text:
Film editing/Analyzing film dailies/Out for a walk

{| cellpadding="20" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: #ffffaa; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="2" |

 * style="width: 50%; background-color: Lavender; 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="2" |
 * style="width: 50%; background-color: Lavender; 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="2" |

"Out For A Walk"

 * This is a fun scene. Many people think it is their favorite.  Once you edit this scene, I think you will find it very funny.

 * The location

 * This story takes place on a space station which is named after the first major city on Earth.

 * The characters

 * The lady is in charge of the operation of the space station and the man is in charge of security for the space station.

 * The story

 * This scene is not important. It has nothing to do with the story of the episode.  Instead, this scene sets the mood for the episode.  So you can have fun when you edit this scene.

 * In this scene, the man comes to give the woman a message from the Captain. Even before he tells her the message, she tells him that an important visitor is arriving at the space station.

 * The man gives the message from the captain to the lady. The captain wants to have a meeting this afternoon. The lady is happy that she received the message early so that she knows what is happening in advance.

 * Then the lady orders the communications person to telephone the captain and tell him about the arriving spaceship. This makes the man worried and he immediately offers to pass on the message to the captain.

 * This makes the woman suspicious. Finally the man tells her that the captain has gone for a walk outside the space station.  The woman goes to the window and looks out.  She becomes angry and frustrated when she sees the captain in a space suit walking on the wing of the space station.  This should make the audience laugh.

 * In the last shot once you have edited the scene, the audience will see the woman inside the space station looking out as the camera moves away from the space station until the audience sees a man walking in a space suit. That is the difficult part of this scene.

 * The challenge - Matte painting

 * The story is simple but the last shot of the scene is a challenge. The scene ends with an exterior shot (a shot from outside the space station) of the woman looking out to the window of a space station.

 * The problem is there is no movie set for the exterior of the space station. It was never built.  (It would have been too big.)  Except for the window looking into the control center, everything else is missing.  You will have to create the rest of the space station yourself with a painting.  This is called a "matte painting".  See the lesson in matte painting.  This shot is the example in the lesson.

 * Also the final animation has another challenge.  During this shot, the camera must dolly out a thousand feet from the woman, eventually moving passed an animation of the Captain who is walking in a space suit on the exterior of the space station.   That means multiple images must be combined together.  This is called "compositing".

 * All the pieces of the final shot

 * To complete last shot of the scene, you must create a matte painting of the exterior space station (minus the control center window.) Then you must composite the video clip of the woman looking out the window into your painting of the space station.  Finally you must add an animation of the captain in a space suit walking on the exterior of the space station.

A simple matte painting created in Tux Paint which is a free paint program for kids. Go to the lesson in matte painting and create our own matte painting. Creating a matte painting in Tux Paint is great fun!

 * style="width: 50%; 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;" rowspan="1" |

Edit this scene

 * Loan only

 * This disk is available from your instructor for a one month loan.

 * The Overview Movie

 * Start by looking at the overview movie for "Out for a Walk". (This QuickTime movie file is in a different folder than the film dailies.  Don't get the two folders confused.)

 * The overview movie shows you the important parts of the film dailies in chronological order.

 * Transfer the dailies

 * Once you have studied the overview movie, look at the film dailies.

 * Copy all the film dailies (not the overview movie) to your hard drive. If necessary, convert the dailies to whatever format your editing program prefers. Start your editing program and import all these clips into your editing program.

 * Edit the scene

 * Editing the conversation is easy. Always start by looking for the best audio of the people talking.  Once the audio (along with whatever pictures come with the audio) is edited, you will lock the audio and roll the picture edits to find the best visual transition for each edit of the conversation thereby creating "L-Cuts". (You learned about this in the previous lesson.)

 * Create the matte painting

 * The last shot of the movie needs a matte painting. You can practice creating this matte painting at the lesson for creating a matte painting which uses "Tux Paint".  Tux Paint is a fun painting program for kids that is free.

 * Create the animation

 * During the shot, the woman sees the captain walking on the forward cargo stabalizer. Therefore, you need animation of someone walking in a space suit.

 * Composite the images

 * Finally, you need to composite the three images with your editing program or with a special program designed for compositing such as Adobe AfterEffects. That means you must combine the exterior shot of the woman looking out of the screen, the matte painting of the exterior of the space station, and the animation of the captain walking.

 * Submit your finished scene
 * This edited scene is worth 10 points without the last shot and 40 points for the completed last shot with matte painting, animation and compositing. (Total possible points is 50.) @undefined  [[Image:Crystal Clear app xfmail.png|24px]]

 * style="width: 50%; background-color: #ffff77; border: 1px solid Red; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |
 * style="width: 50%; background-color: #ffff77; border: 1px solid Red; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

Analyze the Dailies

 * Working on a movie set
 * Listen to the actors before each shot. Professional actors can have fun!

 * As you can hear, the actors enjoy filming this scene. But that does not mean that they are not professional.

 * A television series like this one was filmed for many years. During this time, the actors bond together into a family.  That is why the actors have a good time during their grueling filming schedule.

 * Listen to all the giggling of the actors off camera before each take. This makes the humor of the scene more realistic because they really are having fun.

 * Variations (good and bad)
 * When filming a scene, you do not want the actors to try variations because that makes editing more difficult. However, in this scene, the woman says her lines in many different ways because she is confident that the camera crew will capture all her action perfectly.

 * Never assume this for a motion picture with a new crew and inexperienced actors. When you are filming a low budget movie with limited rehearsal time, most of the mistakes will be camera movement and camera aiming problems. In that case, you need the actors to repeat their line perfectly each time with exactly the same tone.  That is the only way the scene will edit together.

 * But with a TV series with extremely talented actors are crew, you have the luxury of trying variations.

Look at the overview movie

 * "Hey, We do Windows!"
 * The first thing you see is the film crew washing the windows in outer space. This is funny but also informative.  In the windows, you see reflections which will not match the lighting from outer space.  For the actual filming, the windows are removed and must be added with composting. (Even more than is mentioned above.)

 * Note that the lady in first shot is a "stand-in". This means a member of the crew who stands in front of the camera while the crew adjusts the lights.

 * Two directors
 * Notice that there are two different directors. The assistant director directs the "extras" or "background characters".  These are the actors who pretend to be members of the crews who are running the space ship.  When the assistant director yells "background", she means that the extras should begin moving.

 * When the other director yells "action", that is for the two principle actors.

 * Only one microphone
 * Notice that there is only one microphone and it is pointed at the actor who is seen on the screen. Therefore, at times, the other actor cannot be heard.  This is the way most movies are filmed.  Sound is so important, only the best possible microphone methods are used (an overhead microphone on a boom).  With a moving boom microphone, only one fits on a movie set.

 * In the last shots of the scene which show only the close up of the woman, the microphone is pointed at her. The only reason for this is to record her snorting in anger.  Listen for this.

 * A boring job
 * Filmmaking is very boring because you have to wait so much of the time.

 * So watch the last few seconds of the overview movie to see how the woman amuses herself while she waits.

 * }

{| cellpadding="20" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 100%; background-color: LemonChiffon; 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="2" |

The next scene

 * This scene ("Out for a Walk") is simple to edit (except for the last shot). Now look a scene which is extremely complex.

 * "The Assignment" on the disk "24 Unedited Scenes" DVD-Data disk [[Image:Crystal Clear action forward.png|24px]]

Contact your instructor

 * Your instructor for this class is Robert Elliott. To email me, you simply  Click Here. [[Image:Crystal Clear app xfmail.png|24px]]

 * }


text:
Hyperekplexia

Hyperekplexia ("exaggerated surprise") is a very rare neurologic disorder, classically characterised by a pronounced startle responses to tactile or acoustic stimuli and an ensuing period of hypertonia. The hypertonia may be predominantly truncal, attenuated during sleep, or less prominent after one year of age.

Classic hyperekplexia is caused by genetic mutations in a number of different genes, all of which play an important role in glycine neurotransmission. Glycine is used by the central nervous system as an inhibitory neurotransmitter. Hyperekplexia is generally classified as a genetic disease; some disorders can mimic the exaggerated startle of hyperekplexia.

Signs and symptoms
The three main signs of hyperekplexia are generalized stiffness, excessive startle beginning at birth and nocturnal myoclonus. Affected individuals are fully conscious during episodes of stiffness, which consist of forced closure of the eyes and an extension of the extremities followed by a period of generalised stiffness and uncontrolled falling at times. Initially, the disease was classified into a "major" and a "minor" form, with the minor form being characterized by an excessive startle reflex, but lacking stiffness. Genetic evidence has only been found for the major form of the condition.

Other signs and symptoms of hyperekplexia may include episodic neonatal apnea, excessive movement during sleep and the head-retraction reflex. The link to some cases of Sudden Infant Death remains controversial.

Genetics
Hyperekplexia is known to be caused by a variety of genes, encoding both pre- and postsynaptic proteins. The symptoms displayed, as well as the types of inheritance, vary, based on the affected gene.

GLRA1
The first gene linked conclusively to hyperekplexia was GLRA1. The GLRA1 gene encodes the glycine receptor, alpha 1 subunit, which, together with the glycine receptor beta subunit, forms synaptic glycine receptors. Inhibitory glycine receptors are ligand-gated chloride channels that facilitate fast responses in the brainstem and spinal-cord. Homomeric glycine receptors composed exclusively of alpha-1 subunits exhibit normal ion channel electrophysiology, but are not sequestered at the synaptic junction. Wild-type glycine receptors are thus presumed to be pentameric heteromers of the alpha-1 and beta subunits, in either a 3:2 or 2:3 ratio.

Within these heteromers, it is believed that the alpha-1 subunits bind glycine and undergo a conformational change, inducing a conformational change in the pentamer, causing the ion-channel to open. Although autosomal dominant inheritance was initially reported, there are at least as many cases described with autosomal recessive inheritance. Thus far, the general rule is that mutations causing structurally normal proteins that cannot bind glycine or cannot properly undergo a required conformational change in response to glycine will result in a dominant form of the disease, while mutations that result in truncated or greatly malformed subunits that cannot be integrated into a receptor protein will result in a recessive form.

GLRB
The GLRB gene encodes the beta subunit of the glycine receptor. Homomeric glycine receptors composed of beta subunits do not open in response to glycine stimulation, however, the beta subunit is essential for proper receptor localization, through its interactions with gephyrin, which results in receptor clustering at the synaptic cleft. As such, the defects within the GLRB gene show autosomal recessive inheritance.

SLC6A5
The SLC6A5 gene encodes the GlyT2 transporter, a neuronal pre-synaptic glycine re-uptake transporter. In comparison to the GlyT1 transporter, found mostly in glial cells, GlyT2 helps maintain a high concentration of glycine within the axon terminal of glycinergic neurons. Mutations of the SLC6A5 gene have been associated with hyperekplexia in an autosomal recessive inheritance pattern. Defects within this gene are hypothesized either to affect the incorporation of the transporter into the cellular membrane or to affect its affinity for the molecules it transports: sodium ions, chloride ions and glycine. Any of these actions would drastically reduce the pre-synaptic cell's ability to produce the high vesicular concentrations of glycine necessary for proper glycine neurotransmission. GPHN and ARHGEF9 are often included in lists of genetic causes of hyperekplexia - but, in fact, they produce a much more complex phenotype, very distinct from classical hyperekplexia. As such they are no longer considered to be causative genes.

GPHN
Gephyrin, an integral membrane protein believed to coordinate glycine receptors, is coded by the gene GPHN. A heterozygous mutation in this gene has been identified in one sporadic case of hyperekplexia, though experimental data is inconclusive as to whether the mutation itself is, in fact, pathogenic. Gephyrin is essential for glycine receptor clustering at synaptic junctions, through its action of binding both the glycine receptor beta subunit and internal cellular microtubule structures. Gephyrin also assists in clustering GABA receptors at synapses and molybdenum cofactor synthesis. Because of gephyrin's multi-functional nature, in mutated form it is not presumed to be a common genetic source of hyperekplexia.

ARHGEF9
A defect within the gene coding for collybistin, ARHGEF9, has been shown to cause hyperekplexia occurring with epilepsy. Since the ARHGEF9 gene is on the X chromosome, this gene displays X-linked recessive heritance. The collybistin protein is responsible for proper gephyrin targeting, which is crucial for the proper localization of glycine and GABA receptors. Deficiencies in collybistin function would result in a lack of glycine and GABA receptors at the synaptic cleft.

Diagnosis
There are three signs used to diagnose if an infant has hereditary hyperekplexia: if the child's body is stiff all over as soon as they are born, if they overreact to noises and other stimuli, and if the reaction to stimuli is followed by an overall stiffness where the child is unable to make any voluntary movements. A combination of electroencephalogram and an electromyogram may help diagnose this condition in patients who have not displayed symptoms as children. The electroencephalogram will not show abnormal activity other than a spike in wakefulness or alertness, while the electromyogram will show rapid muscular responses and hyperreflexia. Otherwise, genetic testing is the only definitive diagnosis. MRIs and CT scans will be normal unless other conditions are present.

Treatment
The most commonly-used effective treatment is clonazepam, which leads to the increased efficacy of another inhibitory neurotransmitter, GABA. There are anecdotal reports of the use of levetiracetam in genetic and acquired hyperekplexia. During attacks of hypertonia and apnea, the limbs and head may be forcibly manipulated towards the trunk in order to resolve the symptoms. This is referred to as the "Vigevano maneuver'.

History
The disorder was first described in 1958 by Kirstein and Silfverskiold, who reported a family with 'drop seizures'. In 1962 Drs. Kok and Bruyn reported an unidentified hereditary syndrome, which initially presented as hypertonia in infants. Genetic analysis within this large Dutch pedigree revealed a mutation within the GLRA1 gene, the first gene to be implicated in hyperekplexia.

source: wikimedia

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

title: Hyperekplexia


text:
Elisabeth Cebrián

Elisabeth Cebrián Scheurer (born 7 February 1971 ) is a Spanish former basketball player who competed in the 1992 Summer Olympics and in the 2004 Summer Olympics. She was part of the squad which became European champions in Perugia in 1993.

She is one of the players with the most appearances in the Spanish national team with 252 caps.

Nowadays, Cebrián works for FIBA Europe as member of the Women's Basketball Commission.

Club career
She made her debut in the Spanish league with Raventós Catasús at 16. As one of the most promising young players of her time, she got transferred to the Caja Toledo - BEX Banco Exterior project, with other young Spanish prospects in order to prepare for the 1992 Summer Olympics. She went on to play for some of the most important clubs in the Spanish league, like Costa Naranja, Universitari, and Celta Vigo, winning a total of five Spanish leagues and four Spanish cups.

She was one of the first foreign players to be signed to the newly formed WNBA, playing at New York Liberty in 1998.

National team
She made her debut with Spain women's national basketball team at the age of 18. She played with the senior team for 15 years, from 1989 to 2004. She is one of the most capped players with a total of 252 caps and 7.8 PPG. She participated in two Olympic Games (Barcelona 1992 and Athens 2004), three World Championships and five European Championships:

 * 6th 1988 FIBA Europe Under-18 Championship for Women (youth)
 * 5th 1989 FIBA Under-19 World Championship for Women (youth)
 * Silver_medal_icon.svg 1990 FIBA Europe Under-18 Championship for Women (youth)
 * 5th 1992 Summer Olympics
 * Gold_medal_europe.svg 1993 Eurobasket
 * 8th 1994 World Championship
 * 9th 1995 Eurobasket
 * 5th 1997 Eurobasket
 * 5th 1998 World Championship
 * Bronze_medal_europe.svg 2001 Eurobasket
 * 5th 2002 World Championship
 * Bronze_medal_europe.svg 2003 Eurobasket
 * 6th 2004 Summer Olympics

title: Elisabeth Cebrián


text:
User:Ashishsaurabh0486/sandbox

Ashish Saurabh born on 22 september 2005 is a very talented student.Presently he is studying in class 10th.He crack many competition exam as well as olympiads.In his early life he cracked Sainik School entrance exam,Navodaya Vidyalaya entrance exam and CHS entrance exam but he decided to take admission in CHS. He ranked AIR 06 in Chs entrance exam.

title: User:Ashishsaurabh0486/sandbox


text:
Wikijunior:South America/Bolivia

Bolivia is a landlocked country in the center of South America. It is bordered by ../Brazil/ to the north and east, ../Paraguay/ and ../Argentina/ to the south, and ../Chile/ and ../Peru/ to the west. Its capital is La Paz. At 11,740 ft (3,580 m) above sea level, it is the highest capital in the world. Bolivia is named after Simon Bolivar, one of the greatest South American generals.

Geography of Bolivia
The west of Bolivia is covered by the Andes mountain range. The Andes is divided in two branches. The Altiplano is a large plateau which is in the west of the country between the two branches of the Altiplano. The west also contains the largest salt flats on earth, Salar de Uyuni. There is also the largest lake commercially available for transport, Lake Titicaca, which was historically important to the indigenous people and now is an important tourist location. The highest peak in Bolivia is also a volcano, and its name is Nevado del Sajama.

History of Bolivia
Divided into three distinct periods: pre-Columbian, colonial, and republican.

There are six places in Bolivia declared World Heritage for their contributions to world history. Two of them specifically acknowledge indigenous or native cultures: Tiwanaku, which was an archaeological site particularly well known for pre-Columbian pottery and also Chiquitos which the Spanish Conquistadors found after looking at Indian doors and is well known for music.

History
In 1531 Spanish conquistadors under Francisco Pizarro entered Bolivia. Within two years they controlled the territory known as Alto Peru. In 1544 silver was discovered at Potosi. Native and African slaves were forced to work the silver mines and enriched Spain for over the next 200 years. The slaves were encouraged to chew on coca leaves which became a part of the native culture.

In 1548 La Paz was founded as Nuestra Señora de La Paz (Our Lady of Peace). It became the capital in 1898. Bolivia won its independence from Spain in 1825. The first elected president was General Simon Bolivar, who had led the Bolivian forces in defeating the Spanish. The following year Antonio José de Sucre drew up Bolivia's constitution, and the country received its name. In 1828 Sucre was forced to resign, and since then Bolivia has been ruled for the most part by a succession of military dictators.

For over 350 years Bolivia's western boundary extended to the Pacific Ocean. But following a war with Chile in 1883, Bolivia lost its Pacific coastal area thereby becoming landlocked. In subsequent wars with Brazil (1903) and Paraguay (1935), Bolivia lost land in the east including rubber plantations, but came just short of losing important oil and natural gas resources.

In the 1890s mining corporations interested in Bolivia's tin began to control the country. In 1952 the government was taken over by a revolutionary party, the MNR, which seized the mines, taking them over to be owned by the government. The MNR also divided the estates of the wealthy landowners into smaller farms for their former tenants and peasants, who previously worked the land but didn't own it.

In 1964 the army took over the government of Bolivia. Since then Bolivia has had a string of generals as presidents, most of them in office for less than a full term.

In 1982 Siles Zuazo became Bolivia's first democratic, civilian president in over 40 years. Currently the President is Evo Morales, elected 2006.

People of Bolivia
There are nearly ten million people in Bolivia. Half to nearly two-thirds of people in Bolivia belong to indigenous cultures, which is relatively unusual for a South American country. Over two hundred different languages are spoken by at least as many native nations. Many of those are close to becoming extinct. The largest indigenous group is the Quechua with two and a half million people. There are also the Aymara, and two smaller groups known as the Guaraní and the Chiquitano. There are also many Europeans, Asians and people from other ethnic groups.

If you were a Bolivian man, you could expect to live until you were 62 and if you were a Bolivian woman, you could expect to live to be 68. You would also be expected to give birth to three children, but many children attend school for a year or less.

Much of Bolivia is in poverty, and many people work on farms, while cities continue to grow due to former peasant trying to find a livelihood there. Eighty-seven percent of Bolivians can read and write.

The three official languages are Spanish, Quechua, and Aymara.

There are at least four large cities which are growing rapidly : La Paz, El Alto, Cochabamba and Santa Cruz.

What types of things are exported?
Soy products, zinc, natural gas, and tin.

What is the food like?
It is the most well known food in all Spanish speaking countries. Delicacies include fruits from the forest with honey. The food in the north is spicy and full of flavor. Saltenas, a juicy chicken or beef empanada is one of the most famous worldwide foods.

What sports are popular?
Soccer is the most popular sport in the country. Volleyball, Tennis, Horseback riding, Automobile Racing, and Basketball are also popular.

title: Wikijunior:South America/Bolivia


text:
Saaroa language

Saaroa or Lhaalua is a Southern Tsouic language spoken by the Saaroa (Hla'alua) people, an indigenous people of Taiwan. It is a Formosan language of the Austronesian family.

The Saaroa live in the two villages of Taoyuan and Kaochung in Taoyuan District (Taoyuan Township), Kaohsiung City, Taiwan (Zeitoun & Teng 2014).

With fewer than 10 native speakers and an ethnic population of 400 people, Saaroa is considered critically endangered. Even among native speakers of the language, they use primarily Mandarin or Bunun in their daily lives. There is no longer an active speech community for Saaroa.

Language evolution
When grouped according to grammar, Saaroa is most closely related to the other Formosan language Tsou and branches very early from the Proto-Formosan language that defines the grouping.

On lexical and phonographical grounds, Tsou, Kanakanabu, and Saaroa also cluster well to form the Tsouic subgroup; it is likely that the Rukai and the "Lower Three Villages Rukai" are also Tsouic languages.

The Tsouic group used to occupy a fairly large area in the southwestern parts of central Taiwan. Due to the invasion of other communities and contagious diseases, it shrank to the relatively small areas as today. The oral tradition say that the Tsouic group originated in Yushan. About 2,000 years ago, the group split into two, the Northern Tsou and Southern Tsou. Northern Tsou moved down along Nantzuhsien River to the west, while Southern Tsou moved down along Laonung River. The latter split into two, Kanakanabu and Saaroa about 800 years ago. In 1990, Saaroa was nearly extinct. Few children speak the language. The Bunun language is becoming the main language of the Saaroa people, and many of the elders in the community speak Taiwanese Hokkien. The shift to the Bunun language occurred when the Bunun migrated into the area inhabited by the Saaroa people.

Saaroa has heavily borrowed from Mantauran Rukai, since the Saaroa and Rukai peoples are geographically adjacent to each other.

Grammatical profile
Saaroa has 13 consonants: |p, t, k, ʔ, s, v, ts, m, n, ŋ, r, ɾ, ɬ| and four vowels: |i, ɨ, u, a|. The basic syllable pattern in Saaroa is (C)V, where C stands for consonants and V for vowels or long vowels. Vowels can either appear as long vowels or in clusters. Vowels in clusters make two or more syllables. There are also plenty of loan words in Saaroa, many of which were introduced during the Imperial Japanese Era (1895–1945). Apart from Japanese, words were borrowed from Mandarin Chinese, Taiwanese southern Min, and other aboriginal languages in the neighboring area, e.g. Bunun. In the past, Roman script was employed in the previous writing materials of Saaroa.

Underived roots carry the basic meaning of words typically consist of more than two syllables, in a (C)V.(C)V.(C)V pattern. Saaroa distinguishes primary stress (indicated by ˊ ) and secondary stress (indicated by ˋ). Primary stress is not contrastive, nor is secondary stress. A vowel with primary stress is characterised by higher pitch and greater intensity. Though the stressed syllable is realised with a high pitch, the difference between words does not lie in the positioning or quality of this pitch. Therefore, Saaroa should not be considered a pitch-accent language. In Saaroa, reduplication is a very productive morphological process. Exactly the same morphological process may apply to a dynamic verb and an adjectival element within a predicate. For example, when undergoing reduplication, both adjectival elements and dynamic verbs can have 'progressive', 'continuous', intensification (or 'iteration')', 'diminutive' and 'collectivity' meanings.

In Saaroa, nouns are subsumed under several grammatical subclasses according to their morphological/syntactic possibilities correlating with semantic properties of their referents (i) common nouns, (ii) kinship terms, (iii) human nouns and nonhuman nouns, (iv) person names, (v) locative nouns and (vi) temporal nouns. These classes may overlap; accordingly, a noun can fall in more than one class. Similarly, verbs are subsumed under several grammatical subclasses according to the morphological/syntactic possibilities correlating with semantic properties of the referents: (i) transitivity classes, (ii) stative verbs, and (iii) adverbial verbs. All the classes may overlap; accordingly, a verb can fall into more than one class.

In Saaroa, the functional possibilities of adjectival elements typically include being modifiers to a head noun in an NP and heads of an intransitive predicate.

When it comes to word order, Saaroa is basically a predicate-initial language. The irrealis Actor Voice verb muacekehle 'will return' appears before the Subject argument kana'ana '(s)he'. Moreover, the basic word order is Verb-Actor-Theme. For example, the nominative Actor argument of an Actor Voice Construction (e.g., mairange 'sweet potato'). Similalrly, the nominative Theme argument of a Patient Voice construction must follow the genitive Actor argument.

title: Saaroa language


text:
Talk:Cyberarts

Merge into New Media or something else
The article's a stub and from the current description it sounds like it could fit into Generative Art or New Media or elsewhere.

Cyber-anything doesn't mean much, and usually implies the use of computers in the "anything" part. Since computers are used for many things nowadays, cyberarts is an uninformative term. It could refer to the use of Adobe Photoshop or The GIMP or some vector illustration program or whatever.

--OMouse (talk) 21:19, 28 September 2009 (UTC)

question
is cyberarts synonymous to generative art?

cyberarts discussion
Cyberart is a term for art that is made for cyberspace. Cyberspace is the information space created by computers hooked to a network. The term comes from a William Gibson novel (I forget which one). Generative art is essentially geometric or sound patterns created by algorythms. It doesn't really have anything to do with cyberspace. The term cyberarts is already going out of fashion as is internet art, web art, browser art and new media art. Of all the terms that stick or are lasting, media art, new media art, digital art and net art tend to be the best.

Cyberarts having a relationship to a virtual realm
I think it would be best to describe cyberarts as a kind of art form that deals with art existing on a virtual space or a kind of network. some examples would be art that exists on servers or inside a computer (Franco & Eva Mattes "Perpectual self dis/infecting machine") or artworks made in Second Life. Yes its a little out of fashion just like how terms like digital and computer art are out of fashion or perhaps to put it more accurately they are 'out of description' or are of limited description. I do think that the all encompassing term would be 'New Media Art' as that truly describes all these new mediums as a departure from the traditional media.<IP_ADDRESS> (talk) 07:05, 9 October 2010 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Cyberarts. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20050312025838/http://www.cybernet1.com/hcs/glossary.htm to http://www.cybernet1.com/hcs/glossary.htm

Cheers.— InternetArchiveBot  (Report bug) 22:09, 15 August 2017 (UTC)

title: Talk:Cyberarts


text:
Osain, Bhojpur

Osain is a village in the west-central part of Bihiya block in Bhojpur district, Bihar, India. As of 2011, its population was 6,308, in 966 households.

title: Osain, Bhojpur


text:
Talk:Charles Hiller Innes

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on Charles Hiller Innes. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20100612224708/http://bpl.org/research/special/collections.htm to http://www.bpl.org/research/special/collections.htm#i

Cheers.— InternetArchiveBot  (Report bug) 02:50, 20 November 2016 (UTC)

title: Talk:Charles Hiller Innes


text:
User:Scalene

SCALENE  I am Scalene, a male Wikipedia editor from Australia, former criminal, celebrity, owner of a successful international corporation, and superhero who hides his secret identity as a mild-mannered CIA agent. Absolutely true.

What do I do for Wikipedia? That's a good question. Many people have asked me that, in fact. Well, if Wikipedia was Oceania in Nineteen Eighty-Four, I'd be the Thought Police. Minitrue mark triangle doubleplusgoodthink. Miniluv make goodthink fullwise. Yup, I'm a crime-fighting Recent Changes Patroller. Beware, vandals!

[[Image:Crystal Clear app icons.png|30px]] My real life interests

 * Literature (especially satire & humor)
 * My Userboxes!
 * Other stuff.

[[Image:Crystal_Clear_app_package_settings.png|30px]] Major (series of) edits

 * Looking for Alibrandi
 * Ben Hall
 * ATV Offroad Fury

[[Image:Crystal_Clear_app_kivio.png|30px]] Things to do

 * Find my place in Wikipedia.
 * Fight more vandals!
 * Collect more userboxes.

title: User:Scalene


text:
Wikipedia:Reference desk/Archives/Computing/2015 February 5

= February 5 =

RAM & ROM on Smartphones
As I understand it so far:
 * ROM is non-volatile internal memory where (on smartphones [that are not rooted]) the OS (& many apps) are stored.
 * RAM is volatile internal memory that the apps use (as working space) when they are running.

If a phone (such as the Samsung S3) has 16 GB of internal memory & its specs say it has 2 GB of RAM, does that mean there are 14 GB for ROM?

Also: Am I correct that the trend in the Android OS is to have all the apps loaded in ROM? --JimWae (talk) 09:29, 5 February 2015 (UTC)

 * That phone has 16 GB of flash memory and (separately) 2 GB of RAM, and some unmentioned amount of ROM. Flash memory is nonvolatile. I think you may be thinking of flash memory when you say ROM. -- BenRG (talk) 10:32, 5 February 2015 (UTC)

 * A flash drive has non-volatile RAM, but its contents are easily changed. I'm not confusing Flash RAM with ROM. I've seen several phone specs that mention ROM. The Galaxy Core is said to have 16 GB of internal memory, 1.5 GB of RAM, & 8 GB of ROM -- so I guess my simple subtraction is NOT the solution. On phones, ROM seems to be what they use to talk about internal memory that users cannot change (but that perhaps apps can be installed to). It seems to be where (along with the OS) pre-installed apps that cannot be removed (except by rooting) are stored.
 * What's confusing me is specs having separate numbers for Internal Memory & RAM. The RAM is internal memory, no? ROM is internal memory, yes? What else is there in internal memory? --JimWae (talk) 11:01, 5 February 2015 (UTC)
 * "ROM" there means built-in flash memory (as mentioned below). So does "internal memory". If you install a custom "ROM" on your phone, that also goes in flash memory. The terminology is inconsistent and confusing. If they quote two numbers, x GB and y GB, and x < y, it's safe to assume that x is RAM and y is flash memory. I don't think any smartphone has anywhere close to 1 GB of genuinely read-only memory. -- BenRG (talk) 22:08, 5 February 2015 (UTC)
 * this reminds me of the 1 MB (& up) computers that could only use 640K because part of the higher addressed space was the OS. Then HIMEM.SYS was used to swap that content to higher memory (above 1MB address?), and then use some of 640K to 1MB address for RAM.--JimWae (talk) 11:09, 5 February 2015 (UTC)
 * Go careful. Those terms are thrown around very carelessly in the smartphone world.  I'm also not sure where you found the specs you quote; according to Samsung, this device has 8GB 'ROM' and 1GB 'RAM'.  What they mean is that it has 8GB of internal flash, though this can be supplemented with a micro SD card to add an extra 64GB.  That combined flash memory (8GB + whatever SD card is installed) has to house the permanent storage of both the OS and apps that are installed; according to the page referenced above, of the 8GB internal flash, 5GB is 'user-accessible', which basically means that the OS and the bundled apps you can't uninstall add up to 3GB, leaving 5GB (+ whatever SD card is installed) to install apps and store data.
 * Flash memory like this is different to what is traditionally meant by 'ROM', where some read only memory is mapped into the memory address space of the processor; this 'ROM' is actually treated in the same way as a hard drive in a computer.
 * RAM is entirely different. This doesn't hold its contents once the device is powered off and is used for storing the running state of the OS and apps.  This state is transient, unless it is written back to flash memory.
 * In summary, the numbers quoted for RAM and ROM capacities don't relate to each other. This device has 1GB of RAM and 8GB of ROM, of which 3GB is occupied when you receive the device, leaving 5GB for you to install apps and store data.  GoldenRing (talk) 11:17, 5 February 2015 (UTC)

OK, maybe it makes more sense now: the Galaxy S4 SGH-I337M (according to Samsung) has 16 GB internal memory, [MAXIMUM] User Accessible Memory is approximately 8.2GB, also has 2GB RAM. The RAM is never? used for storage of files or apps or OS themselves, just for data - temporarily. The external memory [SD card], like a hard drive, stores files (not the OS, but MAYBE some OS settings?)--JimWae (talk) 11:55, 5 February 2015 (UTC)

 * The Samsung Galaxy S4 is available with 16GB, 32GB, or 64GB of internal flash storage. although the latter is very rare. My 32GB version reports (home -> menu -> settings -> more -> storage) that there is 23.6 GB total space on the internal storage. Thus, there is 8.4 GB missing. There may be some accounted for in differences between GiB and GB, and for file system overhead. However, I suspect most of that is the operating system. As the OS is user-upgradable, I think the phone boots off a small BIOS-type ROM, and which then loads Android from the internal flash drive, much like how a PC boots. LongHairedFop (talk) 12:22, 5 February 2015 (UTC)

Falling Hard Drive
Hello all; my hard drive seems to be slowly failing. It has been displaying bad sector messages in Event Viewer. I attempted to do one final complete backup to another hard drive, by both manually copying and also Windows' built in backup, but the copy stalls and the "activity" light on the hard drive is constantly lit until the computer is hard reset. Strangely, I could use the the hard drive just fine with no visible problems other than when attempting to make another complete data backup (downloading/uploading files, even large ones, works fine). I've tried doing so on the "failing" drive itself and via a second drive that also has an OS installed on it. When the copy is attempted there, the same thing happens, and the second hard drive can't even finish shutting down the OS when it happens.

I assume the copy is failing when it finds the bad sectors on the drive. I've removed the drive and used my alternate one until I can find a solution. Is there any way to ignore or bypass bad sectors when copying? Any other ideas of what I can do? -- <IP_ADDRESS> (talk) 16:54, 5 February 2015 (UTC)

 * Microsoft ScanDisk is supposed to identify bad sectors, and mark them as unusable. You could try that.  But, if new sectors are going bad all the time, it might be too late for that. StuRat (talk) 17:05, 5 February 2015 (UTC)

 * Should have mentioned that I've already ran CHKDSK (Windows 7), and that hasn't solved anything. I know the drive is beginning to fail, so what I'm wanting to do now is safely/reliably get my remaining data off the drive and trash it. -- <IP_ADDRESS> (talk) 19:27, 5 February 2015 (UTC)

 * The problem you have is exactly what ddrescue was built to address. -- Finlay McWalterᚠTalk 20:37, 5 February 2015 (UTC)

 * There are a number of tools' I use TestDisk but it does require some skill. --  Gadget850talk 12:12, 7 February 2015 (UTC)

 * Are you sure? The description page you linked to suggest it is completely inappropriate for what the OP is trying to do, whatever the user's skill level. I don't see any discussion of imaging, nor handling bad sectors encounter during imaging. TestDisk may be useful after the OP has successfully image the disk, but that wasn't what the OP was asking about and since the OP is apparently trying to recover data off a physically damaged possibly dying HD, they want to image the disk and not fool around with it in situ. BTW chkdsk/scandisk are also very bad ideas in a case like this. Yes they will mark try and move data from bad sectors elsewhere, and mark them as bad in the file system, but that's not what you want to do here. You don't want to be writing to the disk at all, and you don't want to be trying to hard to read the bad sectors initially. Edit:  seems to confirm my view that TestDisk is likely a poor choice.  And I should perhaps clarify that in a few cases, it may be better to not image the disk. In particular if you're sure you only want to recover a small subset of files on the disk, it may be better to only try and copy those, rather than make a whole disk image given the risk the whole disk image (even with an advanced tool like ddrescue) could lead to further damage in the important parts before you successful image those parts containing the desired files.  However, even in that case, I'm not sure that TestDisk is normally necessary or helpful. To me, it sounds like it will only be helpful if the partition structure is actually damaged, which from the OPs description above may not be the case here. Even if the partition structure is damaged, I wonder if TestDisk is the best choice.  Ideally you want a tool like ddrescue which is designed to recognise damaged areas of the disk and preferably avoid reading them if there are files you are trying to recover in other areas which might not be damaged. I'm still not seeing any sign that TestDisk really has any understanding of physical damage on the disk, and how to deal with it. That said, I don't know of any particular tool that can deal with this. It's possible that ddrescue would work in cases when the partition structure is fine, but I'm not sure, it may only be useful for whole disk or part disk imaging rather than for dealing at the partition file level.  Nil Einne (talk) 14:09, 7 February 2015 (UTC)


text:
Emoia cyanura

Emoia cyanura, the copper-tailed skink, is a species of skink. It is found in Borneo, Clipperton Island and other South Pacific islands.

Names
It is known as kagisi in the Rennellese language of the Solomon Islands.

title: Emoia cyanura


text:
User:Jillreilly/sandbox

The Bluest Eye Article Evaluation: - Examine sources, link them - Elaborate on Pecola's physical appearance (ugliness) - Emphasize Pecola's desire for blue eyes – elaborate on where she got this idea (dolls) - Opening sentence under Plot Summary is a run-on – split into two sentences

The Bluest Eye was written by Toni Morrison in 1970. Morrison, a single mother of two sons, wrote the novel while she taught at Howard University.[1] She centers the story around a young African American girl named Pecola who grows up during the years following the Great Depression in Lorain, Ohio. Because of her dark skin color and harsh characteristics, Pecola is constantly called "ugly." As a result, she develops an inferiority complex, which fuels her desire for the blue eyes she equates with "whiteness," and therefore, beauty. The point of view of the novel switches between the perspective of Claudia MacTeer, the daughter of Pecola's foster parents, and a third-person narrator with inset narratives in the first person. Due to the controversial issues the book raises such as racism, incest, and child molestation, there have been numerous attempts to ban it from schools and libraries.[2]

In Lorain, Ohio, 9-year-old Claudia MacTeer and her 10-year-old sister Frieda live with their parents, a tenant named Mr. Henry and Pecola Breedlove, a temporary foster child whose house was burned down by her unstable, alcoholic, and sexually abusive father. Pecola is a quiet, passive young girl who grows up with little money and whose parents are constantly fighting, both verbally and physically. Pecola is continually reminded of what an "ugly" girl she is by members of her neighborhood and school communities. In an attempt to beautify herself, Pecola wishes for blue eyes – a standard that was perpetuated through the gifting of white, blue-eyed dolls throughout her childhood. Most chapters' titles are excerpts from the Dick and Jane paragraph in the novel's prologue, presenting a white family that may be contrasted with Pecola's. The chapter titles contain sudden repetition of words or phrases, many cut-off words, and no interword separations.

Background

Persepolis details Satrapi's life during the war between Iran and Iraq. Persepolis depicts Satrapi's childhood in Iran, while Persepolis 2 depicts her high school years in Vienna, Austria, and her subsequent return to Iran where she attends college, marries, and later divorces before moving to France. Hence, the series is not only a memoir, but a Bildungsroman.

Persepolis has won numerous awards, including the Angoulême International Comics Festival Prize for Scenario in Angoulême, France for its script and in Vitoria, Spain, for its critique of totalitarianism. The film version has also received high honors, such as the Official French Selection for the 2007 Best Foreign Language Film. The graphic novel has been translated from French to English, Spanish, Catalan, Portuguese, Italian, Greek, Swedish, Georgian, and other languages, and has sold 1,500,000 copies overall.

title: User:Jillreilly/sandbox


text:
Nora Mebarek

Nora Mebarek (born 22 July 1972) is a French politician of the Socialist Party (PS) who has been a Member of the European Parliament since February 2020.

Political career
Mebarek stood in the 2017 French legislative election in Bouches-du-Rhône's 16th constituency, a seat with an incumbent socialist MP, Michel Vauzelle, who was standing down. She came in 5th place on the first round and was eliminated. The seat was won in the second round by Monica Michel from La République En Marche!.

Mebarek stood in the 2019 European Parliament election in France. She was placed 6th on the PS–PP–ND list, and so was not elected immediately but secured a seat among the British seats that were redistributed after the UK left the European Union. She took her seat in the European Parliament after Brexit. She sits with the Progressive Alliance of Socialists and Democrats.

In parliament, Mebarek serves on the Committee on Regional Development. Since 2021, she has been part of the Parliament's delegation to the Conference on the Future of Europe. In addition to her committee assignments, she is part of the Parliament’s delegation for relations with the Mashreq countries.

Mebarek was re-elected as an MEP following the 2024 European Parliament election.

Political positions
In May 2021, Mebarek joined a group of 39 mostly Green Party lawmakers from the European Parliament who in a letter urged the leaders of Germany, France and Italy not to support Arctic LNG 2, a $21 billion Russian Arctic liquefied natural gas (LNG) project, due to climate change concerns.

Ahead of the 2022 presidential elections, Mebarek publicly declared her support for Anne Hidalgo as the Socialists’ candidate and joined her campaign team. In 2023, she publicly endorsed the re-election of the party's chairman Olivier Faure.

title: Nora Mebarek


text:
User:LLC28146

Hello, I am Juergen and was born and raised in Viersen – Germany At the time of publishing this I am 52-years-young. And I am semi-retired (just taking it easy) from working as a historic home restoration and renovation contractor. I share my professional know-how and more freely on my home design & Decoration blog

Working on those old homes gave me the pleasure to recreate beautiful Victorian (actually Edwardian) homes in and around Salisbury NC. Salisbury is just a little dreamy country town, where the neighbors still know each other (for the better or the worse) and I have been calling it home for the past 25 years Today is August 17, 2020, and I hope to get my first contribution approved

title: User:LLC28146


text:
Talk:Sakurakai

.
Is this "Sakurai Kai," or should it be "Sakura Kai"? --Nobunaga24 07:36, 11 August 2006 (UTC)

Kodo-ha not Tosei-ha
I believe you have it reversed.

It was the Kodo-ha or 'Imperial Way', not the Tosei-ha or 'Control Group', who were responsible for the coup attempts and whose "avowed aim was threat of a one-party state under army control and run on a war economcy for the army's benefit."

The Tosei-ha were the faction who "had no particular quarrel with capitalism provided the manufacturers did as the Army told them."

"The Japanese War Machine" Chartwell Books, 1976Befuddler 05:26, 2 November 2007 (UTC)

title: Talk:Sakurakai


text:
Talk:British Rail Class 99 (ships)

Possible change to the title of this article
This article is currently named in accordance the WikiProject UK Railways naming conventions for British rolling stock allocated a TOPS number. A proposal to change this convention and/or its scope is being discussed at Wikipedia talk:WikiProject UK Railways, where your comments would be welcome.

External links modified
Hello fellow Wikipedians,

I have just modified 2 one external links on British Rail Class 99. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added tag to http://webcache.googleusercontent.com/translate_c?hl=en&sl=sv&u=http://www.faktaomfartyg.se/stena_shipper_1973.htm&prev=/search%3Fq%3DSpeedlink%2BVanguard%2BBirlik%2B1%26hl%3Den%26safe%3Doff&usg=ALkJrhiEZZhX93qTIb2hwIL9mMzuTLsuAQ
 * Added archive https://web.archive.org/web/20071025045531/http://www.competition-commission.org.uk//rep_pub/reports/1970_1975/fulltext/075appendices.pdf to http://www.competition-commission.org.uk/rep_pub/reports/1970_1975/fulltext/075appendices.pdf
 * Added archive https://web.archive.org/web/20071022171435/http://www.competition-commission.org.uk//rep_pub/reports/1981/fulltext/146appendices.pdf to http://www.competition-commission.org.uk/rep_pub/reports/1981/fulltext/146appendices.pdf

Cheers.— InternetArchiveBot  (Report bug) 23:05, 8 November 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 7 one external links on British Rail Class 99. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20090812074231/http://www.doverferryphotos.co.uk:80/pastandpresent/shep.htm to http://www.doverferryphotos.co.uk/pastandpresent/shep.htm
 * Added archive https://web.archive.org/web/20111004230721/http://www.doverferryphotos.co.uk/pastandpresent/anderida.htm to http://www.doverferryphotos.co.uk/pastandpresent/anderida.htm
 * Added archive https://web.archive.org/web/20111004230917/http://www.doverferryphotos.co.uk/pastandpresent/eloi.htm to http://www.doverferryphotos.co.uk/pastandpresent/eloi.htm
 * Added archive https://web.archive.org/web/20111004230953/http://www.doverferryphotos.co.uk/pastandpresent/chart.htm to http://www.doverferryphotos.co.uk/pastandpresent/chart.htm
 * Added archive https://web.archive.org/web/20111004231012/http://www.doverferryphotos.co.uk/pastandpresent/germain.htm to http://www.doverferryphotos.co.uk/pastandpresent/germain.htm
 * Added archive https://web.archive.org/web/20081121050121/http://www.doverferryphotos.co.uk/pastandpresent/trans.htm to http://www.doverferryphotos.co.uk/pastandpresent/trans.htm
 * Added archive https://web.archive.org/web/20111004231347/http://www.doverferryphotos.co.uk/pastandpresent/cbf.htm to http://www.doverferryphotos.co.uk/pastandpresent/cbf.htm

Cheers.— InternetArchiveBot  (Report bug) 17:54, 30 December 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 4 external links on British Rail Class 99. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Corrected formatting/usage for http://www.doverferryphotos.co.uk/pastandpresent/shep.htm
 * Added archive https://web.archive.org/web/20100102060941/http://www.doverferryphotos.co.uk/pastandpresent/inv3.htm to http://www.doverferryphotos.co.uk/pastandpresent/inv3.htm
 * Added archive https://web.archive.org/web/20111004230706/http://www.doverferryphotos.co.uk/pastandpresent/twick.htm to http://www.doverferryphotos.co.uk/pastandpresent/twick.htm
 * Added archive https://web.archive.org/web/20091231142723/http://www.theshipslist.com/ships/lines/feeders.html to http://www.theshipslist.com/ships/lines/feeders.html

Cheers.— InternetArchiveBot  (Report bug) 04:52, 26 July 2017 (UTC)

Proposed move
As Class 99 is now allocated to a new class of dual mode locomotives, I suggest this page be renamed British Rail Class 99 (ships) to enable new page to be created. Murgatroyd49 (talk) 09:36, 29 April 2022 (UTC)

I have to say, proposing a move then immediately carrying it out yourself without getting any sort of consensus from anybody else rather defeats the point of "suggesting" a move... Danners430 (talk) 10:51, 29 April 2022 (UTC)
 * Agreed, but on reflection I couldn't see anything controversial about the move, as it was obviously necessary, so decided to be bold and just do it. Murgatroyd49 (talk) 11:07, 29 April 2022 (UTC)
 * Were all of the inward links to British Rail Class 99 fixed before the redirect was overwritten? -- Red rose64 🌹 (talk) 12:12, 30 April 2022 (UTC)
 * I've done all that I can find, may have missed a couple. Murgatroyd49 (talk) 13:07, 30 April 2022 (UTC)

title: Talk:British Rail Class 99 (ships)


text:
User:Benjios

A sophomore at Clemson University, who is majoring in Pre- Pharmacy. Spends free time trying to locate said free time.

SC Secretary of State Sandbox User:Benjios/sandbox

My Professor: Her page

The Ambassador Nikki Maria

Course Page: Here

The Article I am working on Secretary of State South Carolina

I had to revise all of the article above.

Things I Like
Google

Hugs

Favorite Band

Flying Kites

title: User:Benjios


text:
Wikipedia:Articles for deletion/XOAD

The result of the debate was delete. Mailer Diablo 02:09, 26 March 2006 (UTC)

XOAD
Not notable. Does not meet WP:Software Sleepyhead 18:45, 21 March 2006 (UTC)
 * Delete, nn, poor quality article. Catamorphism 03:39, 22 March 2006 (UTC)
 * Delete per nom.  OhNo itsJamie Talk 23:18, 22 March 2006 (UTC)
 * Delete per above. --Khoikhoi 04:19, 25 March 2006 (UTC)

title: Wikipedia:Articles for deletion/XOAD


text:
Poker/Hold'em

Texas Hold'em is played in the main event of the World Series of Poker, and is considered by many the most complex and strategic form of poker. In the game everyone tries to make the best 5 card hand they can out of five community cards and two personal cards. In modern games the blinds are then posted. The blinds are forced bets. The player to the left of the dealer puts in the small blind, and the player to the left of the small blind pays the big blind, which is typically twice the small blind. This represents the minimum bet once the action begins. Each player is dealt two cards face down called the hole cards, which they aim to keep secret. Then the first round of betting ensues, with the player to the left of the big blind acting first. After this, a card is discarded and three cards are dealt face up in the middle of the table. These cards are called the flop, and are the first three community cards. There is another round of betting, beginning this time with the small blind. One more card is discarded and one more community card is dealt, called the turn. There is another round of betting, again starting with the small blind, then a discard, and then the final card, called the river, is dealt. There is one final round of betting and then the players who have not folded turn over their cards.

Basic Strategy of Texas Holdem

''Note this strategy guide is for playing no limit texas holdem. Slightly different considerations apply when playing limit or pot limit holdem. It is also heavily oriented towards tournament play, since this is the format where no-limit is most commonly played.''

Position
Position refers to how many players must act after your actions. It is generally preferable to be the last player to act, since your opponents will often reveal some information about their hand by betting or checking (sometimes they may be trapping you by slowplaying or checkraising) before you act, because you have the choice of taking a free card if no-one else has bet, and for various other reasons. Position is probably the single most important factor in no-limit hold'em. The person acting as dealer (also called "being on the button") will always be last to act (except in the first round), and is thus said to "have position" on all other players. Because the dealer can see what all the other players do it is the most desirable position to occupy post-flop.

The blinds, the button and the cutoff seat (one off the button) are normally referred to as late position; the next two or three seats are middle position; and everything else is early position. One important thing for a beginner to realize is that the playability of a hand varies greatly according to their position. Beginners should aim to play fewer than 10% of hands in early position (when you are one of the first to act) but might find 30% playable in late position in an unraised pot.

It is useful to have a shorthand for the pre-flop positions at the table. For this guide, the big blind will be denoted by BB, the small blind by SB; other positions will be represented by a number, with 0 as the button, 1 as the seat next to the button, 2 being 2 places to the right of the button and so on.

Principles of Starting Hand Selection
The single most important thing in choosing which hands to play is to avoid being dominated.

A hand is dominated if it is a non-pair hand facing a higher hand with one card the same, or facing a pair of the same or higher value as one of its cards. For example, AQ is dominated by AK, QQ, KK and AA. QJ, which looks like a good hand to beginners, is dominated by AQ, AJ, KQ, KJ, AA, KK, QQ and JJ - that is, virtually any hand playable for a raise but AK and the medium pairs. A pair is dominated by any higher pair.

This is important not just because the dominated hand is, at best, a 3 to 1 underdog. The implied losses involved in holding AQ against AK are huge, since it can result in losing a large portion of your stack when an ace flops. The legendary player Doyle Brunson once gave up playing AQ entirely, saying that it had lost him more money than any other hand.

This leads to the Gap Concept - you need a better hand to call with than to raise with, from any given position. A player on the dealer button may raise with KJ after the action has been folded around, but should normally fold it to a raise which they judge may represent AK, AJ or KQ. More on this later.

Types of hands
Hands can be divided into a number of types. The value of the types changes depending on the number of players, the level of the blinds and the player's position on the table.

Some hands here are chosen for their ability to make a useful strong one-pair hand; others are chosen for the ability to make a straight, flush or set. The latter are known as drawing hands. A good general rule for drawing hands is: play them in later positions, perhaps the button and positions 1 and 2, and never call with them for more than 5% of the maximum possible return. The maximum return is, roughly, the minimum of your stack and the opponents stack. You might well invest more than that when raising, of course, if you have a stealing opportunity.

A few playable hands, which are not mentioned, fall somewhere in between these two - K9 suited, for example, has a value perhaps somewhere close to KJ off. (But it should be noted that KJ off is not nearly such a strong hand as most beginners would tend to think.)

Big pairs (AA KK QQ)
These cards are a favourite against any hand (except a higher big pair) and must be played aggressively preflop. The general idea is to make as big a pot as possible with as few opponents as possible - which means that you should very rarely slowplay these hands, unless you are playing opponents who know your style, in which case occasional slowplaying has some value. However, there are three general rules for these hands in small tournaments: raise, reraise and all in.

Post-flop, by contrast, pays to be careful. If the pot is small relative to your stack, you are probably only going to find all of your chips in the middle when you are beaten - after all, all you normally have is a one pair hand. The main worries are overcards, a high pair on the board, or a flop with three cards to a straight or flush, especially a high straight like Q-J-T. Knowing when to push for maximum value against someone with top pair or a smaller overpair, when to make a player pay for a draw, and when to slow down or throw your hand away is a question of experience.

High cards (AK AQ AJ KQ AT KJ QJ KT)
Post flop, the hope with these hands is to make top pair, ideally with top kicker. For example, if you play AJ and the flop comes J 8 4 of 3 different suits then you are leading against most hands, such as KJ and QJ. By raising preflop you should eliminate hands such as J8 and 44, or at least make them pay exorbitantly to hit their hand, and so you only need to worry about a player holding 88, JJ or higher. It is standard practice to bet strongly with top pair here, to make it unprofitable for an opponent with T9 to draw for a straight, and avoid someone hitting an overpair. T.J. Cloutier has said that 'Hold'em is a game of top pair, top kicker.'

Ace-King should be regarded in a different category from the other hands, since every time it hits it makes top pair, top kicker with minimal possibility of an overpair. The other hands should be played much more carefully, especially in a raised pot, and especially in a full ring game, where a dominating hand is present much more often than you might think.

Small and medium suited connectors (JT T9 98 … 43; QT J9 … 53; Q9, all suited)
Numerically adjacent cards of the same suit are less likely to make a playable hand on the flop than two big cards. However, when they do make a hand it is usually a very strong one such as a flush, straight, two pair or trips. While pot odds rarely favour these hands, no limit holdem is a game of implied odds, and making that type of hand can easily allow you to double through. Against good players they have the additional advantage of making your play less predictable.

With suited connectors the main aim is to enter a pot cheaply against a number of opponents and from a good position, usually either on or one off the button. With an open-ended straight or flush draw the player will often make a bet called a semi-bluff. If they are called then they are probably behind, but on drawing the correct card it may be possible to force a player with a hand as weak as top pair-top kicker to move all in.

Suited connectors have the most value in full ring games and with low blinds. The true connectors, with no gap between them, are more valuable because they are more likely to make a straight. However the one-gap connectors sometimes gain value from being more deceptive. The medium, offsuit connectors such as JT and T9 may also be playable in late position. The smaller offsuit connectors are trash hands from any position.

The medium connectors are excellent hands to find in late position in an unraised pot, since many players are often holding lower connectors, small pairs, and (especially in online play) high-low combinations, where the medium connectors have a distinct edge. In raised pots the small connectors may become more valuable than the medium ones, however. For example, if a player raises with AQ and another calls with AK, then a 65 suited will be quite a playable hand in a showdown, since the AQ is such a big underdog. (There are pathological cases where the 65 can actually be a favourite in a showdown over the AK here.) Better yet, a flop like A-K-6 will not lose many chips for the player with 65... while a flop like K-6-5 could be quite expensive for the player with AK. By contrast, a QT would be a very bad hand to have.

Suited rag aces (Ax suited)
The ace with a low suited kicker plays very similarly to suited connectors. While pairing the ace is useful, it can easily cause problems when outkicked by a dominating premium ace, and should be played more like middle pair than top pair. The idea, however, is to flop a flush draw. While many inexperienced players will play any two suited cards in the hope of this happening, suited aces have unique advantages here.

Most obviously, when making an ace-high flush you may have the nuts, and you will break any player with a lower flush. Also, when the flop brings a flush draw there are two scenarios; there is no ace, in which case you have a flush draw and an overcard, or there is an ace, in which case you have top pair with a flush draw. This means you have 12 cards to improve your hand above the current top pair by making a flush, pair of aces, or two pair. This gives a very good chance of winning a showdown. Unfortunately, the flush is so obvious that it will take very good play to extract maximum value from a solid, conservative player.

It is worth bearing in mind that an ace with a wheel card (2, 3, 4 or 5) is a stronger drawing hand than an A6 or A7. You may flop a straight, or a flush draw with an inside straight draw, a genuine monster draw with 15 outs over a pair of kings.

Small and medium pairs (JJ TT .. 22)
The medium pairs, JJ through 88, are often the hardest hands to play. For example, suppose a player raised in early position and you called with 99. The flop comes 8-5-3, and the opponent bets. It is clearly unlikely that they have paired the flop, since they raised; if they have a pocket pair of eights then they have a set; if they have a higher pair then you are a massive underdog. All you can beat is a bluff, and even against two overcards you are only a 3-to-1 favourite. So, the medium pairs require very careful handling after the flop unless you hit a set. At the same time they are a little too good to throw away to a single raise, and certainly good enough to raise with. In fact they may be re-raising hands against an aggressive player.

With lower pairs, 77 through 22, hitting an overpair is increasingly unlikely, and they are played more as drawing hands. The standard plan is to enter the pot as cheaply as possible and with good position, try to make a set on the flop, and release the hand upon failing to hit. The pair will make a set approximately 12% of the time, which is enough to pay off handsomely, especially since it is nearly impossible to tell whether or not someone has made a set from the cards on the board.

Trash hands (Almost everything else)
Trash hands are trash not because they cannot win - any two cards can win, especially in a game where you normally do not show down a hand - but because it is so difficult to make a hand which you can play strongly on the flop. Take K7 off suit. When pairing the king it cannot really be played as top pair because of the poor kicker. When pairing the 7 it is unlikely to be top pair, and also unlikely to remain as top pair once the turn and river have been dealt. Making two pair can be very profitable, but with only a few percent chance of flopping two pair even the implied odds cannot justify the play.

As a result, trash hands are only playable under certain circumstances. One is a common scenario at the final table of tournaments. The blinds are high, giving you little chance to select premium hands, and the table is shorthanded. This forces gambling play. By the time a tournament gets down to two players it may be normal to go all-in on being dealt a K7. They are also playable for a call or check from the blinds in an unraised pot.

It is also possible to play them simply because your position at the table makes playing any two cards advantageous. This normally occurs when you are the dealer and the players in front of you have passed. If you are an experienced player or have weak or conservative opponents in the blinds then it can be profitable to play simply for the opportunity to bluff.

Outside the blinds, it is vital to raise when playing these hands preflop, not call. By raising you give yourself the opportunity to steal the blinds as well as the best chance of finding yourself heads-up, where it is easiest to win with the worst hand. Also, limping in where you cannot call a raise is rarely a good strategy. This approach works for some of the best players in the modern game such as Daniel Negranu and Gus Hansen, but it is extremely difficult for inexperienced players, who should normally stick to more playable hands.

Pre-Flop Tactics
There is a wide range of pre-flop tactics aimed at winning the pot outright or at least narrowing the range of remaining players before the flop.

The Button Steal
While any raise preflop can be seen as an attempt to win the blinds, there is one scenario where it is especially profitable. This is the previously mentioned situation of having every player before you pass when you are on the button. If the small and big blind will both fold to a raise of twice the big blind two times out of three then the third time is effectively a freeroll, and a freeroll with good position. Late game in high level tournaments is dominated by attempts to steal the blinds in this fashion. Of course, it is possible to steal from positions other than the button, but having late position is very desirable.

The Squeeze
The squeeze is best demonstrated by example. Suppose a player raised and was called in front of you. A reraise here will place the original raiser in a difficult situation. They have no way of knowing what the original caller will do, and any chips they place in the pot may have to be surrendered to an all-in by a large pair or similar. As a result, a good player will not call without a huge hand. This move almost always either wins the pot outright, or sweetens it and moves to heads-up. Even some conservative players will make this move with marginal hands such as suited connectors and small pairs.

The Limp-Reraise
This tactic is exactly what it sounds like - you limp into the pot, an opponent raises, and you make a big reraise. This tactic is somewhat frequently used by novice players when the are dealt AA or perhaps KK from an early position. However, a thinking player could use this play in a variety of situations. For example, let's say that you are dealt JT suited from a relatively early position, you limp in, another player limps in, and an aggressive player puts in a small to medium sized raise from the button. If the blinds fold, you should occasionally raise in this spot. If you do raise, the player who limped after you will almost always fold, and since the button is aggressive and has position, he could easily have a semi-strong hand that he is now forced to fold. Even if he does call, you still have a disguised holding plus you will get first shot at the pot on the flop. Three things to understand: Only use this play on occasion; do not restrict this play to the times when you have a huge hand; try to use this play only against players who may raise with marginal holdings.

Stealing from the Blinds
This is another play that is best illustrated by example: A few players limp into the pot; you put in a big raise from the small blind or big blind; everyone folds and you scoop the pot. This play actually works more often than it sounds like it should. The best circumstances are when two or three players who like to limp with many different hands enter the pot from middle position and late position, AND when you have a hand that is completely worthless. The play is wasted when you have a hand that you would like to see a cheap flop with, which may develop into something big (like a suited connector or small pair). Note that this play also disguises your raises with very good hands. If the only time that you raise is when you have a big pair or a big A-high, you will be too easily read by your opponents.

Reasons to Bet, Check and Call
One of the main mistakes beginners make is acting without a reason. Or rather, acting with a reason that has to do with their cards rather than with gaining chips.

The main reasons to bet and raise are:

 * To gain value

This is the simplest reason. You have a hand, and you think that your opponent may have a worse hand with which they can pay you off. Value bets are the heart of poker.

 * To force a better hand to fold

Bluffing, discussed in detail later. Your chances of winning a showdown are slim, so avoid one.

 * To protect a hand

Almost any hand can be outdrawn, and it is often important to force your opponent to pay for the privilege. How important this is depends on your hand, the board and your opponent's range of hands.

 * To gain information

Betting and raising purely for information is a technical mistake - you are betting in a situation where the bet will not generate income. However, it may be correct to make a small mistake to avoid a large one later.

The main reasons to check are to:

 * Induce a bluff or misrepresent your hand

This might be slowplaying, or it might not in a normal sense; you might check a middle pair to induce a bluff.

 * Keep the pot small

If it's not clear whether you are ahead or behind, or are 1 card away from making your hand, why actively build a bigger pot? Checking a hand down might be a good option in this case because you can bow out if someone (or a few) raise. Also, having more players in the hand means that your bets vs the total pot are less costly vs the odds of improving your hand.

 * Take a free card

In position, especially against a tricky, trapsetting opponent, you might be better off seeing if the next card improves your hand when they check to you. Out of position you cannot guarantee a free card, of course.

 * Gain information

Sometimes, against certain opponents, you might gain more information by checking than by betting. Be aware of these times.

The reasons for calling might be related to a number of the above - but generally, call when neither folding or raising seems like a good option.

These may seem like simple principles, but balancing them in the many different situations of hold'em is one of the keys to post-flop play.

Evaluating the Strength of a Hand
There are several factors which affect how strong a hand is besides its face value.

The more superior hands which can be made or drawn to from the flop, the weaker the hand. Two black aces are excellent preflop, but on a flop of Q J T suited in hearts it becomes a very mediocre holding against the possible flush, straight, two-pair, set and straight flush combinations.

More players in a pot also weakens a hand. Top pair jacks, ace kicker may be excellent heads-up, but it is far less likely to stand up with 5 players, and almost dead if those players are allowed to remain for the turn and river.

A hand becomes stronger when the amount in the pot is high in relation to the maximum you can lose. All-in with top pair is normal when the pot is similar in size to your stack, but suicidal with a ratio of 20:1.

Also, in tournaments the size of the blinds in relation to your stack is an important factor. A shortstack must judge whether it is worth waiting for a better opportunity to double through with a lower stack, or worth making a move now with a weaker hand.

Evaluating the Strength of an Opponent's Hand
The first thing to do on the flop is to evaluate whether the opponent has made a hand. As a rule of thumb, remember this: against one opponent, you will be correct in assuming they missed the flop two times out of three. If the flop has a pair, it is even more likely that the flop did not help their hand. Against more than one opponent, you will be wrong two times out of three or more.

Position is the most useful tool in judging their strength. If they are forced to act before you and check, and if they have no history of check-raising or slowplaying, then it is safe to assume that they hold no hand. This is not necessarily true if the flop came A K Q -- they may be worried about your hand, or they may have flopped the nuts.

On the other hand, with a flop like 7 5 2, a bet may not mean much, especially if the opponent considers you a tight player. This type of bluff on a rag flop is so common as to hardly be considered a bluff; they may be simply protecting an ace-high.

Bluffing
The game of poker cannot be played correctly against rational opponents without bluffing. Of course, not all opponents are rational. If you find an opponent who invariably calls any reasonable bet on the flop and beyond, then only bet if you have a strong hand -- this sounds obvious, but it is something so alien to many players that world champions have been known to struggle in small stake, friendly games.

There are 3 ways in which bluffing pays off:

 * The opponent folds.
 * The opponent calls, and you then draw out to a stronger hand against them.
 * The opponent calls with a stronger hand, sees the bluff, you lose, but the opponent is more inclined to call bets in future because of it.

Against good opponents it may be that the last of these is actually the most profitable.

It is very difficult to establish how often you should bluff. Mathematically, a bet of half the pot breaks even if the opponent(s) fold one time in three, and a pot-sized bet breaks even if they fold half the time, based only on the possibility of them folding. Heads up against a conservative, inexperienced player it may well be profitable to make the first bet on the flop regardless of your hand. It certainly simplifies decision-making.

The main cost of bluffing on the flop is probably the opportunity cost of slowplaying. Checking with a very strong hand is something of a tell if you have bet the last 40 flops.

Slowplaying
Slowplaying, or trapping, is one of the most dangerous moves in Hold'em. The principle is to check after making a good hand, allowing the opponent to either bluff at the pot or improve their hand slightly on the next card.

The problem is that the opponent may find themselves drawing to a better hand than yours. Unless you are able to make some painful laydowns it is important to only trap with hands which are quite unlikely to be outdrawn, given the texture of the flop.

Immediate winners
Immediate winners (also known as "monsters") include nut hands that are impossible to beat (any four of a kind or better, any nut straight or better). With these hands, the imperative is to make as much money as possible. Betting big will scare most players out of the game with many of them guessing your hand, so slowplaying all the way to the showdown is advised. Call very often, but make middle-sized bets if nobody else is inclined to bet. Loose players will often follow you with draws and weaker made hands. You should almost never raise with immediate winners unless you're sure the opponents will call, since your goal is to maximize your winnings. These hands are virtual cheques for the pot and you should almost never fast-play them. Note: beware the nut straight, a connected card on the turn can re-position the nuts!

Non-nut winners
Non-nut winners include non-nut straight or better. These hands include:
 * full houses with xxy-shaped flop and lower-ranking card making your trips — e.g. flop: 99J, hand: J9 (nut: JJ)
 * full houses with xxx-shaped flop and KK or lower in the hole — e.g. flop: TTT, hand: QQ (nut: Tx)
 * flushes where you don't have the highest card in the suit not on the table present in your hand — e.g. flop: A72, hand: QJ (king is missing!)
 * outside straights where you don't have the next two cards higher-ranked than three on the table — e.g. flop: QJT, hand: K9 (nut: AK)
 * gapped straights where you don't have the gap card and the higher next higher-ranked card — e.g. flop: 986, hand: 75 (nut: T7)

With non-nut winners you have two strategies available: either scare the opponents outright by making large bets or delay that action until the turn. Should a player follow, be prepared to back your hand to the all-in. You should use the first strategy when there are plenty of scare cards possible on the turn and the possibility of completed bigger draws is higher. The second strategy is advisable if the turn doesn't pose a danger. In both cases you must know when to fold.

Sets
Sets are trips where you have the pair in you hand (a pocket pair). The top set is the set where your pocket pair pairs the highest card in the flop. Likewise, at the middle set the middle card is paired and at the lower set the lower card. All sets are very good hands, but seeing the turn is something you want to avoid, since you only have one nut out and many more cards will be scare cards. Nevertheless, a set can be a good hand at the showdown, but it's way more profitable to get out of trouble before the turn. Make large bets (even doubling the pot is okay) to push the opponents out of the pot. Alternatively, if the board doesn't have consecutive cards or cards of same color (unconnected), you can try slow-playing and make people with weaker but still good hands stay in. A set is a great hand, but a low set has to be protected. You should play more passively with top and middle sets, but don't let your betting become predictable.

Flopped trips
Flopped trips is trips where you have one card in the hole and two in the flop. It is similar to a set, but not as good. Trips are usually slow-played so as not to scare everyone out of the game. (Usually, if you encounter a paired flop, you should be suspicious of a full house or a four of a kind. In this case you should be looking for these hands in other players.) But if the board is connected, be aggressive.

Two pair
For the purpose of determining the flop strategy, a two pair requires that you have one card of each pair in the hand and one on the table. Two pair where you have a pocket pair and the board is paired is not a good hand and you should never count paired flops toward your two pair.

Top two pair and "rags & riches" two pair
The top two pair has both top and middle flop card paired with the hole, while the "rags & riches" two pair has the top and bottom card paired. Both are to be slow-played under ideal conditions (uncoordinated board, no hint about immediate winners available from other players). If you see a possible straight or a flush on the board, bet high and raise to scare off drawing hands. Two pair is good, but you're in fact drawing to a full house. You may stay to the showdown, but make sure in most cases you'll be beat by then.

Bottom two pair
Since the cards you play that are low enough to make the bottom two pair possible, are usually connected, you'll get dangerous flops. Make sure the drawers get out before the turn. There's also the possibility of top card being paired and thus making everyone a top pair and degrading your hand to the level of middle pair, low kicker. This advice is also valid for the "rags & riches" two pair.

Pocket pairs
Pocket pairs are pairs where both cards are in the hole.

Overpair
Overpair is a pocket pair bigger than the top card in the flop. When you have the biggest overpairs (pocket aces or kings), slow-play and pretend you bluffed. If you're against multiple opponents, try to filter them out, since the value of an overpair decreases with each new community card. If the overpair isn't that big (usually TT-QQ), bet more aggressively since your overpair isn't that good anymore. Be wary of flops with straight and/or flush draws. If someone chases you persistently at such a flop, you'll probably end up against a made hand or an even-money draw.

2nd pair
The 2nd pair is a pocket pair between the top card and the middle card. It is a usual bet/fold position. When in a late position and it's checked to you, take the free card. A strong player betting in front of you probably means he has something better than a 2nd pair. If you get raised after you've bet, fold unless you're absolutely sure it's a loose player drawing.

3rd pair
3rd pair is below the middle flop card. Check/fold or make a position bet if it's checked to you and the pair is above the bottom flop card. Do not call any bets or raises. This is a hand where you're hoping to get to the turn for free and get two pair or an unlikely trips.

Split pairs
Split pairs are pairs where you have one card in your hand and the other one in the flop. They aren't necessarily worse than pocket pairs, but the kicker is crucial.

Top pair
Top pair, top kicker (sometimes known as TPTK) is the best split pair possible. If you don't see imminent danger (such as a connected flop), slow-play. Else, bet big and try to force everyone out. The only thing is that you have to make sure you don't get carried away by a leading bettor who has obviously beaten you, but you're still holding on to the TPTK. TPTK is not a miracle hand and definitely not an immediate winner. Any overpair or even two pair is way better and you shouldn't hold on to the old pair to the showdown if you don't improve your hand in the meantime. Beware overpairs if you don't have additional outs in your hand (e.g. straight or flush draw).

Middle pair
A middle pair is a pair involving the middle flop card. If you get a middle pair, you should either bet or check/fold, depending on the playing conditions. It is a big advantage here to have an ace kicker. With an Ax hand, you can play more freely and usually take a free card when possible, since you want to get two pair, trips or a flush draw. If you get two pair, you can dominate the overcards, if you get trips, you can dominate the other player with the trips by your ace kicker, if you get a flush, your ace will guarantee you a win etc. However, if you have a worse kicker, play less aggressively and don't take much free cards. Should a tight opponent bet, fold.

Bottom pair
This is the worst split pair. Of course, the advice is to play very passively. If anyone bets, fold. In most cases you'll lose a bottom pair on the showdown, so your goal is to improve. You have only 5 outs to improve. If you decide to bluff and bet with a hand like this, do not make it a costly habit. If you're last to act and the table seems quiet, take a free card.

Draws
The opposite of made hands, draws are hands where you're aiming at a combination such as a straight or a flush, but you have only 4 cards necessary. You're aiming to get the fifth one either at turn or at river. If you have only 3 cards, you have a backdoor draw. The only feasible backdoor draw is a backdoor flush draw, getting you 1-2 outs. A backdoor straight draw is worthless. A nut draw is a draw to a nut hand.

Draws with 9 or more outs are generally good. Do not call here, make some action. 12 nut outs (ace-flush draw) are usually enough for a 50% turn & river chance, making you an even-money bet against a random opponent. The more opponents you have, the higher your calling odds are. You should remember not to "draw dead" (i.e. when you're drawing to a straight and it seems obvious someone has already got a flush). Also, beware of dead outs (your own outs that also help your opponents).

You should be more careful if you're not drawing to a nut hand. In that case, you could often by showdown find yourself against a better hand, even if you complete your draw. If you have a mid-to-late position and a rather good draw, try to make a middle-sized bet to take the pot outright.

If you have less than 9 outs, the pot odds become the imperative here. Do not call scare bets, you'll be wasting your money.

Big overcards
Big overcards are strong preflop holdings (AKs, AQs, AK, KQs, AQ, AJs) against a flop with no face cards with no made hand and no 4-card draws in sight. Be careful when playing with these against strong players as they know this is one of your most frequent hands. Sometimes try to pass it off as an overpair, but don't do it too frequently. Don't play this hand against more than two opponents.

Other hands
Anything not mentioned here is usually not even worth a bluff. Check/fold as you'll usually lose with such bad hands. Playing something like this is OK only on a late stage of a tournament.

title: Poker/Hold'em


text:
Phostria mapetalis

Phostria mapetalis is a species of moth in the family Crambidae. It was described by Schaus in 1912. It is found in Costa Rica and Honduras.

title: Phostria mapetalis


text:
Dr. Ambedkar Government Arts College

Dr Ambedkar Government Arts College is a college based in Vyasarpadi neighbourhood of Chennai district. The college is affiliated to the University of Madras. It was established in the year 1972.

History
The birth of Dr. Ambedkar Government Arts College could be traced to the aspiring masses, an understanding state and a co-operative community. In the late sixties the clamour for an institution of higher education for the children of North Chennai was steadily increasing. So the Government of Tamilnadu, individual and corporate philanthropists and film stars joined hands with the common people of North Chennai to give a concrete shape to their dreams. Efforts commenced in 1971 when the Government of Tamilnadu located a huge lake lying South of Madras-Calcutta National Highway as the site for the proposed College. The significance of the role this College was going to play in future, is seen in the sharp contrast that marks its arrival from the birth of grandiose institutions. Though land was located, money needed to be raised. Now the Government set up a Fundraising Committee with the Madras District Collector at the helm. The Committee organized Benefit Matches where film-stars wielded the willow for the cause. Company philanthropy and common people together mobilized the Government stipulated sum of ₹5 lakhs (Rupees five lakhs only) and the first brick was laid on clayey soil on 01/08/1972. The then Hon'ble Minister for Harijan Welfare played a noteworthy role consistently. It must be recorded that the same aspirations of the people, which helped found the College in 1973, continue to inspire and guide the teachers and supporting staff of the College to this day.

Science

 * 1) Physics
 * 2) Chemistry

 * 1) Mathematics
 * 2) Computer Science
 * 3) Botany
 * 4) Zoology
 * 5) Psychology
 * 6) Nutrition and Dietetics
 * 7) Statistics
 * 8) Visual Communication

Arts and Commerce

 * 1) English
 * 2) Business Administration
 * 3) Economics
 * 4) Commerce
 * 5) Defence and Strategic Studies

Post-graduate departments
offers two specialisation:
 * 1) Chemistry
 * 2) Mathematics
 * 3) Computer Science
 * 4) Zoology
 * 5) Commerce
 * 6) Economics
 * 7) English
 * 8) Social Work (MSW)

 * 1) Community Development &Empowerment
 * 2) Medical & Psychiatry

M.Phil. departments

 * 1) Computer Science
 * 2) Chemistry
 * 3) Zoology
 * 4) Commerce
 * 5) English

Accreditation
The college is recognized by the University Grants Commission.

Admission 2018-2019
For the Academic year 2018-2019 Under Graduation admission process starts from 14-05-2018 from this day on wards Sale of Application starts. Sales timing From 10.30 am to 3.00 pm. Counselling starts from 08-06-2018.

title: Dr. Ambedkar Government Arts College


text:
Talk:creed

I don't know how to translate the word "creed" to Hebrew; I do know, that "אמונה" (emuna) is not a summary of principals and beliefs, but simply "faith" or "belief". So I erased the wrong Hebrew translation. Liso 14:49, 2 November 2007 (UTC)

title: Talk:creed


text:
Cookbook:Duck

Ducks are a variety of poultry used for meat and eggs.

Characteristics
Both wild and domesticated ducks can be consumed as meat. Domesticated ducks include the mild White Pekin, the gamier domestic Muscovy, and the Moulard, which is a hybrid cross between the two. Other specialized breeds are also raised.

Overall, duck meat itself is dark and fairly lean, without much intramuscular fat. The breast is more tender than the leg, which also has tendons running through it, though no part of the duck is as tender as chicken. The flavor of duck is richer than that of chicken, and wild duck meat can have a somewhat gamey flavor. Domesticated ducks have a significant amount of fat in the skin

The breast or magret of Moulard ducks is large and rich, and it is sometimes aged like beef. Magrets also tend to have a thick fat layer on them.

Ducks sold in the West are often classified into the following primary types according to age—note that younger birds tend to be called "ducklings", and older ones "ducks", though terminology is not always consistent:

 * Broiler/fryer: usually <6–8 weeks of age; very tender with soft bill; 3–6 pounds
 * Roaster: usually <16 weeks of age; tender with somewhat soft bill; 5–8 pounds.
 * Mature/old: usually over 6 months of age; toughened flesh and a hardened bill; usually used in processed products

Selection and storage
When selecting duck, air-chilled is the best option, as the texture is less watery and the flavor is more concentrated. You'll want to make sure that the skin is smooth, with no discoloration, and the meat should smell fresh. Store duck in the fridge for up to a couple days or in the freezer for up to a couple months.

To estimate how much duck will feed a given number of people, you'll want to consider the fact that duck has a higher proportion of bone/fat to meat, compared to chicken, for example. A good general guideline is to purchase 1.5–2 pounds of raw duck per individual, which will ultimately yield about half as much final meat.

Preparation
Preparing a whole duck is largely the same as preparing any other whole poultry carcass. Make sure to trim away any excess skin that is not covering the meat. Additionally, because you want to render out all of the fat in the skin during cooking, it is recommended to score the skin with a knife or prick it all over, which will facilitate the rendering process.

Use
Duck can be prepared in a variety of ways, such as smoking, curing, roasting, and poaching. For example, whole ducks are often slow-roasted to tenderize and slowly render out fat. Domestic duck legs can be slowly poached in fat, which is called "confit", but wild duck legs are best braised. Either way, duck tends to benefit from low-heat cooking methods. Duck breast is best started in a pan over low heat, which renders out the fat, and then cooked to medium rare. Duck wings and bones are best used in stock.

Note that, due to its leaner meat, wild duck often needs to be cooked with an additional layer of fat to protect it from drying out—bacon is one good option here.

title: Cookbook:Duck