text:
Three-finger salute (Serbian)

The three-finger salute (поздрав са три прста); or three fingers, (три прста), commonly known as the Serbian salute (српски поздрав), is a salute which the thumb, index and middle finger are extending. It originally expressed the Holy Trinity, used in oath-taking, and a symbol of Serbian Orthodoxy, while today simply is a gesture, distinctive sign for the ethnic Serb and a symbol for belonging to the Serbian nation.

The salute usually goes along with the Serbian flag, using several semantic layers to depict its historical meaning, while also being used a symbol of Serbian ethno-nationalism. However, the significance of the salute is diverse: although it has been widely used by nationalists, it cannot be monopolized as such; it has been used without aggressive nationalist connotations, i.e. at sport events.

Orthodox symbolism
In Serbian and Orthodox tradition, the number three is exceptionally important. Three fingers are used when signing the cross in Orthodoxy, symbolizing the Trinity. The Serbs, when swearing Oath, historically used the three fingers (collected, as when crossing) along with the greetings "My Holy Trinity" (Serbian: Светог ми Тројства / Svetog mi Trojstva) or "for the Honorable Cross and Golden Freedom" (за крст часни и слободу златну / za krst časni i slobodu zlatnu) during formal and religious events. The salute was often made with both hands, raised above the head. Serbian peasants sealed a pledge by raising three fingers to the face, the face being "the focus of honour" in Balkan culture. A Serbian proverb goes "There is no cross without three fingers" (нема крста без три прста / nema krsta bez tri prsta). Karađorđe was appointed leader of the Serbian rebels after they all raised their "three fingers in the air" and thereby swore Oath.

The three fingers were viewed as a symbol of Serbdom in the 19th century. Njegoš mentioned "the crossing with three fingers has not remained" when speaking of the Islamization of Serbs, a central theme in the 1847 The Mountain Wreath. The 1888 Paja Jovanović's painting, The Takovo Uprising, depicts Miloš Obrenović holding a war flag and saluting with three fingers. The Serb-Catholic movement in Dubrovnik, which supported that Serbs had three faiths (Orthodoxy, Catholicism and Islam), criticized the Pan-Serbists who according to them only "truly believed those Serbs, who cross with three fingers". A short story published in 1901 surrounds a Serbian despot meeting with a Szilágyi, who has the despot's three fingers cut off by Franciscan friars after discussing the right way of crossing.

Serbian Metropolitan Nikolaj Velimirović called for a Serbian salute in which three fingers were to be raised along the greeting: "Thus Help Us God!". In 1937, Velimirović began a sermon protesting the Catholic support for separation of state and religion in Yugoslavia with "Raise three fingers, Orthodox Serbs!".

During World War II, the Catholic church in Independent State of Croatia sought that the Serbs renounce crossing with three fingers. A letter from the Chetniks to the Yugoslav Partisans stressed that the real government was in London (in exile) and that they would kill all who did not cross themselves with three fingers. An Ustashe song went "Gone is the crossing with three fingers" (Nesta krsta sa tri prsta) which was referred to Muslim daily ablution and the Orthodox way of making the sign of the cross.

Modern form
Vuk Drašković, the leader of the Serbian Renewal Movement political party, said in a 2007 interview that he first used it in 1990 at the founding meeting of the party, inspired by Paja Jovanović's painting. During the March 1991 street demonstrations in Belgrade, the three fingers were massively used by Drašković's supporters, representing the three demands that the Serbian Renewal Movement had put before the government.

Usage
Nowadays, the salute is used in wide variety of events: from street demonstrations and celebrations, rallies during election campaigns (used by members and supporters of almost all Serbian political parties), to sporting events and personal celebrations (wedding and birthday parties).

Usage by Serbian athletes is particularly visible. Serbian tennis player Novak Djokovic often raises three fingers after his victories. In a famous photograph of the Red Star Belgrade team celebrating their victory at the 1990–91 European Cup, eight players are seen using the Serb salute, while a Croatian player, Robert Prosinečki, is not. After winning the 1995 European basketball championship, the entire Serbia and Montenegro's team displayed the three fingers. Aleksandar Đorđević says he flashed the three fingers "not to be provocative. Just: that's Serbia, that's us, that's me – nothing else. It's my pride." Serbian water polo player Aleksandar Šapić said in 2007 that "I know that it was used by soldiers in war, but I do not raise three fingers because I hate someone. I respect all peoples, and know what is in my heart."

Controversy
A 1998 Serbian daily newspaper Politika published an article that spoke of the "perennial demonization" of the salute, "which had already entered the catalogue of planitarian gestures", together with the closed fist, outstretched palm and V sign.

Croats, Bosniaks, and Kosovar Albanians, who have been at war with Serbs in the past, find the salute provocative.

Yugoslav wars
During the Yugoslav Wars, the salute was widely used as a Serb symbol. In the prelude of the Bosnian War, Bosnian Serbs were encouraged to vote in the 1991 referendum through posters which displayed the three fingers. During the wars, Serb soldiers raised the three fingers as a sign of victory.

When Russian peacekeeping troops entered Sarajevo in 1994, they used the salute when greeting the Serb troops, and because of this, they were branded pro-Serb; the UNPROFOR used the Serb salute when greeting the Serbs, and the V sign when greeting the Bosniaks, showing impartiality.

In 2006, the United Nations published the case titled IT-00-39-T from the International Criminal Tribunal for the former Yugoslavia, describing several atrocities committed by Serb military and police forces on Bosniak and Croatian civilians on 20 July 1992, in the villages Keratem, Omarska and Trnopolje. Detaines were executed, humiliated, and were forced to spit on the Bosnian flag and do the three-finger sign.

There were instances when non-Serb captives were forced to use the salute. According to a BBC documentary about the Srebrenica massacre, Bosnian Serb forces transported Bosnian civilians in buses to the village of Tisca. During the travel the civilians saw Chetniks showed the three-finger symbol and when they arrived, Serb police forces forced them to surrender them to hand over gold and jewellery and threatening to chop off the women's breasts.

In 2008, The Bosnian newspaper Oslobođenje published a coverage of the arrest of Radovan Karadžić. The paper accusingly compared the leaders of Republic Srpska with those of the wartime era in the front paper depicting Milorad Dodik next to Karadžić with a photograph of Dodik giving the three-fingered salute during the war.

In 1999, Human Rights Watch obtained photographs from the KLA administration in Peć depicting Serb soldiers carrying assault rifle, doing the three-finger salute and standing in front of burning houses. KLA officials told the Human Rights Watch that the photographs had been found in the homes of ethnic Serb citizens in the Peć area after Serbian forces withdrew from Kosovo earlier that year.

In 1999, after the NATO bombing of Serbia, Colin Woodard wrote about thousands of Serbian Americans who filled the park opposite the White House on Pennsylvania Avenue, shouting "Kosovo is Serbia" and "Stop the bombing", while wearing military caps and making the three-finger salute.

In 2001, after the end of the Kosovo war, the UCPMB forces were to hand over themselves to the KFOR, however, an incident occurred when Serb forces shot dead a UCPMB senior commander (who was not keen on the agreement with the KFOR) as he accidentally drove into a village where Serb generals led a parade giving the Serbian three fingered salute.

Recent controversies
2007 Eurovision winner Marija Šerifović used the salute when celebrating points; controversially, she used the salute when receiving the maximum of 12 points from Bosnian viewers, after which Bosnian media reported it as being used as a direct provocation. The Swedish-Serbian National Association called it 'ridiculous', saying that the salute is not to be mistaken in that way, but viewed as nothing more than 'a modified V sign', even though the three finger salute is older than the V sign.

Rade Leskovac, president of a Serb minority party in Croatia, caused controversy in 2007 when election posters featuring him with the salute were posted around Vukovar.

In 2001, Australian football team Perth Glory's Bobby Despotovski (of Macedonian parentage) was sanctioned by the Australian Soccer Federation for giving the salute to the predominantly Croatian-community crowd at a Melbourne Knights home game and inciting a fight; Despotovski and coach Bernd Stange were subsequently assaulted by Knights fans, forcing the next fixture between the sides to be moved to Launceston.

The salute was met with controversy in Turkey after Duško Tošić, playing for Beşiktaş, used the salute after Serbia won over Albania in the guest match in the UEFA 2016 qualifiers; Beşiktaş fans threatened him through Turkish media.

In the 2022 World Cup, FIFA opened a disciplinary case against Croatian fans following their taunting of the Canadian goalkeeper Milan Borjan, born in an ethnic Serb region of Croatia that was part of the conflict in the 1990s. Fans chanted 'Borjan is an Ustaša', referring to the pro-Nazi regime which exterminated Serbs, Gypsies, and Jews in Croatia and Bosnia during World War II. In response to the taunting, he showed the three-finger salute.

title: Three-finger salute (Serbian)


text:
User:Jhocking

Joe Hocking
 * newArteest - Digital art

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

title: User:Jhocking


text:
Johann Georg Tralles

Johann Georg Tralles (15 October 1763 – 19 November 1822) was a German mathematician and physicist. Image Bordeaux-Paris 1911 - Jules Masselis.jpg N

He was born in Hamburg, Germany and was educated at the University of Göttingen beginning in 1783. He became a professor at the University of Bern in 1785. In 1810, he became a professor of mathematics at the University of Berlin.

In 1798 he served as the Swiss representative to the French metric convocation, and was a member of its committee on weights and measures. An iron "committee" meter, a duplicate of the prototype archive meter, was then given as a gift to Ferdinand Rudolph Hassler. From 1803 until 1805 these two men worked together on a topological survey of the Canton of Bern.

In 1819, he discovered the Great Comet of 1819, Comet Tralles, named after him.

He was the inventor of the alcoholometer, a device for measuring the amount of alcohol in a liquid.

He died in London, England. The crater Tralles on the Moon is named after him, as is the alcoholometer he invented.

title: Johann Georg Tralles


text:
Talk:Field of view

Field of View vs. Visual Field
The article currently implies that the field of view and the visual field are the same thing. I believe that they are actually so different that they would deserve separate articles. To me, the field of view is more related to a specific situation, like "my field of view was blocked by a truck (and therefore I could not see the bicycle crossing the street)", while the visual field is an abstract concept in the sense of a 2D-image representation of the real world by the visual system. --Dontaskme 19:05, 22 August 2005 (UTC)

 * Uh. I fail to see the distinction you are making. Graft 19:38, 22 August 2005 (UTC)

 * OK, I'll try to make a better effort in explaining what I mean. The article states (correctly, as I believe), that "the field of view is the part of the observable world that is seen at any given moment." That means, it relates to a specific situation in which the person (or animal or machine) is interacting with it's environment. In a more limited definition, the field of view might only be considered that part that is currently relevant for the person's task or action, and irrelevant objects that are blocking the view are shrinking the field of view even though these objects are of course visible (cf. my example above with the truck). The visual field, on the other side, is a mapping of retinal locations to the real world, that is unrelated to any specific situation. It's more a philosophical-physiological concept. Maybe, one could say that the visual field is the 'sum' of all receptive fields. But since the definition of "receptive field" usually uses the term "visual field", this is not very helpful. Another example: If you look into a rear-view mirror and observe the traffic behind you, your field of view is partly behind you. The visual field, however, is unaffected by the mirror, in the sense that it is a 2D mapping between the outer world and the retina. Only, there happens to be a mirror in the visual field that shows things that are behind you. I'm afraid that this new explanation does not really help much more. The article cited here might help us, but I don't have it right now. If I find time, I'll get it.--Dontaskme 20:19, 22 August 2005 (UTC)

 * I have now read the above-mentioned article. According to the author, the term 'field of view' refers to "the physical objects and light sources in the external world that impinge on the retina." The visual field "forms the input to the computational mechanisms of the brain [...]". In contrast, the term 'visual field' refers to "the spatial array of visual sensations available to abservation in introspectionist psychological experiments". The visual field "forms the output of the representational mechanisms of the brain". While this is not exactly what I said originally, I would more or less agree with this definition, though the use of the term "visual field" in neurology and ophthalmology seems to be slightly broader that the one cited. Dontaskme 23:35, 19 September 2005 (UTC)

 * Something more to add: Today, I asked a colleague of mine whose main area of work are visual field defects. She also believes that that the visual field and the field of view are two different things. If there are no objections, I will try to split the current article into two that hopefully accurately describe the two things. Dontaskme 22:24, 20 September 2005 (UTC)

 * I have now created an extra visual field article. Eventually, some of the information from the field of view article should be moved over there. Dontaskme

 * I disagree with this distinction - if you mean to say, "field of view" implies everything I can see, whereas "visual field" means the portion of physical space that maps to my retina, I think the two are identical. In your above example, you assert that the rear-view-mirror increases your "field of view". Not so - that's only because your brain further interprets the image of the mirror to mean that which is behind you. In point of fact you can only ever see a specific subset of radians. Graft 14:51, 3 October 2005 (UTC)

I agree with Dontaskme. The information and images regarding visual field loss are better suited in Visual field, so I have moved them. There is probably quite a bit of information that should be there instead of here. AED 22:22, 2 October 2005 (UTC)

 * I agree with Dontaskme in that there is a confusion of concepts here. As a vision scientist working on the human visual field I am confident to say that the term “field of view“ is rarely if ever used in scientific writing on human vision to describe “the extent of the observable world that is seen at any given moment”. The proper term there to describe that extent is the “visual field”. If the term “field of view” is used in the context of human vision it is, as Dontaskme said, to describe a restriction imposed by apparatus (e.g. in “Restricting the field of view: Perceptual and performance effects. PL Alfano, GF Michel - Perceptual and motor skills, 1990”).
 * If judged by the stated definition, the two concepts seem to agree, as Graft said. However, for human vision the above definition is vague because it is not clear what “seen at any given moment” means: That seems to exclude eye movements (as required for the definition of the visual field), but what is seen at any moment, i.e. the percept, is some integration across saccades.
 * (With respect to the term FOV in human vision, there is further the concept of a “useful field of view” (UFOV) which is something different altogether.)
 * For animals, the use of terms seems to vary across species. For monkeys, which are similar to humans, the term "visual field" dominates in Google Scholar. For spiders, FOV dominates a little.
 * So to be consistent with current terminology, the term FOV in the section “Humans and Animals” should (at least for humans) be replaced by “visual field”. Otherwise the section could stay mostly unchanged or could be moved to “Visual Field”. (The entry “Visual Field” currently has problems of its own.) Strasburger (talk) 23:00, 6 May 2015 (UTC)

Future expansion topics
Would be useful to have a general discussion of the FOV of various movie cameras, video games, and 360-degree Circlevision cameras. Tempshill 18:04, 2 November 2005 (UTC)

Field of view vs. Angle of view
How does Field of view relate to angle of view? This article currently states that humans have a 180 degree field of view, but angle of view says that a fisheye lens has an angle of view of 180 degrees, and human eyes don't have fisheye lenses. Hackwrench 04:46, 13 September 2006 (UTC)

 * The two are really the same, just that one or the other is more popular in certain contexts. Angle of view is always measured in angular units (degrees, radians, and so on), but "field of view" is often used if non-angular units are used (such as "200 feet at 1000 yards" for the field of view of a pair of binoculars).  Humans with normal vision have a 180-degree field of view/angle of view (at least, from left to right; might be smaller up to down--it is for me anyway), approximately, and so do fisheye lenses (which compress the field of view, such as onto a flat photograph).--Todd 17:49, 13 September 2006 (UTC)
 * But wouldn't that mean one should be able to see something flush with the eye, the eye looking forward, no matter how far away from the side of the face it moves? I'm trying to figure out how it relates to generating 3d computer models in the proper perspective. I think that a significant number of readers will be coming here with that in mind. Hackwrench 20:23, 14 September 2006 (UTC)
 * As is discussed in the article, acuity varies across the visual field - peripheral vision is much weaker for regular daytime vision since there's far fewer rods and cones than in the macula. So, to say that you can "see" something at 90 degrees to your left or right is strictly true, but you may not be able to see it very well. However, you're pretty good at detecting motion there. Not really sure what this has to do with 3d computer models... Graft 21:26, 14 September 2006 (UTC)

The article stated:
 * The field of view (also field of vision) is the angular extent of the observable world that is seen at any given moment.

and
 * Although related, FOV is not exactly the same as angle of view; FOV is measured in linear, spatial dimensions (feet, inches, metres, etc) whereas AOV (more properly called the angular field of view) is measured in degrees of arc.

I have amended the former to be more general. —DIV (138.194.12.32 (talk) 04:04, 13 November 2009 (UTC))

Birds with 360-degree field of vision?
The article states that some birds have a complete field of view of 360 degrees. The statement absolutely needs a source or examples of such birds. --Gwaur (Spokening) 16:34, 1 June 2007 (UTC)

 * I agree. The claim seems dubious, and I marked it as such. --Stybn 21:01, 2 June 2007 (UTC)

 * Claim is not dubious - Look up American woodcock. —Preceding unsigned comment added by 140.247.236.228 (talk) 22:01, 20 October 2007 (UTC)

 * Indeed, this claims that the American Woodcock has 360° vision, citing: Keppie, D. M., and R. M. Whiting, Jr. 1994. American woodcock (Scolopax minor). In A. Poole and F. Gill, editors. The birds of North America 100. Academy of Natural Sciences, Philadelphia, Pa. American Ornithologists' Union, Washington, D.C. 28 pp. I'm not hunting that down, but I'm removing "dubious" tag. --Stybn 08:06, 21 October 2007 (UTC)

 * Predatory animals often have both eyes facing forward, to maximize depth perception via parallax (eg lions). The price for overlapping the field of view of each eye is a smaller field of view overall. Conversely, many non-predatory animals (eg horses) have eyes which basically point more in opposite directions, giving them a huge field of view (so they can see the lions coming) but little parallax (so they're more likely to trip over the lion). Of course there are also many, many exceptions to this rule (eg octopi). Redbobblehat (talk) 00:18, 25 August 2008 (UTC)

Diagonal Field of View for Wide Angled Lenses
There is an apparent problem with the diagonal field of view for very wide angled lenses. When looking at a scene with a very wide angled lens, the vertical and horizontal fields of view are fairly well defined, but the diagonal ones are a problem. In a digital camera for example, I have noted that if a lens and sensor system is so designed that a 640x480 pixel array fits tidily into a lens image circle, then the light falls off towards the corners of the pixel array, as the corners of the pixel array tend towards the edge of the image circle. Thus, the corners of the image become darker and darker until they fade to black. So the question arises, how does one define the field of view here? Is it best to say that the diagonal field of view periphery is corresponds to the pixels that are receiving x% of the light falling on the centre.

I have seen several treatments of this online, but it seems to me that the only good way to do this is to agree an --x-- % relevant to the application and test the lens / sensor system pointing at a evenly lit white target.

Are there any thoughts on this out there? -- PD 19:55, 1 August 2007 (UTC)

 * The problem you have is vignetting, which is measured by relative illuminance across the image. Field of view is not an optical measurement of image quality, but a way of measuring spatial geometry; describing how a (theoretically perfect) camera relates to its environment. If the vignetting is mechanical, the field of view may be considered circular rather than rectangular, and the reason it appears blurred is because the offending aperture (whatever it is) is out of focus. Geometrically, however, the edge of the circle can be measured definitively. Redbobblehat (talk) 21:58, 24 August 2008 (UTC)

Dubious definition
All the photography books I can find define FOV as what we call angle of view, not the unsourced definition in this article. Does anything know why it says what it does, or where to get a source for it? Dicklyon (talk) 06:54, 17 December 2010 (UTC)

More Neutral Image
In case a illustration of equal quality, not featuring a military drone, could be found I would find this more tasteful. — Preceding unsigned comment added by 129.206.128.16 (talk) 07:36, 17 June 2015 (UTC)
 * Find one then. Seems perfectly OK to me at the moment. Grognard Extraordinaire Chess (talk) Ping when replying 00:18, 16 October 2015 (UTC)

I concur that the images of a military drone were incongruous and not particularly relevant to the article's likely readers. I have replaced them with images from elsewhere on the Wiki illustrating the FOV for humans. --Toddfast (talk) 18:20, 30 October 2020 (UTC)
 * It's a nice image, illustrating the FOV of the telescope, and fits well for the article. It is not related to the FOV of humans, however, so I have changed the legend slightly. Strasburger (talk) 07:50, 1 November 2020 (UTC)

Italian Content?
Why is not possibile to add italian language link to this page? (https://it.wikipedia.org/wiki/Campo_visivo) thank u — Preceding unsigned comment added by White wolf (talk • contribs) 02:05, 17 February 2016 (UTC)

Article is misleading or incorrect
I don't have the time or resources to dig into the cited articles, but the 210 degree figure is incorrect for what I believe this article is meant to explain. I believe this is a case of conflating the full range of vision when allowing eye movement with the range from unmoving eyes focused forward. There are many sources which put a the "forward facing" horizontal range at 120-130 degrees. Diagrams that include the 210 degree figure usually make this distinction clear. The vertical range is less of an issue, since the limiting factors (cheek and brow) are give approximately the same range as the eye in any case.

If the article IS about full "looking around" field of view, then there are several misleading statements in the text. LordQwert (talk) 18:50, 27 March 2021 (UTC)

 * You might be confusing the (size of the) field of view with the (size of the) visual field. The latter is about 210° horizontally or plus/minus 105° to the side. Per definition, this is without eye movements. The reason why this is more than the often-cited plus/minus 90° = 180° is explained in ref 6 (online). In brief, it is because light rays that enter from the side are refracted at the cornea. There are two figures in ref 6 (Fig. 8 and 7) which explain this.
 * I have not seen references with 120-130 deg (I believe that is incorrect). Please give a source.
 * Strasburger (talk) 20:35, 27 March 2021 (UTC)

 * The entire second paragraph of "Humans and Animals" is explicitly talking about "visual field". One specific sentence:  "Humans have a slightly over 210-degree forward-facing horizontal arc of their visual field."  At this point I don't know whether Field of View or Visual Field is the term which refers to "centrally focused eye positions" measurements, but whichever it is, the talk about "Visual Field" should be in the "Visual Field" article, not the "Field of View" article.  LordQwert (talk) 17:51, 15 April 2021 (UTC)

 * The section Humans and animals is about the FoV of humans and animals from what I can see. The distinction between FoV and VF is often not clear cut (think of animals that have no eye movement). So just removing the content will not work.
 * For the 210° figure, I have added "(without eye movements)" so that it is not ambiguous. With eye movements allowed, it will be slightly larger but I have no reference for how much. Strasburger (talk) 10:19, 16 April 2021 (UTC)

 * I agree, btw, that much more should be said about the FoV or visual field for different species but this is a thorny issue because much of what is floating around on this matter is of dubious quality. Strasburger (talk) 10:27, 2 May 2021 (UTC)

Panoramic image at bottom of article is misleading
The image at bottom of page is misleading as it does not properly illustrate the topic. I have removed one sentence (improper description of image process and content). The image is is a stitched together composite of multiple original images mapped onto a distorted plane to give an illusion of the edge of a fish-eye lens effect at the apex of sky dome. The image is striking but confusing. I suggest the image be removed until a better example is found. Perhaps a panoramic image with superimposed lines that mark of binocular and peripheral fields and the points at which a humans head must be turned to bring additional areas into view. — N eonorange (talk to Phil) (he, they) 08:45, 3 March 2022 (UTC) —

 * The image is indeed misleading: it has nothing to do with human or animal vision. Perhaps it is a left-over from previous sections on equipment like cameras or telescopes etc? Adding markers for aspects of human vision will make it even more confusing (since the concept of the FoV is not terribly well defined for humans). So I agree the image should be removed from the section on human and animal vision. Perhaps it could go to the astronomy section? Or, as a first step, be moved to the talk page (but then better put the explanatory sentence back in, to know what it was intended to show, namely the hypotheticl FoV of the entire telescope, including something like camera movements). Strasburger (talk) 13:14, 3 March 2022 (UTC)

Perceived Size
In the edit of 4 Aug. 2023, some information was moved from “Angle of view (photography)” to here (FoV), among it a section on perceived size. The latter, unfortunately, is ill-conceived, transporting the popular myth that angular size determines perceived size. It is further unrelated to the field of view since that refers to the overall size that is seen, not to its content. I therefore deleted the section in the article and moved it back to the “Angle of view (photography)” talk page, in case somebody wants to do something with it. Strasburger (talk) 11:12, 8 August 2023 (UTC)

title: Talk:Field of view


text:
User:Jukeboksi/Studies/2004

Business law
See also:
 * '''Business law
 * Commercial law
 * list of business law topics

Exam: Wed 8.12.2004 08:20

Book: An introduction to Finnish law, Kauppakaari -> Finnish Lawyers Publishing, Second Edition 2002

Essential chapters:

 * Chapter one Introduction 1-20
 * Chapter two Sources of law and material on sources of law 21-30
 * chapter three Constitutional law and Human rights 31-56
 * chapter four Law of obligations 59-111
 * chapter five Business law 115-166
 * chapter seven Property law 211-244
 * chapter eight Intellectual property law 245-312
 * chapter ten Legal procedure 357-402

Business economics
See also:
 * Economics for an overview
 * list of economics topics provides a complete list of all economics topics
 * Category:Economics gives an alphabetical listing of articles in that category

Portfolio tasks
 * 1) Read Unit 7 and compose a summary of it

Goals

Microeconomics

Themes
 * Price theory
 * Demand theory
 * Theory of the firm
 * Production

Learning
 * pricing products
 * price change based on demand
 * elasticity (economics) measurements
 * market behaviour
 * cost analysis

 * Scarcity
 * Economic demand

 * Free market
 * Equilibrium

 * Elasticity (economics)

 * Demand theory
 * Supply
 * Supply and demand

August 24. 2004

 * Scarcity
 * Adam Smith
 * The Wealth of Nations

August 31. 2004
Types of economy:
 * the free market economy
 * the command economy
 * the mixed economy

Factors of production:
 * Land
 * Labor
 * Capital
 * circulating capital
 * fixed capital
 * Entrepreneurship

Every economy is made of three sectors:
 * Primary sector of industry
 * Secondary sector of industry / manufacturing section
 * Tertiary sector of industry / service sector

Specialization requires markets

 * Ceteris paribus

September 7. 2004

 * Specialization necessitates trade
 * Money is the primary medium of exchange

 * Supply
 * Demand

 * Goods:
 * Normal goods
 * Inferior goods
 * Giffen goods
 * (Veblen good not included in study material)

 * Elasticity (economics):
 * price elasticity of demand
 * price elasticity of supply

September 14 2004

 * Monopoly (Oligopoly)
 * Wasteful competition
 * Public goods
 * Merit and demerit goods
 * Externalities
 * Information failure
 * Inequalities

Financial and management accounting
See also:
 * Category:Finance
 * '''List of finance topics is huge
 * See subsection Corporate finance for most relevant links
 * list of accounting topics:

August 27. 2004

 * Accounting, Financial accounting, management accounting
 * Finance, management

 * The balance sheet
 * Assets
 * Liabilities
 * Entity
 * Transaction
 * Account
 * Inventory
 * Accounts receivable
 * Accounts payable
 * Compound entry
 * Creditor
 * Debtor
 * examples of balance sheets

Self study: Pages 16-27
 * Definitions & explantations for all the key (bold) terms
 * Stockholders == roughly the same as shareholders (see p. 19), stakeholders is a wider concept, incl. all internal as well as external groups and parties having an interest in the corporation
 * Relationship between Stockholders, Board of directors and Managers (Personnel)
 * Role of a controller vs. that of a treasurer in a corporation
 * Sole proprietorship (sole trader)
 * Partnership
 * Limited liability
 * Owners' equity
 * Stockholders' equity
 * par value (stated value)
 * paid-in capital
 * Common stock
 * Stockholders elect Board of directors which appoints Managers
 * Auditor
 * Certified public accountant (CPA)
 * Audit
 * public accountant
 * private accountant

September 3. 2004

 * Annual report
 * Balance sheet equation
 * Notes payable
 * Open account
 * Account payable

September 10. 2004

 * Exercises 1-20 to 1-22 on page 32, recommended
 * 1-23 to be done individually
 * 1-25 on p.33 altogether
 * Net-presentations: Chapters 1 & 2 verry quickly to get to know the key issues

 * Chapter 2, study carefully for the next time (three weeks to study)
 * p. 42-54 "Introduction to income measurement"
 * p. 44-48 "measuring income"
 * p. 48-54
 * p. 54-56 The income statement

 * Very quickly only: Statement of cashflows p.56-57
 * Problems and solutions No. 1-3 on p. 57, 63 & 69
 * Questions 2-1 to 2-9, p. 71
 * pages 74-77, exercises 2-35 and either 2-40 or 2-42

 * No lectures next or the week after that

See also:
 * Category:Finance
 * '''List of finance topics is huge
 * See subsection Corporate finance for most relevant links
 * list of accounting topics:

October 22. 2004
Summary

Chapter 4

p. 132 Transactions
 * Implicit
 * Explicit

Adjustments

p. 134 Unearned revenue

p.145
 * Current assets
 * Current liabilities
 * Working capital (==käyttöpääoma) = Current assets - non-interest bearing current liabilities

p.146
 * Current ratio
 * Solvency

p.154
 * Return on sales (ROS)
 * Return on equity (ROE)
 * Return on investment (ROI)

p. 156
 * FASB defines GAAP (US)
 * IASB defines IFRS (formerly known as IAS
 * SEC Securities and Exchange Comission

Procurement and supply chain management (logistics)
Exam is on 13.12.2004 11:00-13:45 or alternatively an oral exam

See:

Procurement & Logistics: Categories:
 * Supply chain
 * distribution
 * supply chain management
 * Category:Commercial item transport and distribution
 * Category:Logistics

International trade:
 * List of international trade topics

August 23. 2004
Procurement is "Hankinta" in Finnish

SCM stands for Supply chain management

Procurement includes: Order, Supply, Delivery, Product Research, Payment, Price, Customer satisfaction

August 30. 2004
Read pages 1-35 from the book in advance:

Supplier evaluation variables:
 * ISO 9000
 * Price
 * Delivery
 * Quality
 * Service

 * Outsourcing
 * Just In Time (JIT)

 * Form utility: raw material, SFP, FP
 * (CRM)
 * (CNC)

September 6. 2004

 * Purchase order
 * Production plan
 * Production order

Documents: List of business documents

 * LOI - Letter of Intent
 * Letter of Credit (L/C)
 * Invoice
 * Bill of lading sea transport document

 * SWIFT (Society for Worldwide Interbank Financial Telecommunication)

Links
 * http://www.purchasing.com
 * http://help.sap.com
 * http://www.export911.com/e911/ship/ship.htm
 * http://europa.eu.int/comm/dgs/energy_transport/index_en.html

Schedule Part I Logistics, supply chain management 23.8.-18.10.2004

Logistics activities 23.8-18.10.2004

 * Consepts: The Basics
 * Sourcing
 * Purchasing process
 * Procurement process
 * Integrated Logistics
 * Customer service
 * JOT
 * Service response logistics

Part II
 * Inventory management
 * Inventories costs
 * EOQ == Economic order quantity
 * Transport management
 * Transportation modes
 * Containers
 * Transportation documents

Part III Logistics simulation 25.10-29.11.2004
 * Simulation cases

Project management
See also:
 * list of management topics
 * list of human resource management topics
 * list of production topics

August 23. 2004

 * Concept and definition of a project
 * Project management
 * Project cycle management, from conception to implementation
 * (New product development)
 * Knowledge areas in project management
 * Qualifications of a good project manager
 * Planning analyses: SWOT analysis, problem analysis
 * Project plan and budget
 * MS Project as a planning tool
 * Implementation, monitoring, reporting
 * Project organisation and stakeholders
 * Project communication
 * Risk management
 * Closure, exploitation and distribution of results
 * Special features of international projects

Characteristics of a project: it has...
 * Unique & concrete results
 * Limited time (beginging and an ending)
 * Plan
 * Team
 * Target
 * A Leader
 * Work
 * Limited resources

Classically defined as projects:
 * New product development
 * Research
 * Development (operational)
 * Delivery
 * Investments

August 30. 2004
...

Basics of marketing
See also:
 * list of marketing topics

September 3. 2004

 * Top management (Strategic management): Long term planning (3-10 yrs) == Strategic planning (usually 5 yrs)
 * Middle management: Operational management (1-2 yrs)
 * Creating marketing mix strategy
 * How to allocate resources
 * Day-to-day business
 * SBU - Strategic Business Unit

 * Environmental scanning

 * SWOT Analysis:
 * 1) Strenghts
 * 2) Weaknesses
 * 3) Opportunities
 * 4) Threats

Computing A
list of information technology management topics:

Mathematics for business

 * Wikibooks: Algebra
 * Mathematical economics

August 24. 2004
Algebra refresher:
 * Sets and Real numbers
 * Integers
 * Natural numbers
 * Irrational numbers

 * Transitive property
 * Commutative property
 * Associative property
 * Inverse property
 * Multiplicative inverse
 * Reciprocal
 * Distributivity

August 30. 2004

 * Exponents and radicals
 * Factoring
 * Fractions

September 7. 2004
Chapter 1: Equations
 * 1) Linear equations:
 * 2) Theory pp. 36-37 quickly together
 * 3) Examples #3-7 on pp. 39-41 individually
 * 4) The odd ones of exercises #1-30 on pp. 41-42
 * 5) Equations leading to linear equations
 * 6) pp. 42-45 together
 * 7) The odd ones of exercises #1-38 on pp. 46-47

Ekonomisvenska
http://sv.wikipedia.org

75% attendance - below that will lower the grade

Literature: H0991E/5 Fabritius/Melkko Samspel WSOY, pages 8, 10-12, 17-28, 50-55, 60-64, 67-68, 70, 91-94, 98-103, 115-117, 119-120, 122-126

Wordtest: Oral exam: Written exam:
 * 29.9.
 * 17.11.
 * 24.11.
 * 1.12.

25.8.04
Next time: Exercise 4

Basics of French

 * Wikibooks: French
 * Wikipedia en François

title: User:Jukeboksi/Studies/2004


text:
Tilbury District High School

Tilbury District High School is a high school located in Tilbury, Ontario. It is part of the Lambton Kent District School Board.

History
The school was built in the 1940s. It was expanded in stages throughout the 1960s.

A reduced speed limit zone near the school was proposed in 2020.

The school has had several cases of COVID-19 during the COVID-19 pandemic in Canada. If a provincial moratorium on rural school closures is removed, Tilbury District High School and other schools in the area may close.

title: Tilbury District High School


text:
Wikipedia talk:WikiProject Featured Article Drive/FACVote

To use this template:

When making an FAC nomination on behalf of FAD:

 * 1) Nominate the article in the usual manner
 * 2) Immediately return to the FAC as if you were voting and type the following:

Save the page to complete the process.


text:
Chelys

The chelys or chelus (χέλυς, testudo, both meaning "turtle" or "tortoise"), was a stringed musical instrument, the common lyre of the ancient Greeks, which had a convex back of tortoiseshell or of wood shaped like the shell. The word chelys was used in allusion to the oldest lyre of the Greeks, which was said to have been invented by Hermes. According to the Homeric Hymn to Hermes, he came across a tortoise near the threshold of his mother's home and decided to hollow out the shell to make the soundbox of an instrument with seven strings.

The word has been applied arbitrarily since classic times to various stringed instruments, some bowed and some plucked, probably owing to the back being much vaulted. Athanasius Kircher (Musurgia universalis, 486) applied the name of chelys to a kind of viol with eight strings. Numerous representations of the chelys lyre or testudo occur on Greek vases, in which the actual tortoiseshell is depicted. A good illustration is given in Le Antichità di Ercolano (vol. i. p1. 43). Propertius (iv. 6) calls the instrument the lyra testudinea. Joseph Justus Scaliger was probably the first writer to draw attention to the difference between the chelys and the kithara.

The acoustics of an authentically reconstructed ancient Greek tortoise-shell lyre, known as chelys, was investigated in 2011. Modern experimental methods were employed, such as electronic speckle pattern laser interferometry and impulse response, to extract the vibrational behavior of the instrument and its main parts. Additionally, the emitted sound from the instrument was recorded, under controlled conditions, and spectrally analyzed. Major findings include the concentration of the emitted sound between 400 Hz and 800 Hz, with an amplitude modified in a manner consistent with the experimentally measured vibrational characteristics of the instrument’s sound box and bridge. The experimental results validate the historical evidence that chelys was used in Greek antiquity as an accompaniment instrument to the human voice.

title: Chelys


text:
Julie Gonzalo

Julieta Susana "Julie" Gonzalo (born September 9, 1981) is an Argentine-American actress. On television, she has played Parker Lee on Veronica Mars (2006–2007; 2019), Maggie Dekker on Eli Stone (2008–2009), Pamela Rebecca Barnes on the soap opera Dallas (2012–2014) and Andrea Rojas on Supergirl (2019–2021). Since 2016, she has become a regular in made-for-TV movies on the Hallmark Channel.

Early life
Julieta Susana Gonzalo was born in Ciudad de Buenos Aires, Buenos Aires, Argentina.

She grew up in General San Martín Partido but when she was 8 years old, her family emigrated to Miami Beach, Florida. She began her career as a model, and later became interested in acting, taking theater classes. Gonzalo moved to Los Angeles, and made her feature film debut in the 2002 romantic comedy I'm with Lucy opposite Monica Potter.

Career
On television, Gonzalo debuted in The WB comedy series Greetings from Tucson. In early 2003, she booked the main role in a WB comedy pilot called Exit 9, but the show was not picked up. The same year, she appeared on NCIS. In 2004, Gonzalo starred opposite Tori Spelling in another pilot Me, Me, Me for UPN, which was also not picked up. She also guest-starred in the pilot episode of Drake & Josh in 2004.

Gonzalo appeared in several films in her early career. In 2003, she had a role as Lindsay Lohan's character's rival in Freaky Friday. She played a similar role the following year in the romantic comedy A Cinderella Story, opposite Hilary Duff and Chad Michael Murray, and also appeared in DodgeBall: A True Underdog Story as Justin Long's love interest and Christmas with the Kranks, as Tim Allen and Jamie Lee Curtis' character's daughter. In 2005, she had supporting role in another romantic comedy, Must Love Dogs. Her other credits including 2007 thriller Cherry Crush and the lead role in the 2013 comedy horror movie Vamp U.

In 2006, Gonzalo was cast in a series regular role as Parker Lee on The CW mystery television series Veronica Mars. After the cancellation of the series, she was cast as one of the leads in the ABC comedy pilot called The News. In next year, Gonzalo began starring as Maggie Dekker in ABC legal comedy-drama Eli Stone opposite Jonny Lee Miller. In 2008 she won ALMA Award for Outstanding Supporting Actress in a Drama Series for role in Eli Stone. The series was cancelled after two seasons in 2009.

Gonzalo had been cast as the lead in the NBC's unaired science fiction series Day One in 2009. While originally intended to air on NBC midseason in the 2009–2010 TV season with a 13-episode season, the project became a four-episode miniseries. By May 2010, it was concluded the show would likely never air. She later guest-starred in Castle, Nikita, The Glades and CSI: Miami.

In 2011, Gonzalo was cast as series regular in the TNT revival of Dallas, which premiered on June 13, 2012. Her character, Rebecca Sutter, was later revealed to be Pamela Rebecca Barnes, the daughter of the characters Cliff Barnes (Ken Kercheval) and Afton Cooper (Audrey Landers) from the original series. The series was cancelled after three seasons in 2014. The following years, she starred in a number of Hallmark Channel television movies, as well as guest starred in Grey's Anatomy and Lucifer.

For the 2019–20 season, Gonzalo was cast as Andrea Rojas in the fifth season of Supergirl, as a series regular.

Personal life
In 2013, during an appearance on The Late Late Show with Craig Ferguson, Gonzalo announced that she had become an American citizen in 2011.

In 2017, she met fellow Hallmark Channel actor Chris McNally when they worked together on the Hallmark TV movie The Sweetest Heart. They kept their relationship a relative secret, referring only to a generic "girlfriend" or "boyfriend" when telling personal stories to the press over the following years, until Gonzalo made a surprise June 2022 announcement on Instagram that the couple had just had their first child together.

title: Julie Gonzalo


text:
Soap (shoes)

Soap was the brand name of shoes made for grinding, similar to aggressive inline skating. They were introduced by Chris Morris of Artemis Innovations Inc. with the brand name "Soap" in 1996. They have a plastic concavity in the sole, which allows the wearer to grind on objects such as pipes, handrails and stone ledges. The company and its product rapidly gained popularity through fan sites, a video game and live demonstrations. Soap fell to legal vulnerabilities and was sold twice, eventually bringing the brand to Heeling Sports Limited.

History
Soap shoes were essentially derived from rollerblades and aggressive skating. Chris Morris, a resident of California who worked at RollerBlade in Torrance for over sixteen years, worked to customize a simple shoe that had a ground plate embedded in the sole. The shoe was an average Nike, fitted for sliding.

Concept 21 (a recently founded design firm) was called upon to design a sample so that the product could be finalized. They then formed Artemis Innovations, which would be the company the brand would be sold under for four years. In 2001, Mr. Morris lost control of the Soap license through legal problems. Activity within the company slowed down, and eventually, the remaining executives sold Soap.

In-Stride, a company whose target market was primarily wrestling gear, purchased Soap. In-Stride went bankrupt in late 2002, and Soap was once again available for purchase.

Heeling Sports Limited, the company behind the shoes with a wheel in the sole known as Heelys, realized that the ground plate could be very profitable when paired with their wheel, and acquired Soap later that year. In early 2003, six new Soap shoes were released, each in multiple color schemes; simultaneously, HSL was designing hybrid shoes to sell under the Heelys brand. HSL has been criticized for releasing too many new models at a single time, and not supplying requested stock to retailers frequently enough. There are currently no models of Soap shoes being produced by HSL.

The sport never caught on to the mass market in comparison to, for instance, skateboarding, but the brand "Soap" did have a professional team mostly consisting of former professional inline skaters such as Ryan Jaunzemis, Brandon Smith, Danny Lynch, Paul Cifuentes, Eddie Ramirez, and Ben Kelly (Head of Research & Development, and Soap Shoes' wear-testing team). Soap's heyday was in the late 1990s and early 2000s. when competing crews from across the Americas and Europe were releasing internet videos, spurring an online community of "Soapers." These crews have since disbanded along with the website forums, and now there are few proponents left such as solidgrind.com run by Former Soap team captain Derek Brooks and the Melbourne soapers Facebook Page run by Soap Collector Greg Crellin.

A revival of sorts was noticed in early 2006 as more people were attracted to Soaping, and HSL responded by re-releasing their Express model in limited quantities. Soap Shoes continue to sluggishly regain popularity despite some difficulty due to Heelys using grind plates in addition to their wheels. That was until the recession had hit, which affected HSL significantly. Heelys stock was once 38 dollars per share, and on August 8, 2007, Heelys lost half of its stock value in a single day, falling from $21.99 to $11.42. Now former CEO Michael Staffaroni at the time was expecting significant growth despite the stock plummet.

Soap Shoes at the time managed to have a very successful demo at Xtreme Wheels Skate Park despite HSL's financial problems. A year later, the Soap Shoes Express was discontinued by HSL and liquidation for Soap Shoes began, with representatives from Heelys claiming to "just throw out" anything that was left over. Within a matter of five years, Heelys stock had sunk down to $2.25 per share and was sold to Sequential Brand Group for $63.2 million, taking the soap and other grind shoe patents with it.

Soap shoes in Sonic the Hedgehog
Soap shoes were featured in the video game Sonic Adventure 2, developed by Sonic Team USA in San Francisco. This game presented many billboards, blimps, and benches advertising the shoes; also, Sonic wore a custom version of the Scorcher/Nitro shoes exclusive to the title, while the darker character Shadow wears hybrid jet hoverskate/grind shoes, as grinding (or "soaping") debuted as an important new gameplay element. Grinding remains a core element in recent Sonic games, though officially licensed Soap shoes have given way to the titular character's normal shoes. Soap shoes made their reappearance in Sonic Forces as an unlockable accessory for the Avatar and come in three different colors, one of the colors matching the ones used in Sonic Adventure 2. Soap shoes also appear in Sonic Frontiers as a Bonus DLC for signing up for the Sonic Frontiers newsletter.

Pending the sale of Soap to In-Stride and later HSL, no actions were taken for the continuation of the partnership. However, in two episodes of the anime Sonic X, Sonic's Soap shoes are brought in to give him an advantage over his enemies. The HD re-release of Sonic Adventure 2 retained all of the fictional in-game advertisements, but the Soap shoes advertisements were removed.

title: Soap (shoes)


text:
Talk:Dequeue

Is this definition verified?

I only know the verb "to dequeue" meaning to remove an item from a queue.

It is defined this way in some libraries (check de deque page). 158.109.202.99 16:22, 12 March 2007 (UTC) necKros

title: Talk:Dequeue


text: Talk:Aenesidemus

title: Talk:Aenesidemus


text:
Talk:Prior art

I got redirected to this page while searching for "Novelty search", which is (also) a term from neuro evolution research in computer science. I don't think it has any connection to patent law, so I think it would be good to have a disambiguation page for that lemma first. Thanks! --H3xc0d3r (talk) 18:00, 9 July 2021 (UTC)

title: Talk:Prior art


text: Talk:Soap (shoes)

title: Talk:Soap (shoes)


text:
Mercadante

Mercadante is a surname. Notable people with the surname include:

 * Aloizio Mercadante (born 1954), Brazilian economist and politician
 * Saverio Mercadante (1795–1870), Italian opera composer

title: Mercadante


text:
IB Group 6 subjects

The Group 6: The Arts subjects of the International Baccalaureate Diploma Programme consist of five courses at both Standard Level (SL) and Higher Level (HL): Dance, Music, Theatre, Visual Arts, and Film. The transdisciplinary course Literature and Performance (satisfying the requirements of Groups 1 and 6) is also available at Standard Level. Students seeking the IB Diploma may substitute courses from the other five Subject Groups instead of taking a Group 6 course (see below). A school-based syllabus devised by an IB World School, as approved and externally moderated by the IB, may also form the basis for a course taken in place of a Group 6 course.

Dance SL and HL
IB Dance is available at both standard level (SL) and higher level (HL). For both levels, the candidate must complete an internal assessment, (performance task), and two external assessments (composition and World Dance Investigation).

One of the external assessment components requires candidates to write an analytical essay, (the World Dance Investigation, or WDI), comparing and contrasting two dance styles, one of which is familiar to the candidate, and the other is not. At SL, the WDI is 1500 words, whereas at HL, the WDI is 2500 words and must include a comparison of one short dance excerpt from each of the styles being analysed. At SL, the WDI is weighted at 20%, and at HL, the WDI is weighted at 25%.

The second external assessment component is Composition and Analysis. The candidate is required to choreograph either two dances totalling 6 - 10 minutes at SL, or three dances totalling 8 - 15 minutes at HL. At HL, two of the dances must show clear compositional contrast. One of the dances in this component must be accompanied by an analytical statement (800 words at SL or 1000 words at HL), documenting and reflecting upon the choreographic process. At HL the statement must include a discussion of how other sections of the IB Dance course have influenced the dance being discussed. At SL, Composition and Analysis is weighted at 40%, and at HL, Composition and Analysis is weighted at 35%.

In the internal assessment component (Performance), SL candidates are required to submit one or two dances totalling 3 - 6 minutes, where at least one dance is a solo or a duet, and HL candidates are required to submit two or three dances totalling 6 - 9 minutes, where at least half the time submitted is solo or duet work. For both levels, the dances must be presented at an open showing, and the works must be choreographed by someone other than the candidate. At both levels, short programme notes must be submitted detailing basic information about the dance, including the choreographer's name and the dance's intention. At both levels, Performance is weighted at 40%.

Music SL and HL
IB Music can be taken at either the standard level (SL) or higher level (HL). For both levels of IB Music the candidate must conduct a musical investigation. This requires research of two completely different musical genres with comparable qualities (e.g. Tuvan throat singing and Baroque opera). The information will then be presented in the form of a media script which will be assessed externally.

There are three paths in which the IB Music SL course can be taken: group performance, solo performance, or composition. To fulfill the performance requirements, the candidate must perform either a 15-minute solo recital, or a 20-30 minute ensemble performance. A candidate who chooses composition should compose two original compositions (of which one may be an arrangement of an existing piece of music), each lasting between 3 and 6 minutes. Each of the two compositions should be recorded for assessment purposes. A score of both compositions must also be submitted.

The IB Music HL course combines a medley of the IB Music SL options into a single curriculum. To satisfy IB Music HL, the candidate must perform solo for a total of 20 minutes and write three contrasting compositions (of which one may be an arrangement), each between 3 and 6 minutes.

All candidates sit a written exam at the end of the course, which lasts 3 hours for HL candidates and 2 hours 15 minutes for SL candidates. HL and SL candidates answer two questions from section A (study of two prescribed works), of which one MUST be a comparison between the two prescribed works. HL and SL candidates are also required to complete Section B of the exam, which is aural analysis of four previously unheard extracts, of which two are named, and one has a score provided. Two candidates are unnamed and do not have a score provided. HL only candidates must also complete section C, a comparison of two extracts from section B. Section A responses must be written in essay form. Responses in sections B and C may be in bullet points.

Further details of the course can be found in the IB Music Wikibook.

Theater SL and HL
According to the new syllabus introduced in 2009, the IB Theater Arts programme is made out of four components; two are internally assessed and two are externally assessed. The internal assessments are the Theater Performance and Production Presentation (TPPP) and the Independent Project Portfolio (IPP). The external components are a Practical Performance Proposal (PPP) and a Research Investigation (RI).

The TPPP is a presentation on the student's involvement in their performance and production aspects of all areas of the core syllabus. The presentation is 30 minutes long for HL and should be supported by 7–10 visual materials (no larger than A4). For SL, the presentation is 20 minutes long and should be supported by 5–7 visual materials (no larger than A4).

The IPP is a portfolio of 3000 words at HL and 2000 at SL in which the student reflects on his/her learning and development during the production of an independent project, which is a project in which the student explores and practices a role in the theater (actor, director, dramaturg, scriptwriter, etc.). It should also show a connection to their experiences in the core syllabus. There are two options: Option A: Devising Practice and Option B: Exploring Practice. The portfolio must include sections marked Preparation, Action, and Reflection.

For the PPP, the student has to adopt a directorial perspective and write a concept for a play using one of the prescribed stimuli. For SL, it contains a 250-word pitch and explanatory, visual material that illustrates the student's understanding of the intended process of realization. For HL, it also includes a 1,000-1,250 word rationale.

The RI is a research essay in which the student presents his or her research on a previously unfamiliar theater practice. From the chosen theater practice, students should choose a specific aspect of a play or theater piece and create a research question to answer. Student's research should contribute to a realization of the play or theater piece from their chosen theatrical practice. The practice cannot be studied in class and must be no later than the 19th century. The question must be taken from a directorial, actor, or designer perspective. For SL, the essay must be 1,500-1,750 words with visual documentation and/or textual references. For HL, the essay must be 2,000-2,500 words with visual documentation and/or textual references. At HL, students must also write a critique of the sources in the research investigation.

Visual Arts SL and HL
There are two areas of focus in the IB Visual Arts subject. The first is studio (practical work) and the second is the research workbook (known as the Investigation Workbook). The Visual Art program aims to teach the student about design, structure and the aesthetic development of work. The candidates must demonstrate creative and personal thinking, feeling and interaction with their work.

The exam for Visual Art encourages the candidate to articulate their concerns and development over the course of the two years of study. An exhibition will be held at the candidate's school showcasing the candidate's work and is assessed by his/her teacher. The assessment is an interview where the candidate talks about their exhibited works, this interview is recorded and sent overseas for moderation. However, the alternate to the interview process is to write a 1000 word statement on your IB journey in Visual Arts. This given mark is then moderated against the Record of Workbook, which contains a collection of photographs of the candidates work and a number of scanned pages from their research workbook.

The candidates' research workbooks are also marked, once internally and once externally (for moderation purposes). These books aim to show the candidates journey over the two years of study. They document art and design history that is relevant to the candidate’s exploration of ideas and will also contain notes, sketches, photographs, mind-maps and pictures of inspiration, development and final works. The candidate must also document a number of art exhibition visits.

For the final assessment, either the studio work or the investigation work book can be assessed externally. With 60% of the final grade being placed on that which is externally assessed, and the remaining 40% on the internal assessment.

Film SL and HL
IB Film can be taken at either the standard level (SL) or higher level (HL). For both levels of IB Film, the candidate must research and write an Independent Study, do a Practical Project and give an oral presentation, based on the close analysis of a 5-minute extract from a film prescribed by the IBO.

The Independent Study is a research project that must be presented in the form of a Documentary Script, in which the candidate undertakes an individual investigation based on a topic of film history or theory. At SL, it should focus on a minimum of 2 films from different cultures, whereas at HL, it should focus on at least 4 films from different cultures. It is marked externally.

The Practical Project takes the form of a short film (4–5 minutes at SL and 6–7 minutes at HL) and a production portfolio and rationale about the work undertaken. The candidate must focus on one of five production roles: Director, Writer, Cinematographer, Editor or Sound Designer. Additionally, at HL, the candidate must produce an individual trailer of his or her film. (45 seconds-1 minute long). It is marked internally and moderated externally.

The Oral Presentation should focus on a 5-minute extract of a film set by the IBO, which also places the extract on a broader sociohistorical context and in terms of the film as a whole. The presentation lasts 10 minutes at SL and 15 minutes at HL. The IBO chooses 8 films (four from before 1960 and four from after 1960), from which the Film Teacher then chooses 3. The candidates then select from these three. The films analyzed cannot be studied in class.

Film SL is offered online to students enrolled in the IB Diploma Programme.

Substituting courses from other subject groups
Group 6 subjects are considered electives, thus an IB Diploma candidate may substitute a variety of courses from other subject groups in lieu of taking a Group 6 course. This would result in a student studying an extra subject from either Group 2 (Second Language), Group 3 (Individuals and Societies) or Group 4 (Experimental Sciences).

title: IB Group 6 subjects


text:
Steven Watt (footballer)

Steven Mair Watt (born 1 May 1985) is a Scottish football manager and former player.

As a player, he was a centre back who notably played Premier League football for Chelsea, and has also played professionally for Barnsley, Swansea City, Inverness Caledonian Thistle, Ross County and Grimsby Town. He went on to play non-league football for Dover Athletic, Maidstone United, Hemel Hempstead, Leatherhead and Hastings United. Watt was capped five times by Scotland U21 in 2005.

Retiring in 2017, he moved into coaching and has managed Margate, Maidstone United and has had several spells as manager of Hythe Town.

Chelsea
Born in Aberdeen, and raised in Gardenstown, a fishing village in the North East Aberdeenshire coast, Watt began his career with Chelsea, making his debut against Scunthorpe United in the FA Cup in January 2005. He played the full 90 minutes and earned praise from José Mourinho for his performance. On 15 May 2005 Watt made his Premier League debut coming on as an 89th-minute substitute for Jiri Jarosik in the away fixture with Newcastle United. The game ended 1–1, with Watt playing alongside the likes of Frank Lampard, Ricardo Carvalho, Claude Makélélé, Joe Cole and Eiður Guðjohnsen.

In November 2005 Watt spent a month on loan to Barnsley, for whom he made three starts, scoring an injury time equaliser against Rotherham United.

Swansea City
Shortly after returning to Chelsea he was allowed to leave the Premier League club and joined Swansea on 10 January 2006. Watt joined Inverness Caledonian Thistle on a season long loan to regain his match fitness. He made his debut in the Scottish League Cup against Arbroath. Despite a fairly solid performance, he never played again for the first team and left the club to return to Swansea City. Watt suffered persistent shoulder injuries during his time with Swansea, which meant that his contract was not extended when it expired at the end of the 2007–08 season.

Ross County
Following a successful trial, he signed a two-year deal with Ross County in August 2008. Watt made his debut for Ross County on 16 November 2008 in the Challenge Cup Final against Airdrie United. He scored his first goal for the club against Dunfermline on 13 February 2010.

Grimsby Town
On 17 July 2010 Watt played for Grimsby Town in the club's 2–1 friendly victory over Sheffield Wednesday, and went on to make several impressive appearances for Town in their pre-season campaign. On 2 August 2010, Watt signed a two-year deal with Grimsby. He scored his first goal for the club in a 1–0 win over Darlington on 24 August 2010, and went on to partner Darran Kempson as the club's preferred centre backs during the first part of the season under Neil Woods. However Woods was eventually sacked midway through the season and was replaced by Rob Scott and Paul Hurst who dropped Watt from the first team as he went on to only feature in the pair's first match in charge. Following the conclusion of the 2010–2011 season, he was released.

Dover Athletic
During pre-season Watt had moved south with his family and had joined Dover Athletic on trial, before formally rejecting a contract from Conference National side Gateshead in the interest of not wanting to uproot his family to the north again. On 18 July Watt joined Mansfield Town on trial. He signed for the club on 2 August 2011.

Maidstone United
On 15 February 2013 Watt signed an initial month's loan for Maidstone United, the player dropping down two levels to play for his adopted hometown, making six appearances before signing permanently on 18 March 2013. Watt captained Maidstone to the Isthmian league title in the 2014–15 season. On 16 November 2015, Watt was released by the club.

Hemel Hempstead Town
Several weeks after being released Watt joined Hemel Hempstead Town making his debut on 1 December 2015 in the second round of the Herts Senior Cup, in a 0–3 defeat to Bishop's Stortford. His league debut was four days later against Ebbsfleet United, ending in a 1–2 home defeat. Watt's third and final game for the club came a week later when he captained Hemel in a 7-4 FA Trophy defeat at Eastbourne Borough.

Leatherhead
On 14 December 2015 Watt joined Leatherhead as player/assistant manager

Coaching career
Watt was appointed manager of Hythe Town for a second time, on 17 May 2022. Although he resigned following a play-off final defeat, he later rescinded his relegation and returned to the club the following day.

In April 2024, the club confirmed that Watt would be stepping down from his position as manager at the end of the season. Following a defeat in their next fixture however, he left the club with immediate effect.

title: Steven Watt (footballer)


text:
Talk:LaserVision

I changed the REDIRECT' from "Philips" to "Laserdisc" as this is a better redirect in my opinion (LaserVision is a Laserdisc system produced by Philips)

title: Talk:LaserVision


text:
User:Charles Matthews/Ford

A
Accius - Achilleis - Adam de la Halle - Valerius Aedituus - Aeschines - Alcaeus - Alcman - Louise Alcott - Matteo Aleman - Vittorio Alfieri - Altamirano - Ammianus Marcellinus - Anacreon - Anaximenes of Lampsachus - Sherwood Anderson - St. Anselm - Antipater - Apollonius of Alabanda - Apuleius - Archias - Archilochus - Pietro Arentino - Lodovico Ariosto - Aristarchus - Aristoxenus - Cecco D'Ascoli - W. G. Aston - Hartmann von Aue - Ausonius of Bordeaux - Avvakum - Bacchylides - Caelius Bassus - René Béhaine - Cardinal Bembo - Georges Bernanos - Marie Henri Beyle - Bertran de Born - M. Birton - Björnstjerne Björnson - Jose Maria Blanco - Giovanni Boccaccio - Jean Bodel - Matteo Maria Boiardo - Morris Cohen Brandes - Clemens Brentano - John Bright - Brian Brown - E. B. Browning - R. Browning - Bun-No - Buoncompagno - Fanny Burney - Bustamente - Don Pedro Calderón de la Barca - Callimachus - Johannes Calvin - Giacomo Casanove de Seingalt - Balthasar de Castiglione - Lutatius Catulus - Guido Cavalcanti - Cedrerne - Benvenuto Cellini - Don Miguel Cervantes y Saavedra - Adalbert von Chamisso - D. P. Chase - Vicomte de Chateaubriand - Cenna dalla Chitarra - Chrétien de Troyes - Christine de Pisan - Emanuel de Chrysoloras - Chu-Yuan - Cino da Pistoia - Earl of Clarendon - Claudian - Clement of Alexandria - J. Fenimore Cooper - F. W. Cornish - Rodrigo Cota - Cotiz y Strega - Covarrubias - Abraham Cowley - R. B. Cunninghame Graham - Arnaut Daniel of Merveil - Léon Daudet - Casimir Delavigne - Friedrich Delitzsch - Eustache Deschamps - Destrées - Diogenes Laertius - Feodor Dostoievsky - Annete von Droste-Hülshoff - Joachim du Bellay - El Duque de Rivas - Dyaus Pitar - Meister Eckhardt - J. M. Edmonds - Thomas Edwards - Epictetus - Desiderius Erasmus - Wolfram von Eschenbach - José de Espronceda - Fariddudin Attar - Dino Fescolato - J. G. Fichte - Firdusi - Valerius Flaccus - Bernard de Fontenelle - John Ford - De la Motte Fouqué - Gustav Freytag - Jean Froissart - Antonio Garcia Gutiérrez - Théophile Gautier - Aulus Gellius - Fulgore da Gemignano - Francis Gigot - Herbert Giles - Giraud Riquier - Giudici - Carlo Goldoni - Gertrudis Gomez de Avellaneda - Gottfried von Strassbourg - Johann Christoph Gottsched - Robert Greene - Franz Grillparzer - Ludwig Karl Grimm - Wilhelm Karl Grimm - Gueret - Gulliaume de Lorris - Friedrich von Hardenberg - Henry Harland - Juan Eugenio Harzenbusch - Gerhart Hauptmann - Patrick Henry - J. Gottfried von Herder - Hexateuch - W. D. Howells - Hroswitha - W. M. L. Hutchinson - J. K. L. Huysmans - Karl Ludwig Immermann - Jalal 'U' DDin Ru'mi - Jamblichus - Sarah Orne Jewett - Étienne Jodelle - Jean de Joinville - Kalidasa - Nikolai M. Karamzin - Heinrich von Kleist - Friedrich G. Klopstock - Ignatius Krasicki - Prince Kropotkin - Ivan A. Krylov - Thomas Kyd

L
Jean de la Bruyère - Mme. De La Fayette - Duc de la Rochefoucauld - Lactantius - Selma Lagerlöf - Alphonse de Lamartine - Lanfranc - Lao-Tsze - Mariano José de Larra - William Law - Alain René Le Sage - James Legge - Nikolaus Lenau - Giacomo Leopardi - Mikhail Y. Lermontov - Gotthold Ephraim Lessing - Ligdanius - Li-Po - Livius Andronicus - J. G. Lockhart - Mikhail V. Lomonosov - Longinus - Pierre Loti - Ignazio di Luzán - Lucius Voltacilius Pitholaus

M
Niccolo Macchiavelli - Guillaume de Machaut - J. W. Mackail - Henry Maine - Edmond Malone - Marcabrun - J. C. Mardrus - Marie de France - Clément Marot - Meléndez Valdés de Cienfuegos - William Melmoth - Juan de Mena - Menander - Diego Hurtado de Mendoza - Pietro Metastasio - Mimnermus - Fréderic Mistral - Jean Baptiste P. de Molière - Theodor Mommsen - Michel Eyquem de Montaigne - Claudio Monteverde - Cotarello y Mori - Lady Murasaki - Moschus - Alfred de Musset

N
Nemesianus - Giambattista Niccolini - Sir Thomas North

O
Adam Oelenschläger - Omar Khayyam - Freiherr von Ompteda

P
Pacuvius - Panaetius of Rhodes - Pausanius - Silvio Pellico - Charles Perrault - Phrynichus - Aeneas Silvius Piccolomini - Lucius Voltaulius Plotus - Gian Francesco Poggio Bracciolini - Politian - Angelo Poliziano - Posidonius of Apamea - Proclus - Prudentius - Ptahketep - Alexander Pushkin - Claudius Quadrigarius - Francisco Gomes de Quevedo y Villegas - Quillem de Cabestanh - Manuel José Quintana - Giovanno Quirino - Raimbaut de Vaqueiras - Sir W. Ralegh - Berthend Regensburg - W. L. Renwick - Rihaku - El Duque de Rivas - Angel de Saavedra - Fernando Rojas - O. E. D. Rolvaag - Roméra-Navarro - Pierre de Ronsard - W. H. D. Rouse - Friedrich Rückert - Ruteboeuf - Charles A. Sainte-Beuve - Jacopo Sannazaro - Mme. de Scudéry - Mme. de Sévigné - Henryk Sienkiewicz - Silius Italicus - Simonides - Snorri Sturlason - Stesichorus - Strato of Lampsachus - Johann August Strindberg - Suard - Heinrich Suzo - J. A. Symonds - Tasso Torquato - Johann Tauler - Bayard Taylor - Anton Tchekov - Esaias Tegner - Theognis - Jacques Thibault - Tiberianus of Carthage - Tibullus - Johann Ludwig Tieck - Giovanni Giorgio Trissino - William Tyndale - Tyrrell - Tyrtaeus - Nicholas Udall - Sigrid Undset - Honoré d'Urfé - Lope de Vega - Peire Vidal - Clara Viebig - Alfred Comte de Vigny - Giovanni Villani - Walther von der Vogelweide - David Watson - Blanco White - William Hale White - Christoph Martin Wieland - William IX of Poitiers - C. D. Yonge - Vasily A. Zhukovsky - José Zorrilla

title: User:Charles Matthews/Ford