (MVA, stabbing, shooting etc).

Diagnosis -  spontaneous pneumothorax  ie one not associated with trauma. it has been divided in the past into primary and secondary, with only the latter being considered due to lung disease, but there may well be no true primary cases. Some young adults may have no obvious chest disease even after investigation but one suspects most of these would have more than one bleb or bullum on the lungs, and most are smokers. The patient may have no symptoms but usually has some dyspnoea (shortness of breath) and may have pleuritic chest pain, (chest wall pain on breathing or coughing. The patient is usually a smoker and usually suffers from chronic obstructive pulmonary disease. The pneumothorax is usually small and apical. It is suspected by the sudden onset, usually during activity such as vigorous coughing, vomiting, sport etc and confirmed either by physical examination (decreased respiratory incursion on one side,  possibly decreased breath sounds especially at the apex on that side, and slight mediastinal deviation to the other side) or by radiology - always required.  A film taken up-right in both inspiration and expiration will usually show partial collapse of the lung with a peripheral air shadow outside the pleural line.  An additional film taken with the patient lying on the "normal" side may be necessary in some cases. Traumatic pneumothorax is diagnosed similarly except that the diagnosis is usually more obvious from the nature of the trauma. Tension pneumothorax (as to which see) must be diagnosed and treated very urgently if suspected. Traumatic pneumothorax  requires treatment of the trauma in addition to that directed to the pneumothorax as above. Flail chest (a whole part of the chest moving paradoxically with respiration due to multiple rib fractures with two along each rib) is usually accompanied by pneumothorax but the flail chest dominates the assessment and treatment of that dreaded condition.

Treatment is not always required but aspiration or thoracostomy usually through an upper intercostal space is indicated if there is marked dyspnoea and a small pneumothorax, or if the pneumothorax is large - say if a third or more of the half-chest is air. Simple aspiration is required but referral to an appropriate specialist must follow as the cause of the underlying chest condition (very occasionally none is found) must be elucidated and proper treatment initiated.

The main "complication" of spontaneous pneumothorax is recurrence - perhaps 50% get a second or later episode, often quite quickly. For that reason some centres call in a thoracoscopist routinely to offer thoracic inspection, which usually reveals more blebs or bulli. Air may enter tissues for example in the mediastinum or the neck or upper chest in either form of pneumothorax. ("Tissue emphysema") Many centres still use an underwater drain after aspiration of any but the smallest "spontaneous" pneumothorax, mainly to prevent very early recurrence. The drain can be taken out as soon as the bubbles stop. DrRic 21:12, 25 March 2008 (UTC)

title: Pneumothorax


text:
Pneumothorax/Tension pneumothorax

A condition in which lung collapses due to air entering the pleural space either through a chest wound that allows air more easily in than out ( eg a flapping wound) or through a rupture connecting the air-passages in a lung, through the pleural cover,  into the pleural space (again with a flap of tissue acting as a one-way valve). Air pressure will build up in the tension pneumothorax and will in due course displace the heart and the rest of the mediastinal structures to an astonishing degree, gradually squashing the remaining lung into a mere fraction of the total chest cavity.

Tension Pneumothorax is a medical emergency. The patient is dyspnoeic (short of breath) and will become more and more short of breath with each breath taken. There is tachypnoea (rapid breathing) tachycardia (rapid pulse) and there may be hypotension and engorged neck veins as the condition develops. As the gasping breathing efforts become more vigorous, the tension may build up more rapidly, until the patient slides into a gasping unconsciousness, then (probably for the first time) is manifestly cyanosed (blue). Breathing efforts cease, as either exhaustion or acute respiratory failure ensue. Death then follows within minutes at most. A history of wounding to the chest may be given by the patient or any accompanying person. (stabbing, fall on to a projection, motor vehicle accident) A chest wound is usually present, and obvious. Occasionally it will have to be searched for. Occasionally there is no external wound - the tension then arises from a spontaneous pneumothorax, usually from rupture of an emphysematous bleb, very rarely after decompression eg  an over-rapid ascent in a scuba diver.

Diagnosis is usually obvious in the conscious patient from the history and the nature of the wound. In an unconscious patient or a patient who has suffered a spontanious pneumothorax, the diagnosis of pneumothorax can be made very quickly at the stretcher-side by noticing by palpation and percussion the displacement of the heart. The diaphragmatic dullness will also be much lower than usual. The mediastinal displacement is often far more extreme in tension pneumothorax than in any non-tension pneumothorax. Auscultation may assist - the complete absence of transmitted breath sounds over the pneumothorax and the area over which heart sounds can be heard will help. A chest x-ray (or two if the first only shows a pneumothorax and the diagnosis is not otherwise clear) will diagnose the condition and help guide the decision of where to cannulate. There is no differential diagnosis in most cases. Levocardia in theory might need exclusion in some cases - the x-ray pictures of both conditions are absolutely diagnostic. In the most minimal cases of tension pneumothorax, the differential diagnoses of pneumothoraces generally will have to be considered.

First aid treatment - if a large, firm adhesive bandage can be secured over the wound it will prevent further air entrapment and may allow the transport of the patient to a doctor or hospital. If none is to hand, a hand firmly over the area may help as long as its function (to seal the whole wound) is understood. In theory at least, inserting anything into the wound (even quite a small object) so that an air passage through the wound exists (rather than a one-way valve) will convert a tension pneumothorax into a far less immediately-life threatening (non-tension) pneumothorax.

Emergency treatment - the tension can be released by a puncture into the tension compartment eg by a larger-bore needle (even 6 guage) open to the ward air. After ascertaining where the heart lies, insert the needle between two ribs, with the point away from the heart of any nearby structures, over any highly tympanitic area. The heart may be hugely displaced so palpate for its beat and percuss its main mass. Alternatively, where the patient is already unconscious (say from other injuries) and the diagnosis of tension pneumothorax is uncertain, intubation and positive pressure ventilation may hold respiratory failure at bay while more diagnostic examination and if necessary, radiology, is arranged. Great care must be taken in such a case not to rely on the intubation (without relieving the pressure in the tension pneumothorax) unless it is quite certain the patient continues to do well and remains pink, with good pulse and blood pressure.

Definitive treatment - Release the trapped air via simple aspiration or a "tube thoracostomy" -  an intercostal trocar and cannula,  but measure the pressure on first entering. If it is slightly below atmospheric, there is a pneumothorax but not tension. If it is atmospheric there may be a wound in the pleura but it is not of flap or "ball-valve" type. if it is above atmospheric pressure, that proves it was a tension pneumothorax. Empty the air from the cavity or allow it to blow out slowly, then connect the cannula to an under-water drain. Unlike an ordinary pneumothorax, this is usually required to ensure the flap has been dealt with. Some texts warn against rapid decompression, but let at least the over-pressure go freely. Deal with the wound and/or lung rupture (both may be present of course.) The latter may well require a thoracic surgeon competent in (intercostal) endoscopic surgery. DrRic 19:31, 25 March 2008 (UTC)

title: Pneumothorax/Tension pneumothorax


text:
Pneumothorax/Hemothorax

A condition in which blood fills the chest cavity. Can cause complications similar to a tension pneumothorax.

title: Pneumothorax/Hemothorax


text:
Pneumothorax/Haemopneumothorax

A condition in which both blood and air fill the chest cavity. Can cause complications similar to a tension pneumothorax.

title: Pneumothorax/Haemopneumothorax


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/ba

Excellent Decision!
Now the first two frames are

$$\Rightarrow$$ Fade In $$\Rightarrow$$  $$\Rightarrow$$ Dolly Out  $$\Rightarrow$$

Special Note:
You have cross the line!!! When you dollied out, you crossed the imaginary line between the Young Person and the Old Person. That means you must stay on this side of the line (away from the poster) for the rest of the movie unless you move the camera during a shot to the other side of this imaginary line. You have made a major decision… probably without even knowing it. This will effect the entire rest of the movie.

The Script
EXTERIOR - The local movie theater - NIGHT

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

Next Frame?
You have a choice of how you can show the poster.

 * Option A
 * After holding for three seconds while the theme of Star Wars play, you can Pedestal down to the Young Person.

 * Option B

 * You can dolly dolly back (out) to show the back side of the Young Person and the Old Person while the theme of Star Wars plays.

 * Option C
 * After holding for three seconds while the theme of Star Wars play, you can cut to a side view of the Young Person.

 * Option D
 * After holding for three seconds while the theme of Star Wars play, you can cut front view of the Old Person and the Young Person.

Now Decide!

 * Select either option A or B or C or D

 * If you change your mind, you can go back to the previous page

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


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Filmmaking Basics/Thumbnail Storyboard/Step by Step/bad

Not A Good Decision!
You have cut from one side of the imaginary line between the two actors to the other side of this line.

$$\Rightarrow$$ $$\Longrightarrow$$ Cut To $$\Longrightarrow$$ $$\Rightarrow$$ BAD!!!!

Currently, the line is between the two actors. You can cross it only with the camera rolling. Cutting is not good.

 * Think about this and…
 * go back and try again.

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].
 * To start over, go back to the beginning.


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/bb

Excellent Decision!
Now the first three frames are:

$$\Rightarrow$$ Fade In $$\Rightarrow$$   $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$  $$\Rightarrow$$

Special Note:
You did NOT cross the line!!! You did not dolly out and so you did NOT cross the imaginary line between the Young Person and the Old Person. That means you must stay on this side of the line (between the actors and the poster) for the rest of the movie unless you move the camera during a shot to the other side of this imaginary line. You have made a major decision… probably without even knowing it. This will effect the entire rest of the movie.

The Script
EXTERIOR - The local movie theater - NIGHT

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

(2) Young Person: "That was a great movie..."

(3) Young Person (contined): "but I do not understand one thing."

(4) Old Person: "What's that?"

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

Next Frame?

 * Option A
 * The Young Person says, "How can anyone be seduced by the Dark Side?"

 * Option B
 * The Young Person says, "How can anyone be seduced by the Dark Side?"

 * Option C
 * The Young Person says, "How can anyone be seduced by the Dark Side?"

Now Decide!

 * Select either option A or B or C

 * If you change your mind, you can go back to the previous page

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].


text:
Filmmaking Basics/Thumbnail Storyboard/Step by Step/aaba

Excellent Decision !
Now the first three frames are:

$$\Rightarrow$$ Fade In $$\Rightarrow$$  $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$ Cut To  $$\Rightarrow$$   $$\Rightarrow$$  $$\Rightarrow$$   $$\Rightarrow$$ Cut To  $$\Rightarrow$$

Special Note:
You did NOT cross the line!!! You did not dolly out and so you did NOT cross the imaginary line between the Young Person and the Old Person. That means you must stay on this side of the line (between the actors and the poster) for the rest of the movie unless you move the camera during a shot to the other side of this imaginary line. You have made a major decision… probably without even knowing it. This will effect the entire rest of the movie.

The Script
EXTERIOR - The local movie theater - NIGHT

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

(2) Young Person: "That was a great movie..."

(3) Young Person (contined): "but I do not understand one thing."

(4) Old Person: "What's that?"

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

(6) The old person thinks for a while.

(7) Old Person: "What computer do you have at home?"

Next Frame?
$$\Rightarrow$$
 * Option A
 * The old person thinks for a while and says, "What computer do you have at home?"

$$\Rightarrow$$
 * Option B
 * The old person thinks for a while and says, "What computer do you have at home?"

$$\Rightarrow$$
 * Option C
 * The old person thinks for a while and says, "What computer do you have at home?"

Now Decide!

 * Select either option A or B or C

 * If you change your mind, you can go back to the previous page

 * Reference Material
 * All the thumbnail storyboard frames.
 * The unformatted script.
 * The original story.
 * The [[Media:SBTDS Script Ciprian2.pdf|formatted script]].


text:
Radiology

Welcome to the Wikiversity Department of Radiology, part of the School of Medicine.

The Department of Radiology is a Wikiversity content development project. Wikiversity editors with an interest in radiology can use this page to plan, organize and develop learning resources for learning about radiology. All actual learning resources should go in the main namespace (use page names with no prefix).

Introduction
Diagnostic Radiology is the use of modalities such as MRI, CT, ultrasound, plain films, nuclear medicine techniques to image the human body to diagnose disease or to follow the progress of disease already being treated.

MRI uses radiowaves and magnetic fields for excellent soft tissue detail. It is used heavily in Neuroradiology and Musculoskeletal imaging.

CT and xrays both use high frequency low wavelenght xrays. Bony detail is excellent though soft tissue detail is limited.

Ultrasound uses sound waves.

Nuclear medicine uses radioactive tracers and particles and depicts many physiologic processes.

A separate branch, interventional radiology, uses diagnostic techniques such as fluoroscopy, CT, ultrasound, and in the future, MRI, to guide the placement of needles, catheters and wires inside the human body for both diagnostic and therapeutic purposes.

In the future, many newer techiniques, such as a functional MRI, interventional MRI, MRI/PET fusion, and molecular and genetic imaging will become routine.

Interventional procedures in the future will eventually minimize the use of xrays, which have potential effects to damage DNA, and rely more heavily on other techniques which will not use ioninzing radiation. Such techniques will include interventional MRI and MRI fluroscopy.

Radiologists will also be able to use small molecular probes in the future to diagnose specific genetic abnormalities, both for diagnostic purposes so treatment can be tailored individually, and for individually tailored gene therapy.

Learning Projects
See: Learning Projects and the Learning model.

Learning materials and learning projects are located in the main Wikiversity namespace. Simply make a link to the name of the learning project (learning projects are independent pages in the main namespace) and start writing! We suggest the use of the learning project template (use "subst:Learning project boilerplate" on the new page, inside the double curved brackets – ).

Learning materials and learning projects can be used by multiple departments. Cooperate with other departments that use the same learning resource.

Remember, Wikiversity has adopted the "learning by doing" model for education. Lessons should center on learning activities for Wikiversity participants. We learn by doing.

Select a descriptive name for each learning project. Learning projects can be listed in alphanumeric order by code, however code numbers are optional.

title: Radiology


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User:C06374n4747

Hi. I'm user C06374n4747. I'd like to help with the construction of the School or Department of Economics at Wikiversity-English language. I've noticed about 3 active contributors. I'm not sure how to contribute. I earned a BA in Economics in 2004. I'm interested in Development Economics, Energy Economics, Introduction to Economics and other fields.

Over the years, I observed there was and probably still is a need for dedicated professors, but also for dedicated TAs (Teachers Assistants). Many undergraduate students I met, including myself, often were at a loss to comprehend various concepts. Many times it was hard to find someone who had the time to explain things to students. I refer to undergraduate students.

I spent about 7 years studying Economics in El Salvador, and later moved to the US. After several years, I returned to school and earned my degree. I currently work in a library as an assistant, while I attend a graduate program in Project Management.

I would like to offer support as a TA and as an assistant or adjunct professor, primarily explaining concepts and later how to solve exercises, to support interested students. I have the feeling that there is a serious need in English speaking countries in Africa, Asia and the Caribbean, for this type of free online support. As long as undergraduate students have access to this School of Economics in those regions, I believe this School can be a source of significant support. Perhaps the same can be said later for graduate students of Economics in these developing regions.

If anyone among the regular active contributors has any suggestions/advice/pointers, you may e-mail me to my address listed in my user page. Thank you for your time.

C06374n4747 2006-10-21

Preliminary notes to the readers- These pages are dedicated to students of Economics in English, primarily. The audience I am trying to reach/support/assist is the undergraduate and graduate Economics students in English-speaking countries or regions in Africa, Asia and the Caribbean. Students in advanced English-speaking countries such as the US, UK, Canada, Australia and New Zealand are also welcome. Nevertheless, my primary focus is the college/university student populations in developing countries that attend schools where English is the primary language of instruction.

Provided you have access to the Internet, and somehow get to find and read these pages, I hope to provide a support service for your academic needs/purposes, as time allows. These pages are not intended to replace or substitute the courses/textbooks/conventional academic work you are involved/ enrolled in, as a student, but rather, they are intended to offer additional materials to support your academic efforts. I would appreciate if you open an account in Wikipedia, for your own use, if you find these pages valuable for your academic readings/studies/exercises.

I hope part of these pages will be prose, part will be exercises and problems, and I hope that there will be pages with links to web sites (mostly in English) so you can access additional information for your studies/readings/term papers/theses/dissertations. The intention is to add to these pages as my schedule allows, one semester at a time. I understand there are legal issues related to posting links to web sites and web pages. As far as I understand, there is a need to obtain permission to make such links. Therefore, it may take some time to add links that may be found on the Internet. Some links will probably not get posted precisely because of permission problems.

Please be careful to keep track of your notes, endnotes, footnotes and online and offline sources. This is so that there is no risk of plagiarism. Every student of Economics who wishes to improve the image of this profession ought to be cautious to avoid rumors and charges or accusations of plagiarism. Sometimes, we suffer problems of bad reputation, precisely because one or another of our colleagues did not follow careful standards and submitted or published writings as his/her own, when in fact they were authored by someone else. I’ve known of cases and rumors concerning economists who have abused their position of trust and enriched themselves improperly. So this is another thought: every student of Economics, who wants to improve the image of this profession, ought to follow high academic and ethics standards. I realize that in several countries/regions, and during certain periods of social unrest/wars/disturbances, there are times when a student may be tempted to cut corners or skip certain procedural steps. It is usually better to not do so, unless it is a matter of life-or-death. In the US, there is a word, “duress” that addresses such abnormal situations. Please give due credit where credit is due. Do not claim someone else’s work or writing/s as yours. Make sure appropriate academic credit is given to the author/s of every source you quote or otherwise use in your own academic or professional papers and other works.

C06374n4747 2006-10-27

title: User:C06374n4747


text:
User talk:Nortonthe1st

Greetings, I am looking forward to the possibilities that wikiversity will bring forward to the public. I am willing to give assistance where I can. I have taken many classes in Technical Theater and World History. If you need someone to bounce a few Ideas off of, please drop a post here. I'm a horrible Dyslexic, so I appoligize if my spelling and grammer are attrocious.

welcome
Welcome to Wikiversity. Are new to wiki or have you participated in some other wiki before finding the Wikiversity website? --JWSchmidt 03:30, 22 October 2006 (UTC)

I'm just getting used to the technology now. But I have learned far more on Wikipedia (as it is my homepage) than I did in four years of college. If helping out with wikiversity will allow others to follow by example, I'm game. Peace, NortonThe1st. I have yet to learn all the intricacies of editing ect. Will learn more today.

Philosophy
Hi Nortonthe1st, horribly late as this is, but I'd like to say hello, and that I saw your comment on the Philosophy message board. I made a general reply there - perhaps a link there might spark your interest. At the risk of cluttering up your talkpage, I'll add the welcome template below which has some links that might also be useful - you can delete or move or edit this or whatever you like. Hope you're getting to feel of things, and hope to see you 'round. (Interesting userpage, by the way!) Cheers! Cormaggio beep 00:58, 16 February 2007 (UTC)

title: User talk:Nortonthe1st


text:
Filmmaking Basics/Thumbnail Storyboard/Examples/Example 3

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: BlanchedAlmond; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;"|

This is an example Thumbnail Storyboard

 * Start with a close-up shot
 * In this example, we start with a side view. In this view we see the two people looking at something on the wall.  Then we look at what they are looking at which is the movie poster.

 * From this storyboard, it is not clear if we should use a wide angle close-up short (above) or a telephoto close-up shot. (below)

 * style="width: 370px; background-color: #ffffdd; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" rowspan="3" |

The Thumbnail Storyboards for "Seduced by the Dark Side"
EXTERIOR - The local movie theater - NIGHT Fade In Cut To (1) The Young Person and Old Person stand looking at the movie poster outside the theater.

 * I want to show the picture of the young person looking up above the camera at something very intently. I want very soft music to play which gives a dreamy quality to the scene.  After 5 seconds I want to cut to the poster as viewed by the young person (that means a POV shot).  As soon as I cut to the poster, I want very strong music of the "Star Wars" theme.

Cut To

(2) Young Person: "That was a great movie..."

 * Unlike storyboard Example 1 and Example 2, I want to get in close to the actors and the poster. I want to stay inside the green area on the floor plan.  I want to always be between the poster and the actors.

(3) Young Person (contined): "but I do not understand one thing."

Cut To

(4) Old Person: "What's that?"

Cut To

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

Cut To

(6) The old person thinks for a while.

(7) Old Person: "What computer do you have at home?"

Cut To

(8) Young Person (eagerly): "A Macintosh!"

-

Cut To

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

Cut To

(10) The young person thinks for a moment.

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

Cut To

(12) The Old Person smiles.

Cut To Zoom out

(13) Old Person and the Young Person walk toward home together.

(14) Fade to Black.

The End

Point Of Reference:
This scene was filmed inside the line. (Between the Poster and the Actors = In the green area). The Floor Plan for the Movie
 * }
 * }
 * }

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: Cornsilk; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" ,!--rowspan="2"--> |

The Next Page [[Image:Crystal Clear action loopnone.png|32px]]

 * Look at the other examples by going to the index at the top of this page.

 * Or continue this lesson at What software for thumbnail storyboards? to learn how to get started storyboarding.

 * }


text: File:Spurgear.jpg

title: File:Spurgear.jpg


text:
Game Creation Guidelines/Design

Part of Board Game Design>Game Creation Guidelines

See also Spiral Model of Game Development

The Idea
Many of us have had an idea for a game. Very few of us have completed one. Is it that having ideas is easy, and finishing games is hard? Actually, you'd be surprised sometimes at how hard having that initial inspiration is. This segment is about how to get your idea, and if you already have an idea, what you should do with it.

Inspiration
Inspiration can come from anywhere. Some find that they are inspired when in a certain emotional state, or perhaps when they just wake up. Some meditate, some just watch TV. One thing is certain about inspiration, however: it seems to go together with interest.

The things that interest us also inspire us. For example, perhaps you're head over heels about the Burgess Shale, or you totally dig Military Strategy, or you desperately love cookies. You can bet dollars to doughnuts you've got a treasure trove of game ideas right there. Not only will your interest provide you with the energy to do research and keep interested, but it is the fuel you need to complete the first step of developing your idea: writing it down.

Journal
Like a writer, a game developer is someone who survives from their inspiration and creative ability. Let's face it, even the most creative of us have our droughts and blocks. So, why not create a repository of the ideas you had when you were really inspired for those periods when inspiration is lacking? A journal is an efficient way to solve this problem.

It need not even be a book or pad of paper, you can keep your ideas anywhere you'll remember them. The key is that you write out the idea as completely as you can while it is still fresh in your mind. Use words that are evocative to you, so that when you read it again you can try to capture the same feeling you had when you wrote it. You don't necessarily have to be gramatically correct or even write full sentences... the important thing is that you write down words or phrases that will jog your own memory when read a second or third or fifteenth time. An entry can be as simple as "theme, fish, coral, shrimp, polyps" and evoke an old idea that could turn into something like Reef Encounter.

Perspiration
Any idea can be worked and reworked many times. If you leave adequate space in your journal, or transfer the idea over to its own page, you will still have the opportunity for inspiration to strike and allow you to expand the idea. Remember though that inspiration is only a small part of the process. Writing about your idea, expanding your idea, explaining your idea, all these things get the juices flowing again. So, even if you have no inspiration whatsoever, go back to your idea and look it over, then try to explain it in a more lucid manner. You'd be surprised at how effectively a little grunt work can put you back on track to developing your killer idea.

Developing the Idea
Development of an idea can take many forms. You may be able to put hours and hours into developing new mechanics for your great theme, or you may want to try combining other ideas you've got stored in your journal to create a more interesting whole.

title: Game Creation Guidelines/Design


text:
Game Creation Guidelines/Refinement

Part of Board Game Design>Game Creation Guidelines

Refinement
This is the first of the iterated steps and, as the name implies, involves a bit of planning, pruning, tuning, and clarification of your initial idea so that you have a playable ruleset. If you don't have a full ruleset, hopefully you have at least a basic outline of your mechanic, or a further elucidation of your theme - something you can start to test or expand into a bigger and better game.

The First Refinement
When you make your first refinement, emphasis will be on making something that is at least testable. Your initial idea may be nothing but the thoughts "pirates, pork sausage, bidding mechanism," but you need to develop your objectives, perhaps your board, and start to hash out your rules. Every person has a different way to manage his/her project. Your design style may not be the same as anyone else's design style, and the degree of time you want to spend refining your game before you first play-test it may be very small or very large. For example, as soon as you have the idea for your pork sausage pirate bidding game, you crack open a few of the board games in your house, steal a deck of cards, call some friends over and start making it up as you go along. This is clearly a very hands-on and ad-hoc approach to the design of your game. You may, however, want to develop a full and tight rule set founded on the laws of probability and the eternal principles of the universe. In which case, you might cloister yourself for ten years on a mountaintop with nothing but a velvet painting of a crying pirate, a lifetime supply of pork sausage, and some spare change. This is a far more theoretical and hands-off method of refinement, and that is perfectly fine if that is the kind of person you are. Game design isn't a science. You still do what fits with your personal style.

Subsequent Refinement
This involves going back to the rules, looking them over, and applying the knowledge you gained in playtesting and evaluation. This can amount to a total redesign of parts or all of the game. Through evaluation you should know where and how the game should change, and the next phase of development and testing will tell you how those changes worked. Subtle tweaking over multiple testing sessions will end in a polished game, and (re)development is where your "lessons learned" are put back into the game design.

title: Game Creation Guidelines/Refinement


text:
Game Creation Guidelines/Testing

Part of Board Game Design>Game Creation Guidelines

Playtesting
Playtesting means playing in order to make a game better. There are a few ways to do playtesting, but in order to test a game, you need to develop some form of prototype game first.

--Daddio 04:54, 14 July 2007 (UTC) The games can be tried out with friends and family, as long as they are willing to offer you honest critiques of the game, not just praise. During the earlier stages, pick out people who are open to spending some time getting to know the game and help you improve it.

This is a time to be ready to pencil in changes to your rules and make changes on the fly as you play. If you find that a rule is too complex, don't be afraid to change it mid-game.

Prototyping
--Daddio 04:54, 14 July 2007 (UTC) Prototyping is where you take your ideas and whatever rules you have developed and turn them into a rough mock up of a real board game that you can move along into play testing.

Making up a board can be accomplished by designing something on your computer and printing out pages. With some small skills and a graphics program, you could split a larger board up into numerous, letter-sized printables.

When you print smaller pieces of a board that you intend to assemble, I suggest overlapping the design on your pages so you can cut them out and have them fit together without a white seam where a game board ought to be. If you want to get fancy, you can laminate the board or spray mount it to a piece of cardboard.

The key thing to remember in prototyping is to move quickly, making things look good enough to use, but not set into a permanent state; if you spend too much time polishing up a prototype, you won't feel inclined to make rules changes that will scrap those fancy mockups.

Pieces could be borrowed from another game, like chess pawns where you envision detailed, die-cast figurines, or paper printouts that you fold and stand up like paper dolls.

If you have time, you can add some detail to your figures, custom dice, cards, etc. to help your play testers get into the game a little more. But remember: this is the time to get an idea out in physical space; not to develop a well-refined model. As you go through the development steps, you may continue refining the prototyping as well.

Solo Testing
Solo testing is the testing of a game by one player, even if the game is not necessarily for solitaire play.

Playing through your game by yourself will give you a chance to test the mechanics of your game. It is especially important in the early phases of development, as it will help you iron out some of the issues before you bring the prototype to friends or collegues.

There are various methods of solo testing. You can, for example, play the role of each player, or you can set up a means of simulating a players turn with dice or "if/else" tables.

Note, however, that you already have an understanding of how you think the game should work, which may not be the same as how the game is written. It is therefore imperitive that someone else tests your rules for clarity.

Blind Testing
Blind testing is used to eliminate the impact of bias on a test. This is usually done by having a third party, with no prior knowledge or experience of the game, play through and provide feedback on the game.

title: Game Creation Guidelines/Testing


text:
Game Creation Guidelines/Production

Part of Board Game Design>Game Creation Guidelines

Getting Your Foot in the Door
Like any creative venture, the game market is a catch-22: you won't be published unless you're already published. Here are some ways to break into that closed cycle of publication.

Games Design Competitions
Many of these are held yearly and are excellent ways to get noticed - and if you're not noticed, you'll at least get some feedback!
 * Hippodice(link in German) - English Competition Rules here
 * games.about.com - 2006 Game Competition Website
 * Ludothèque de Boulogne-Billancourt (link in French) - 2006 Competition (includes English rules)
 * Premio Archimede - 2006 contest details
 * Lucca Comics and Games - Competition rules in English

title: Game Creation Guidelines/Production


text:
Gears

Gears are toothed wheels which are used to transmit force to other gears or toothed parts by meshing with minimal slip.

When two gears are meshed together, the smaller gear is called a pinion. The gear transmitting force is referred to as a drive gear, and the receiving gear is called the driven gear.

When pinion is the driver, it results in step down drive in which the output speed decreases and the torque increases. On the other hand, when the gear is the driver, it results in step up drive in which the output speed increases and the torque decreases.

Types
Plastic gears

Gear tooth system
A gear tooth system is defined by its unique tooth proportions,pressure angles etc.

Law of gearing
Before we take a look at the actual gearing systems let us see what is the fundamental law that governs the gearing system. The law of gearing states that

the angular velocity ratio of all gears of a meshed gear system must remain constant also the common normal at the point of contact must pass through the pitch point.

Example: if $$\omega\ _1$$ and $$\omega\ _2$$ are the angular velocities and $$D_1$$ and $$D_2$$ are the diameters of two gears meshed together then $${\omega _1\over \omega _2}={D_2\over D_1}$$

Gear profiles
Gear profiles should satisfy the law of gearing.

The profiles best suited for this law are:

 * 1) /Involute/
 * 2) /Cyloidal/
 * 3) Circular arc or /Novikov/

Gear Nomenclature
Various nomenclatures related to a gear are shown in the figure

 * Let us consider a spur gear and define the following terms-
 * Pitch circle:Can roughly be defined as the circle having radius as the mean of the maximum radius(to the tip of the gear teeth) to the radius of the base of a gear tooth. However tooth proportions can vary considerably, with both root and tip adjusted to suit running conditions and manufacturing processes, making this definition somewhat unreliable.
 * Addendum:The tooth portion above the pitch circle (towards the tooth tip).
 * Dedendum:The tooth portion below the pitch circle (towards the tooth root).
 * Flank:The face of a gear tooth which comes in contact with the teeth of another gear. So,a flank is an important part of a gear.
 * Fillet:Fillets in the root region are of less importance since they don't come into contact with other gear teeth. However root fillets are of great importance with regard to tooth bending strength, and therefore power ratings. Gears with little or no fillet in the root are prone to tooth breakage, as the sharp corner acts as a /stress raiser/.
 * Circular pitch:The sum of the width of a tooth and a space between the tooth of a gear. Circular pitch is an important parameter as it indicates the size of the tooth of a gear.If $$P_c$$is the circular pitch,Z is the number of teeth on a gear and D is the pitch diameter then,$$P_c={\pi D\over Z}$$

So the size of a tooth is given by $$m={D\over Z}$$ where m is the unit of size called module.And hence for two meshed gears we must have the same size of tooth,then we can have the following relations, $$m={D_1\over Z_1}={D_2\over Z_2}={P_c\over \pi}$$---(1)

In case of a rack the diameter and the number of tooth tend to infinity but still the module remain finite.
 * Circular thickness or tooth thickness: It is the thickness of the tooth measured on the pitch circle.It should be noted that this thickness is measured as the arc along the pitch circle and should not be taken as the displacement
 * Diametral Pitch: It is defined as the number of tooth per inch of the diameter of the pitch circle of a gear.It is indicated by the letter P.Therefore, $$P={Z\over D}$$---(2)

So using equation (1) and (2), we can have $$P_c P= \pi$$

title: Gears


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title: File:Gamestuds.jpg


text: Template:User Gamescontrib

title: Template:User Gamescontrib


text:
Template:Sampletest

 Instructions: Edit the Q1= and Q2= to your choice

Question 3: this is an essay question. Create a subheader named ==Question three== and answer it by editing below.

 * You have more days to finish this test, which was started on 11/2

Usage

Which makes:

Answer Key
Teachers, edit these subpages after the time has run out. Remember to click on the history tab of the page with the template to make sure answers were not changes after the answers were given.

Answers for question 1: Template:Sampletest/A Template:Sampletest/B Template:Sampletest/C Template:Sampletest/D

Answers for question 2: Template:Sampletest/A2 Template:Sampletest/B2 Template:Sampletest/C2 Template:Sampletest/D2

title: Template:Sampletest


text: Category:Contributors to the School of Game Design


text:
Portal:Multilingual Studies

Wikiversity Institute for Multilingual Studies

A shared resource:
 * School of Language and Literature
 * School of Linguistics
 * School of Media Studies
 * School of Computer Science

Division news

 * 22 October 2006 - Division founded!

Multilingualism Practicum
The Multilingualism Practicum began as a Multilingual worksheet which was simply a listing of popular languages and some rudimentary aspects of translation. As the page and its associated discussion grew, it became clear that the multilingual aspects of Wikiversity are very complex and could benefit from a holistic approach to the topic.

Multilingual Studies was formed to host a Practicum to organize a set of learning paths that span several schools and disciplines rooted in Foreign Language Learning, but designed to lead learners to a broad array of other fields of the Practical Arts and Sciences.

Collaborations
The practicum includes many interdisciplinary studies across a broad spectrum. The Interlingual Beta Club was proposed to propogate the practicum's ideas and manage several inter-school collaborations:

Language and Literature
Language and Literature - Find translations of some well-known literary works and present them on special pages for comparative study.

Suggested samples:

Linguistics
Linguistics - Study the mechanics of language comparing similarities and differences. Study and work on organizing Category:Languages and Language families.

Media Studies
Media Studies - Work on multilingual versions of Wikiversity the Movie.

Develop audio and other media to aid in Foreign Language Learning.

Computer Science
Computer Science - Get into Computational linguistics to learn about machine translation, Computer-assisted translation and other computer applications that help with translation, Foreign Language Learning and in sorting and understanding Languages and Language families.

Subdivisions and Departments
Use the Template:Subdivision boilerplate and Topic: [Name of department] to start a subdivision.

 * Translation Department
 * Center for Foreign Language Learning

Translation Taskforce
The translators template is adaptation of m:Category:Translator's Templates. As you can see, it is quite scaled down at this time:

Planned comparative articles:
 * English to German
 * English to Spanish
 * English to French
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 * German to English
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Active participants
The histories of Wikiversity pages indicate who the active participants are. If you are an active participant in this division, you can list your name here (this can help small divisions grow and the participants communicate better; for large divisions a list of active participants is not needed).
 * CQ

title: Portal:Multilingual Studies


text:
Portal:Translation

Translation Department • Wikiversity Institute for Multilingual Studies

Subdivision news

 * 23 October 2006 - Subdivision founded!
 * 29 November 2006 - Setting up at beta.wikiversity

Learning Groups
See Topic:Multilingual Studies for a more in-depth listing for Learning groups and topics within the larger Multilingulism Practicum. This is just a rough outline:

School:Language and Literature:
 * Topic:Foreign Language Learning

School:Linguistics:
 * History of Linguistics
 * Topic:English Language

School:Media Studies
 * Wikiversity the Movie
 * Wikiversity the Movie/multi-lingual

School:Computer Science
 * Topic:Computational linguistics
 * Computer-assisted translation

Learning materials
Translator's Handbook.
 * Introduction See Essay Contest
 * Languages Will discuss Category:Languages and Language families in detail covering
 * Topic:Linguistics
 * Topic:Lexicography
 * Appendix

Multilingualism at Wikiversity
Multilingualism will be a centralized local resource for the English version of Wikiversity (en.wikiversity.org) about other versions of Wikiversity and beta projects.

Wikiversity translations:
 * English
 * de:Hauptseite Hauptseite
 * es:Portada Portada

Links to betas:

Wikiversity Translators
translator @translators ...

Category:Wikiversity Translators

Wikimedia Service community
The following sections cover translation-related topics and list Translation services by and for the Wikimedia-Wikiversity Service community.

Meta
Meta has a cornucopia of resources for translators!

Multilingualism:
 * Translators
 * Translation process
 * Interlingual coordination
 * m:Meta:Conventions for multilingualism
 * Wikipedia Machine Translation Project

m:Category:Multilingualism
 * m:Category:Transbabel
 * m:Category:Translator's Templates

Note: We have adapted the meta Tranlator's Templates and are working on an adaptation of the Transbabel Multilingual Schema here at Templates See Template:Translators.

Wikipedia
Wikipedia

Articles
Meanings: grammar, semantics, syntax, idiom, word, phrase, sentance, source text, source language, target language, ...

Language: Natural language, Language family, Linguistic typology, Writing systems, List of languages, List of official languages, List of common phrases in various languages, ...

Linguistics: Morphology, Etymology, Corpus linguistics, Text corpus, Cognitive linguistics, Computational linguistics, Machine translation, Speech recognition, Language recognition chart, Part-of-speech tagging, ...

Translation: translation dictionary, Translation process, Translation studies, Translation unit, Computer-assisted translation, Machine translation, ...

Projects
Wikipedia Embassy:
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Wikipedia:WikiProject Linguistics:
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Wikipedia:WikiProject Computer science

Languages
List of Wikipedias in other languages:

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 * 157) ਪਜਾਬੀ / पंजाबी / پنجابي (Punjabi)
 * 158) Pangasinan (Pangasinan)
 * 159) Pāli / पाऴि
 * 160) Papiamentu
 * 161) پښتو (Pashto)
 * 162) Plattdüütsch (Low Saxon)
 * 163) Piemontèis (Piedmontese)
 * 164) Polski (Polish)
 * 165) Português (Portuguese)
 * 166) Reo Mā`ohi (Tahitian)
 * 167) Română (Romanian)
 * 168) Rumantsch (Romansh)
 * 169) Romani / रोमानी
 * 170) Runa Simi (Quechua)
 * 171) Русский (Russian)
 * 172) Sámegiella (Northern Sami)
 * 173) Sängö
 * 174) संस्कृत (Sanskrit)
 * 175) Sardu (Sardinian)
 * 176) Scots
 * 177) seSotho (Southern Sotho)
 * 178) Setswana (Tswana)
 * 179) Shqip (Albanian)
 * 180) Siberian (Сибирской)
 * 181) Sicilianu (Sicilian)
 * 182) සිංහල (Sinhalese)
 * 183) Simple English
 * 184) سنڌي (Sindhi)
 * 185) Sinugboanong Binisaya (Cebuano)
 * 186) SiSwati (Swati)
 * 187) Slovenčina (Slovak)
 * 188) Slovenščina (Slovenian)
 * 189) Soomaaliga (Somali)
 * 190) Српски (Serbian)
 * 191) Srpskohrvatski / Српскохрватски (Serbo-Croatian)
 * 192) Suomi (Finnish)
 * 193) Svenska (Swedish)
 * 194) தமிழ் (Tamil)
 * 195) Tatarça (Tatar)
 * 196) తెలుగు (Telugu)
 * 197) Tetun (Tetum)
 * 198) ไทย (Thai)
 * 199) Tiếng Việt (Vietnamese)
 * 200) ትግርኛ (Tigrinya)
 * 201) Тоҷикӣ (Tajik)
 * 202) tlhIngan-Hol (Klingon)
 * 203) Tok Pisin
 * 204) ᏣᎳᎩ (Cherokee)
 * 205) Tsetsêhestâhese (Cheyenne)
 * 206) Türkçe (Turkish)
 * 207) Türkmençe / تركمن (Turkmen)
 * 208) Twi
 * 209) Удмурт (Udmurt)
 * 210) Українська (Ukrainian)
 * 211) اردو (Urdu)
 * 212) ئۇيغۇرچە / Uyƣurqə (Uyghur)
 * 213) Ўзбек / Oʻzbekche (Uzbek)
 * 214) Vèneto (Venetian)
 * 215) Volapük
 * 216) Võro
 * 217) Walon (Waloon)
 * 218) West-Vlaoms (West Flemish)
 * 219) Winaray (Waray-Waray)
 * 220) Wollof (Wolof)
 * 221) Xitsonga (Tsonga)
 * 222) ꆇꉙ (Sichuan Yi)
 * 223) ייִדיש (Yiddish)
 * 224) Yorùbá
 * 225) Žemaitėška (Samogitian)
 * 226) 中文 (Chinese)]]
 * 227) 粵語 (Cantonese)

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el:Τμήμα:Μετάφραση και διερμηνεία

title: Portal:Translation