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Writing Effective Songs

"Songwriters and poets suffer from the same affliction . . . they both believe they have something to say."

Do any of the following statements describe you? If these statements generally describe you, then read on, as we discuss "Writing Effective Songs".
 * "I spend a large portion of every day thinking about writing songs."
 * "I read scripture and think . . . surely these are the lyrics to a song."
 * "I write down interesting remarks I overhear."
 * "I put a lot of energy into writing songs, and trying to write songs."
 * "I see all the bits and pieces of songs I have lying around and it drives me crazy."
 * "I go to songwriting workshops given by people who make their living writing songs."
 * "I spend time with other songwriters."
 * "I read books on songwriting."
 * "I think I am a songwriter."
 * "I am obsessed with songs."
 * "I sometimes feel angry with lyrics and just go with the flow."
 * "I feel an overwhelming sense of satisfaction when I finish writing a song. Writing is difficult, but I am always challenged to do my best. Sometimes I feel like songwriting should be called song rewriting, because I spend a lot of time rewriting until the song is right."

Music and lyrics come from the heart. It's not something you can just do easily. Lyrics are created from events that have happened in your life, for instance - an ex lover, the present, dreams, or everyday life. All the different experiences you have had in your life can be written down as songs if you think hard enough.

The Mechanical Elements of a Song
For the beginning songwriter, it may be helpful to know something about the various elements of a song. Following are some definitions: Different time signatures can offer different rhythmic feelings depending on the beat emphasis. 4/4 is very standard feeling, befitting a time signature known as "Common Time", whereas 6/8 is most often played as if it were 2/4 with the beat divided into 3 equal parts in a triplet or "dotted-quarter feel and is "bouncy" (It is common to many Irish/Celtic dances/jigs as well as "naval"/sailor music such as shanties). More complex music can feature "odd", uncommon time signatures such as 7/8 which vary as far as beat subdivision from song to song but the uneven number of beats per measure creates uneven rhythmic patterns. An example in 7/8 could be counted 1-2, 1-2, 1-2-3 (emphasis placed on the 1's), and would feel like 3/4 with an extended 3rd beat. Different eighth note groupings and emphasis are used to vary the feel.
 * Measure (Bar): a segment of time defined as a given number of beats of a given duration.
 * Melody: the part of a song that can be sung alone so that the song is recognizable; the "lead". Elements of the melody include:
 * Motif: a short group of notes
 * Phrase: Two motifs combined
 * Sentence or period: Two phrases combined
 * Paragraph: A group of sentences
 * Sequence: a melodic phrase that is repeated but is transposed
 * Harmony: the notes that compliment or support the melody line. These may be sung or played. In music theory, they are described as the vertical structure. If using a chord progression format, should base the harmony of the song upon the progression and only vary a bit.
 * Rhythm: the pattern of beats to which the words are sung. There are two versions: The traditional, where every note is played as shown, and the "swing", used in Blues and Jazz, where, for example, two half-beats go "bomp-bomb" (kind of like heartbeat). A more technically useful definition of swing is best described using eighth notes. Rather than playing "straight", or on the down and up-beats: there is a lengthening of the on-beat eighth note, a pause perhaps in slower tempos, and a rushed offbeat eighth note. This is derived by forming two triplets (assuming 4/4 or "Common Time") and playing the first note in the triplet, a silent second note or "rest" and playing the third note. Swing can create a sort of laid back, lazy feel at slow tempos and at higher tempos can give a driving force that pushes the music forward. At extreme tempos, it can become technically impossible or cause a loss of pulse/beat, but this is mainly only an issue with electronic music forms.
 * Tempo: the speed of the song, measured in beats per minute (BPM). A higher BPM number indicates a faster speed, whereas low BPM indicates slow speed.
 * Time Signature: 4/4, 2/4, 2/2, 3/4, 6/8, etc. the top number relates to the number of beats in a measure/bar and the bottom number relates to the value of the notes in the bar. i.e 4/4 = four Quarter/crochet notes in a bar. 6/8 = six eighth/quaver notes in a bar.

Usually, each song consists of the following:
 * Intro: the short instrumental section at the beginning of the song.
 * Verse: a section of the song having its own melody, usually following the introduction and occurring again after the chorus. Most songs have two or three verses, repeating the same melody with different words. Verses usually have about eight measures, but traditional twelve bar blues may use twelve measures.
 * Pre-Chorus (a.k.a. Channel): a short section that builds beyond the verse and usually leads to the Chorus.
 * Chorus: a different section in the song with a different melody, usually following the verses and the bridge. The chorus may be very repetitive.
 * Bridge, or Middle 8: a section of the song that is different from the verses and chorus. The bridge usually occurs during a transition between verse and chorus or between two choruses in separate keys; hence, it is sometimes called the "bridge." Because it is frequently 8 bars long, it also known as the "Middle 8," particularly in Britain and Europe.  However it is conceived, its primary function is to provide the ear with a kind of "relief" from the repetitiveness of the Verse and Chorus, to provide a fresh perspective within the context of the overall structure.
 * Hook: an important phrase in the song, the memorable theme. The hook is usually repeated at various times during the song. Also referred to as the motif.
 * Coda: the ending section of the song; usually repeats the hook or an important portion of the song. Maybe integrated into the chorus. In traditional western music, a coda is a separate section of music from the rest that is only played when indicated (written: to Coda), usually only once and often is used as a resolution or ending in songs that involve a repeating loop such as the traditional American graduation song Pomp and Circumstance or other marches that need to be played for varying durations (or other creative uses, or as a method of saving space/ink in written music).

Often, it is worth the effort to first invent a melody from a chord (or string for guitar) sequence around which your song will be focused. Song writing for the popular vote requires a 'hook' as it is known. The hook may be simply a melodic structure, but is perhaps preferably a mix of the melody coupled with a clever line of words.

For instance, in the well known 'Danny Boy' or 'Derry Air' as it is sometimes called, the 'hook' is found where the melody appears to try to surge forward into the chorus and the words "But come ye back" accompany that surge in chord progression.

The reverse process, putting music to words, is a lot more difficult and is also less successful in most formats. (fitting lyrics to a melody can create some "forced" lines or wording in order to fit. Developing a melody after writing lyrics allows you to form the basic rhythmic structure from the syllables of the words, adding expanding and altering to develop interesting melodic movement. Knowing the tone of a particular line or section also allows you to better able match the mood musically for more consistent feeling. Plenty of people find these advantages helpful and it is by no means incorrect or more difficult writing in this fashion. Song writing is a process unique to everyone, do what works best for you.)

But there are certain cases where putting music to words is a better option... for instance, a rhyming poem or free verse with a regular meter can easily be made a song. Basic chords lend themselves well, the I - IV - V progression and iv - IV - V - I chords work.

Popular Song forms
Popular music has several forms that are commonly used. These usually consist of four 8-bar phrases, making up the typical 32 bar form. Typically, this entire 32-bar is a chorus.
 * A-A1-B-A (ternary) is the most famous. The hook is typically in A, which allows it to be repeated, setting the hook in the listener's mind. The hook is a memorable, catchy part of the song, and may consist of one or more of the following: the title, a musical phrase, a riff, or a production effect. In section A1 the song develops usually by adding new instruments or increasing energy level in some other way. The B section, often referred to as the bridge, is a musical (and usually lyrical) contrast.
 * Example: Over the rainbow, Yesterday, Just the Way You Are, What'll I Do, Ain't Misbehavin', As Time Goes By.

 * A-B-A-B (binary verse/chorus) consist of eight-bar of A as verse, followed by eight bar of B as chorus. The 2nd half, acting as repetition, have a slight difference either melodically, harmonically, or both.
 * Example: Material girl, "Sunrise, Sunset"

 * A-A-B-B (binary): One A phrases for 8 bars, followed by its repetition, then followed by B phrases for 8 bars and its repetition. Repetition may or may not have variations.
 * Example: Bouree in E minor

 * A-B-A-C: Provide variation with the B phrase and repetition of A phrase with new concluding material in C phrase.
 * A-B-C-D: Each phrase provides a variation with new melodic material. This is rarer since it requires more attention from the listener and fewer opportunities to bring home the hook through its repetition.

The other popular form, the 12-Bar Blues, is also common. See Music Theory/Blues for numerous type of 12-bar blues form.

Tools for Your Songwriting “Toolbox”
Some things that will help, but are not required:
 * The gift of songwriting. Obviously, if you are gifted in this way, you’ll be way ahead of the game.  Some people are born skilled writers.  It comes to them like breathing.  Others want to write so bad it's killing them, but they can't come up with anything that moves people.  Most of us are somewhere in between . . . pretty good writers who could benefit from studying the craft of songwriting. (Those naturally gifted wouldn't be here most likely, for the "ungifted", you are actually just unpracticed. Experience is more useful than being gifted, you will learn all the wrong ways of doing things which will actually give you a better understanding of the craft rather than being "lucky" and making something good but with no idea of why and how you might expand from there.)
 * Absolute Pitch. Of course it is a helpful tool but is not necessary. (More commonly called "Perfect Pitch", and is the ability to distinguish and identify the pitch, note, or chord playing by name. This is a gift you are born with or without. An equally useful and similar tool is "Relative Pitch", the ability to distinguish and identify intervals and chord movement from a known starting pitch. Again, you gain more musical knowledge such as scale degree and chord tendencies that you wouldn't just "have" if you had Perfect Pitch. Experience is always better, natural gifts just give a starting advantage while simultaneously discouraging actually learning correctly (taking shortcuts).)
 * Some creative bent. "Most people see the sun go down.  I see the mountain rise up."
 * A good understanding of poetry writing. (Though if you listen to pop songs these days you'll notice a frequent lack of form or rhyme. Decide to rise above and keep making music with meaning, it's your method and chance of sharing yourself or a message with anyone that listens to your song. Don't waste it on materializing women and fantasizing about drugs unless that's your intention, eh?)
 * Ability to sing or play an instrument. (Many rich song writers actually don't play anything... its certainly useful and enriching playing music you write but its perfectly possible to write songs without hearing them. Take, for example, Beethoven. He was writing 26 part symphonies deaf. Another option is going the electronic route like many modern artists with software that allows you to put in notes/chords/whatever individually and accurately, then play it back.)
 * Collaboration with other writers. (In general the best way to learn and grow as a musician is collaborating and playing with others, its a whole different level than playing solo and typically much more fun)
 * Multi-track Recorder (cassette 4-track, computer program, smartphone app, etc.)
 * A voice recorder, to record how it sounds.
 * Music Theory. While some of the greatest songs being sung around the world today were birthed in the hearts of people who knew nothing about music, if one wants to play in a certain style, they should also follow the style. One should not deviate too much from the 12-Bar Blues, for example, if they are to make a song in the style of Blues, regardless of the song's content. (Anyone with any sort of ear for pitch and pitch relation should be able to come up with something musical given a bit of time, theory allows you to understand why things work but also how best to achieve certain effects, in addition to understanding ways to develop a musical idea rather than guessing/experimenting until you find what you want. A lot of new, interesting ideas can develop this way and you should do a bit of it regardless but knowing some basic theory will speed up the process and help prevent discouragement due to getting "stuck".)
 * material from experienced writers/musicians you don't have to listen to anyone else to make your own music, but immersing yourself in the work of other talented people is good for inspiration and seeing what has been proven to work well, as well as motivation

Things that are not required, PERIOD
 * Virtuoso ability on an instrument.
 * A great singing voice. (you definitely don't have to sound good, but its a good idea to at least develop the ability to sing in tune and correct pitches. if not singing, humming or whistling would do. being able to experiment with musical ideas or prototype things anywhere with no additional materials than your own body is highly useful. you can even record these ideas as inspiration hits to save for later, which is also encouraged. Finally, singing either lyrics or pitches along with a song gives an organic connection to it and helps you better understand whats happening in analysis; and singing harmony or bass parts expands your creativity for adding depth to a simple idea in addition to just being fun.)

Requirements:
 * An intimate and vital relationship with your topic.
 * A sensitive spirit relative to your intended audience.
 * Patience. (Sometimes you block or hit snags.  Work through them.)
 * A paying job, or normal education. (Don't expect to hit a record contract so soon, pal)

Becoming an Effective Songwriter
You need to know your subject matter, this is imperative. After all, it is difficult at best to discuss subjects that you’re not knowledgeable of—and research, know about the subject matter as much as possible

Write about what you know. If your songs are not meaningful to you, they probably won't be meaningful to other people, and the lack of knowledge on your subject and your lack of enthusiasm for it will show through.

Write primarily as an expression of your own feelings, and who knows better about what you're feeling than you?

Strive to expand your vocabulary. While some phrases may be very meaningful, there are probably words that fit the image you are trying to create more appropriately. Also, if possible, try to live "in" the subject matter.

You need to be vulnerable; to be a good writer, you must remain vulnerable in your writing. If you hide, then the song hides. There is no safe haven for songwriters. If you choose to play it safe and not lay it on the line, your songs will be cliché-ridden, shallow and boring.

You need to practice and you need to be persistent; Yes, sometimes, the words and melody simply flow. But most of the time songwriting is hard work. Songwriting requires work, practice, mentors, study, diligence, and commitment. We should give ourselves to the development of our writing	skills.

Practice, sing and write constantly. Write something every day, even if you come up with something that might initially sound trite. You can revise it and make it something good later. Whatever musical impulse lies within will come out.

Important Elements of a Song
The most important aspect of a song is "sing-ability"
 * Do the stressed syllables of the lyrics match the stressed beats of the music? (If you write the lyrics first, as mentioned earlier, this becomes less of an issue.)
 * Are the words you want emphasized sung with longer notes? (higher or contrasting pitches also bring attention to a word better than lower pitches that can get lost in the rest of the music or repeated pitches that usually create no musical interest unless used a particular way)
 * Does it have a smooth melody? (occasional leaps or breaks, if used artfully, are perfectly fine and add interest)
 * Are the intervals easy to sing? (Usually 2nds, 3rds, 4ths, 5ths and octaves are easiest.)
 * Is the melody supported by the chord progression?
 * Does the melody fall within the sing-able range of the	majority? (Usually, not much lower than an A; not much higher than a D.) (A what? D what? Octaves exist. If you want an anthem this is important, but if your range is atypical or you have a greater than average range don't feel like you can't show it off. People like singing along to songs, but people also like being impressed and appreciate a show of talent/ability)
 * Is it too wordy? Too many words make it difficult to focus on the subject matter.
 * One Theme: stay focused on the "seed thought".
 * Repetition: This makes the song easier for the congregation to retain and memorize. (And potentially boring. Much music is not repetitive, again do you want an anthem or something personal?)
 * Imagery: Does it capture an image? Does it paint a picture of how you feel about a given situation at a given moment in time?
 * Consistent within itself: Is the melody "saying" the same thing as the lyrics? Try to avoid putting happy sounding lyrics with a haunting melody. Of course, this can be done: for example, songs by Asaki are a good example (they have haunting, but celebratory songs ) (psst, writing lyrics first often makes this easier)
 * Is it “catchy”?: Is there a creative chord progression? Is there an interesting rhyming scheme? Is there a creative melody? Is there alliteration?

Making the Connection

 * The lyric is arguably the most important part of a song. Be clear.  It is primary and fundamental that the audience understands what you are saying. If not . . . it might as well have been an instrumental. (the human voice is an instrument and many musicians use it as such, focusing on musicality of the syllables rather than clear words... Listen to Zac Condon of Beirut, can't understand a thing he says half the time but boy does it sound nice. also many singing styles distort the voice such as growling and screaming in more hardcore music.)
 * Does it use the language of the assembly? If aimed at Youth, does it "groove"? If aimed at kids, is it happy?
 * Is it simple "ABC-rock," or is it 70's "Art-Rock"?
 * Is it intended for small group or a large crowd? Can it be sung by your choice of line up?
 * Are there long pauses that could be filled with a lead instrument?
 * Could there be more pauses to let your rhythm take a "rest"?

Simplicity
Simple images cut deep like a sharp knife. One of the most common mistakes made by beginning songwriters is trying to say too much. The simplest songs are usually the most powerful.

Complex writing in "code" that sounds like some other good song somewhere doesn't cut it. Many writers play it safe behind vague or complex lyrics. (And many listeners enjoy decoding the meaning of them. Do what you want.)

If you try to say in three minutes or less how you feel about everything in your life, you will lose people. It is more powerful to show how you feel about ONE thing, right now.

Once you've gained considerable experience in writing songs, you may decide to add some elements of symbolism, metaphor, or irony into your work. A song with several layers grows progressively interesting; if there is more to the song than first meets the ear, it will stay fresh.

Sparking the Creative Flow
Meditation is a very effective way to do this. There is no more creative expressiveness than your inner voice. Inner voice can both flow and be shaped: you can let ideas come to you and you can alter them. It usually comes when you quiet your mind. As you open to your inner voice, it becomes easier to hear, grasp and shape ideas. This is important in folk-style songs, such as Blues and Country Music. Negative stories with a positive resolution can be very inspirational. Angry lyrics can be the release a listener is looking for. If you are a lyricist, write or sing whatever comes to mind. Even seemingly boring or strange lyrics must be written down, to open your mind to the more interesting and familiar lyrics. It is important to at least consider everything that comes to mind. You can rewrite and reshape the lyrics later, as it becomes more and more clear, what you were trying to say or realized you could say instead.
 * Quiet time: The key to expressive songs and lyrics is personal quiet times.
 * Difficulties and Devastation Speaking from life-changing personal experience.
 * Brainstorming If you are a musician, sit at your instrument and just play.

Put those feelings into words and music. Either you must look for situations to match the feeling or feelings to match the words, Be emotionally well-rounded: write songs of varying feelings, but realize what emotions won't fit, Don't write funny if you consider your genre very serious. Flip the notes around: try the second note as a fifth then as a fourth and third. See what works. Remember that the more familiar always sounds better, so you have to try any new melody you wrote several times before throwing it out. Single thoughts are a powerful way to write. The feeling is often already implied. An interesting story, onatomatopiea, or extended reasoning or metaphor, could easily be written around a simple thought with enough hours spent. Every little thought counts, that you have about every phrase, word, and sound. Don't be afraid to try anything that comes to mind. Use the satisfaction from improving your thoughts to continue to improve your thoughts.
 * Was it just a feeling? Then follow your feeling—do not look for anything else.
 * Do you just have a melody? Sing something, anything, to it.
 * Is it just a thought?

and don’t ever throw anything away. Bob Dylan is quoted in his famous deal with a higher power interview, as saying that he would move onto other songs if a new song wasn't happening. In another interview about Dylan's song Tangled Up In Blue, he said he spent years on the song grafting various women into one character, so sometimes move on, but keep every idea for some use somewhere.
 * Brainstorm - write down every corresponding thought that comes to mind,

Listen to the recording. Does it have a linear thread through the whole song? Or is it like this wiki: a patchwork of many separate ideas under one umbrella? Are there any phrases that don't quite make sense? Is there another phrase you could replace it with? Is there anything you cringe at? Do you talk about your muffin in a song about poker? Is there a clunky bunch of words? Is there anything that means something very powerful, but doesn't sound that way out loud? What is that powerful meaning and can you just write that instead? Remember theme is the universal meaning behind the details like love, bravery, good, evil, etc. There is always a theme, you just have to make it consistent. There are actually a limited number of simple good progressions, and they've all been written already, which explains why you wrote that really cool song, and then realized you took it from so and so, They "took" it too, because we ran out of "new" simple chord progressions centuries ago, and the more complex ones are really combinations of simple ones.
 * Write down your ideas and lyrics, and always record a rough draft of your songs.
 * Read your lyrics out loud.
 * Is the theme universal, or is it so personal that it could only mean something to you?
 * Do you have a great chord progression? If you have access to a piano, voice the chords with left hand and just improvise a melody with the right.

Well don't waste your time in music; there are a lot of other professions that immediately pay a lot more than 99.99% of musicians ever make. Even many supposedly rich musicians never made a dime, because of too much money spent on production, touring, and distribution. If you want to get rich, then check out any profession with a lot of demand. Yes you can become a millionaire from music, but count the number of hit songs and then think of the total number of songs written ever, and then think of the number of hit songs that were profitable. Also, consider that even if you wrote a hit level song, how do you get the national audience needed to become a millionaire? Record labels don't even listen to submissions anymore. You have to tour relentlessly after you spent years begging friends to come to shows and not even listen your perfectly written songs. And then consider that everyone has an ego, and that your song is not as good as it at first seems. Actually success depends on you opening your ego, unless you just happen to part of a social movement, and then nobody is really listening anyway. One exercise in ego would be to take the first two lines of your favorite song and break it down, then break down the language and poetry of your best song. And even opening up to better writing still doesn't guarantee success, There are countless songwriters that pop up years after their death as being great writing, but yet unacknowledged in their lifetime. If you make songs just to get rich, there’s a strong chance you’re going to be terribly frustrated. We have little control over how others receive what we create. And if you try to change to fit what you think they want, you will never be happy with it, and they will never be happy with you. But at the same time, if you are unwillingly to change your lyrics to make more sense, because of some intangible lofty feeling, then you might be fooling yourself, and your success depends on deaf ears.
 * Or . . . do you just want to get rich?
 * It's not completely impossible. Just close to impossible.

A Word Concerning Originality...
As songwriters, we don't have to re-invent the wheel; we just need to spin it our own way. A composer fails to be original when he or she does not listen to his or her own musical voice. Composers frequently re-create melodic, harmonic, and rhythmic tapestries that lie deep in their sub-conscious. Initially this is not a problem, since all music must take off from somewhere. We must be able to take it to a NEW place. . . one that it is original to our "take" on the style. Sometimes a composer is successful with a song only to find it has already been written.

Alternatively, it is common for a songwriter to use the same (or similar) well known melody. for example, Gekkoka (Moonlight Flower) and Tsubasa (wings) are both based on a classical piano piece, Midori no haze. However, with variations on melody (one is more melodramatic, while Tsubasa is more upbeat), and different lyrics, they become two distinct songs. Still, one should be very careful about using another person's melody, especially in countries in the developed world, which usually have the toughest copyright laws.

The most commonly reused part of music is chord structure. There are only so many chords and over the centuries people have found many of the chord changes that are most naturally pleasing. You can play about a million songs that all have the chord progression in the key of C: C - Am - F - G or some variation of the order (C - F - Am - G). So long as you have your own musical ideas building off of those chords, your song will still be unique same as the million others. This allows an excellent opportunity to really make your song stand out by using other chords creatively. don't feel confined to a key or set progression, some of the most interesting music uses out of key (non diatonic) chords or chromaticism, and modal interchange. All of those are more advanced music theory, but its something to work towards when you get tired of hearing the same progressions you always do. You can also play in different keys with the same progression: I - vi - IV - V in the key of Bb for example would be Bb - g - Eb - F. These are different chords, but it will have the same "feel" to it as it is the same pattern of tension building and release. It will change the pitch and note range, however (make sure its a key you can actually play or sing in), which can lend a brighter or darker mood and changing keys mid-song can be very effective, if done tastefully, in addition to giving your song a more unique identity.

Conclusion
Meter is something not always fully understood, by learning writers, briefly meter in songs is the measurement of each note, Study the best writers and see where they  relieve any chance of metric boredom, by inserting contrasting sections in each stanza.
 * Once you have a song that you think is ready for the group, run it past a few objective and mature friends for an honest critique. Don't be afraid to refine it, taking into consideration their input.
 * Focus on the process, not the outcome. It's good to have a goal.  It's more important to spend your days doing what pleases you.  Years of deprivation and sacrifice to reach a “place” most times equal years of deprivation and sacrifice.  The “place” is never enough compensation.  Just ask anyone who is in the “place” you want to be.
 * If you are really strong, you can find your identity in the songs you write, just like any poem.

Style Reference

 * Elements of an Effective Praise & Worship Song
 * /Rock Album Arranging/

title: Writing Effective Songs


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POST TRAUMA VISION SYNDROME

Post Trauma Vision Syndrome (PTVS) is the most common visual sequel of mild Traumatic Brain Injury (mTBI).1 While termed mild, the symptoms and impact on life can be anything but. MTBI includes concussions, minor head trauma, minor head injury, whiplash, and more. Frustratingly, our current limitations in imaging most often mean that nothing is seen on a CT Scan or MRI.2  Unresolved post trauma vision syndrome will significantly impede the therapeutic processes provided by occupational therapists and physical therapists.

PTVS is a constellation of signs and symptoms that may include:2

Conditions:

·      Problems with the focusing mechanism (accommodation)

·      Tracking (ocular motor function)

·      Delayed visual memory/processing

·      Convergence (how the eyes come together),

·      Visual spatial distortions (visual-vestibular) along with associated neuro-motor (visual-motor output) deficits.

Common Symptoms:2

·      Poor balance

·      Headaches/migraines

·      Inability to concentrate (reading/computer or even conversation)

·      Dizziness/nausea

·      Inability to tolerate crowded or busy places

·      Disorientation

·      Fatigue

·      Delayed visual memory

Many of these symptoms are seen in Post Concussion Syndrome.

Conditions:

Ocular Motor Dysfunction (saccade or pursuit dysfunction)

Ocular motor dysfunction (oculomotor dysfunction) refers to inaccurate tracking of the eyes. This can happen at a level of being unable to track from finger to finger, or being unable to track accurately through targets on a page. Although there may be full ocular movements and no limitations in gaze, there may still be significant impairment to optimal ocular motor function regarding accuracy and speed of eye movements.2  Accurate reaching (eye-hand), navigating through space, and reading require speed and accuracy of eye movements, and will be compromised if ocular motor dysfunction persists.3,4-8  Unresolved ocular motor disturbance will significantly impeded the therapeutic processes provided by both occupational and physical therapists.2

Binocular Dysfunction

Problems with binocular vision are common secondary to ABI.2,9-13   Binocular dysfunction refers to an inability to accurately use the two eyes together. There are varying levels, and many cases will pass ‘routine’ eye testing. They can be severely disabling to a person’s ability and performance in many activities of daily living.2  Some of the affected areas include posture, balance, ability to move through space, reading, driving, and playing sports. Binocular dysfunction can cause many negative symptoms such as headaches, dizziness and inability to sustain focus. Unresolved binocular disturbances will also significantly impede the therapeutic process of both occupational and physical therapists.2

Convergence Insufficiency

Convergence Insufficiency means that there is an inability to appropriately use the eyes together at near. This may mean a complete inability to converge, or an inability to sustain convergence through standardized stress tests (base out prism). Convergence Insufficiency will impact ability of all tasks at near.2  Common symptoms may include but are not limited to: words running together or blurring while reading, double vision, headaches, falling asleep when reading, reduced reading comprehension.2

Convergence Excess

Convergence Excess means that the eyes cross over each other too much when doing a near task. This can cause many symptoms such as headaches, dizziness, nausea, reduced reading speed/comprehension and more.

Visual Midline Shift

A visual midline shift represents a problem with egocentric localization.2  This relates to a poor visual understanding of where objects in space are relative to one’s self. Most simply put, an inaccurate understanding of where straight ahead is.14-16  Symptoms can include veering when walking, inaccurate hand-eye coordination and more.

Visual Vestibular Mismatch

Central vestibular processing relies on input from the visual system. If the visual system is not accurately processing movement and spatial information, the information it gives the vestibular system will result in vestibular type symptoms. The visual conditions will impede vestibular rehabilitation therapy because the visual system will continue to interfere. Symptoms can include dizziness, nausea and balance problems.

Accommodative Dysfunction

Insufficiency of accommodation is common after brain injury, even with young people9, 17  It refers to the inability or inaccuracy of the brain to control where the lens of the eye is focused, or the inability to accurately change the focus of the lens within normal ranges. Symptoms can include things such as blurred print, difficulty reading, and headaches.

What is Neuro-Optometry

''Adapted from: Suter PS, Harvey LH. Vision Rehabilitation: Multidisciplinary Care of the Patient Following Brain Injury. Boca Raton, FL: CRC Press, in press.''

Neuro-Optometrist

The neuro-optometrist is an optometrist who has special training in the neurological aspects of the visual system. The neuro-optometrist not only diagnoses general eye health problems and corrects refractive errors to improve visual acuity but also carefully assess functional binocularity, spatial vision, and visual processing abilities. Neuro-optometrists diagnose injury-related gross ocular and perception impairments, provide education regarding functional implications of visual diagnoses, and recommend treatment and compensatory strategies to speed rehabilitation. Treatment often includes prescription of specialty lenses and prism for improved performance in rehabilitation activities and reduced symptoms in daily living. Many neuro-optometrists work with trained vision therapists in their office to implement in-house vision rehabilitation therapy programs. In addition, some specialize in low vision, and intervene when low vision aids are needed secondary to reduced central vision, blindness, or cortical visual impairment that does not resolve with therapy.

''Please note that at our clinic, we refer all ocular health exams to general practice optometrists or ophthalmologists. This allows us to spend our time where it is of best service to our patients.''

Treatment:

Vision Rehabilitation/Therapy

Vision rehabilitation was commonly thought of as helping patients with low vision (poor ability to see clearly) with devices and accommodations. It is now being defined as rehabilitating the pathways in the brain responsible for how the eyes track, work together, and how the brain uses the visual information for depth/space and vestibular integration.2  Vision rehabilitation allows for the previous conditions to be addressed in ways that improve function and reduce symtoms.2  There is a wide variety of ‘vision rehabilitation’ or ‘vision therapy’ that is offered, and the discerning practitioner is recommended to ask individual practitioners about their approach, success rates, and references.

A large amount of the information adapted from: Suter PS, Harvey LH. Vision Rehabilitation: Multidisciplinary Care of the Patient Following Brain Injury. Boca Raton, FL: CRC Press, in press.

References:

1.    O’Dell, M.W., Bell, K. R., & Sandel, M. E. (1998). 1998 Study guide: brain injury rehabilitation, pain rehabilitation. Supplement to Archives of Physical Medicine and Rehabilitation.

2.    Suter PS, Harvey LH. Vision Rehabilitation: Multidisciplinary Care of the Patient Following Brain Injury. Boca Raton, FL: CRC Press, in press.

3.    Deng SY, Goldberg ME, Segraves MA, Ungerleider LG, Mishkin M (1986) The effect of unilateral ablation of the frontal eye fields on saccadic performance in the monkey. In: Keller EL, Zee DS, editors. pp. 201–208.

4.    Sharp,J.L. (1986) Adaptation to frontal love lesions. In E.L. Keller & D. S. Zee (Eds.), Adaptive processes in visual and oculmotor systems (pp.239-246). Oxford, UK: Pergamon Press.

5.    Xollin N.G. Cowey, A., Latto, R., & Marzi, C. (1982). The role of frontal eye fields and superior colliculi in visual search and non-visual search in rhesus monkeys. Behavioural Brain Research, 4(2), 177-193.

6.    Guitton, D., Buchtel, H. W. & Douglas, R. M. (1985). Frontal love lesions in man cuasing difficulties in suppressing reflexes glances and in generating goal directed saccades. Experimental Brain Research, 58(3),455-472.

7.    Kapoor, N., Ciuffreda, K.J., & Han, Y. (2004). Oculomotor rehabilitation in acquired brain injury: a case series. Archives of Physical Medicine and Rehabilitation, 85(10), 1667-1678.

8.    Ciuffreda, K.J.,Suchoff, I.B., Marrone, M., $ Ahmann, E. (1996) Oculomotor rehabilitation in traumatic brain-injured patients. Journal of Behavioural Optometry, 7(2), 31-38.

9.    Suchoff, I. B., Kapoor, N. Waxman, R., & Ference, W. (1999). The occurrence of visual and ocular conditions in an acquired brian-injured patient sample. Journal of the American Optometric Association, 70(5), 301-308.

10.  Suchoff, I. B., Gianutsos, R., Ciuffreda, K. J., & Groffman, S. (2000). Vision impairment related to acquired brain injury. In B. Silverstone, M. A. Lang, B. P. Rosenthal, & E. F. Faye (Eds), The lighthouse handbook on vision impairment and vision rehabilitation (Vol 1, p.523). New York: Oxford University Press.

11.  Kapoor, N., & Ciuffreda K. J. (2002). Vision disturbances following traumatic brain injury. ''Current treatment Options in Neurology. 4''(4), 271-280.

12.  Padula, W. V., Wu, L., Vicci, V., Thomas, J., Nelson, C., Gottlieb, D., Benabib R. (2007). Evaluating and treating visual dysfunction. In N. D. Zasler, D. I. Katz, & R. D. Zafonte (Eds.) Brain injury medicine: Principles and practice (p.511). New York: Demos.

13.  Kappoor, N., & Ciuffreda, K. J. (2009) Vision deficits following acquired brain injury. In A. Cristian (Ed), Medical management of the adult with a neurological disability (pp. 407-425). New York: Demos Medical Publishing.

14.  Karnath, H. O. (1994). Subjective orientation in neglect and the interactive contribution of neck proprioception and vestibular stimulation. Brain, 117, 1001-1012.

15.  Kapoor, N., Ciuffred, K. J., & Suchoff, I. B. (2001). Egocentric localization in patients with visual neglect. In I. B. Suchoff, K. J. Ciuffreda, & N. Kapoor (Eds.), Visual & Vestibular consequences of acquired brain injury (pp.131-144). Santa Ana, CA: Optometric Extension Program Foundation.

16.  Kapoor, N. Ciuffreda, K. J., Harris, G., Suchoff, I. B., Kim, J. Huang, M., & Bae P. (2001) A new portable clinical device for measuring egocentric localization. Journal of Behaivoural Optometry, 12, 115-119.

17.  Al-Quirainy, I. A. (1995). Convergence Insufficiency and failure of accommodation following midfacial trauma. The British Journal of Oral & Maxillofacial Surgery, 33(2), 71-77. <!-- POST TRAUMA VISION SYNDROME

Post Trauma Vision Syndrome (PTVS) is the most common visual sequel of mild Traumatic Brain Injury (mTBI).1 While termed mild, the symptoms and impact on life can be anything but. MTBI includes concussions, minor head trauma, minor head injury, whiplash, and more. Frustratingly, our current limitations in imaging most often mean that nothing is seen on a CT Scan or MRI.2 Unresolved post trauma vision syndrome will significantly impede the therapeutic processes provided by occupational therapists and physical therapists.

PTVS is a constellation of signs and symptoms that may include:2 Conditions: •	Problems with the focusing mechanism (accommodation) •	Tracking (ocular motor function) •	Delayed visual memory/processing •	Convergence (how the eyes come together), •	Visual spatial distortions (visual-vestibular) along with associated neuro-motor (visual-motor output) deficits.

Common Symptoms:2 •	Poor balance •	Headaches/migraines •	Inability to concentrate (reading/computer or even conversation) •	Dizziness/nausea •	Inability to tolerate crowded or busy places •	Disorientation •	Fatigue •	Delayed visual memory

Many of these symptoms are seen in Post Concussion Syndrome.

Conditions: Ocular Motor Dysfunction (saccade or pursuit dysfunction) Ocular motor dysfunction (oculomotor dysfunction) refers to inaccurate tracking of the eyes. This can happen at a level of being unable to track from finger to finger, or being unable to track accurately through targets on a page. Although there may be full ocular movements and no limitations in gaze, there may still be significant impairment to optimal ocular motor function regarding accuracy and speed of eye movements.2 Accurate reaching (eye-hand), navigating through space, and reading require speed and accuracy of eye movements, and will be compromised if ocular motor dysfunction persists.3,4-8  Unresolved ocular motor disturbance will significantly impeded the therapeutic processes provided by both occupational and physical therapists.2

Binocular Dysfunction Problems with binocular vision are common secondary to ABI.2,9-13  Binocular dysfunction refers to an inability to accurately use the two eyes together. There are varying levels, and many cases will pass ‘routine’ eye testing. They can be severely disabling to a person’s ability and performance in many activities of daily living.2 Some of the affected areas include posture, balance, ability to move through space, reading, driving, and playing sports. Binocular dysfunction can cause many negative symptoms such as headaches, dizziness and inability to sustain focus. Unresolved binocular disturbances will also significantly impede the therapeutic process of both occupational and physical therapists.2

Convergence Insufficiency Convergence Insufficiency means that there is an inability to appropriately use the eyes together at near. This may mean a complete inability to converge, or an inability to sustain convergence through standardized stress tests (base out prism). Convergence Insufficiency will impact ability of all tasks at near.2 Common symptoms may include but are not limited to: words running together or blurring while reading, double vision, headaches, falling asleep when reading, reduced reading comprehension.2

Convergence Excess Convergence Excess means that the eyes cross over each other too much when doing a near task. This can cause many symptoms such as headaches, dizziness, nausea, reduced reading speed/comprehension and more.

Visual Midline Shift A visual midline shift represents a problem with egocentric localization.2 This relates to a poor visual understanding of where objects in space are relative to one’s self. Most simply put, an inaccurate understanding of where straight ahead is.14-16 Symptoms can include veering when walking, inaccurate hand-eye coordination and more.

Visual Vestibular Mismatch Central vestibular processing relies on input from the visual system. If the visual system is not accurately processing movement and spatial information, the information it gives the vestibular system will result in vestibular type symptoms. The visual conditions will impede vestibular rehabilitation therapy because the visual system will continue to interfere. Symptoms can include dizziness, nausea and balance problems.

Accommodative Dysfunction Insufficiency of accommodation is common after brain injury, even with young people9, 17 It refers to the inability or inaccuracy of the brain to control where the lens of the eye is focused, or the inability to accurately change the focus of the lens within normal ranges. Symptoms can include things such as blurred print, difficulty reading, and headaches.

What is Neuro-Optometry Adapted from: Suter PS, Harvey LH. Vision Rehabilitation: Multidisciplinary Care of the Patient Following Brain Injury. Boca Raton, FL: CRC Press, in press.

Neuro-Optometrist The neuro-optometrist is an optometrist who has special training in the neurological aspects of the visual system. The neuro-optometrist not only diagnoses general eye health problems and corrects refractive errors to improve visual acuity but also carefully assess functional binocularity, spatial vision, and visual processing abilities. Neuro-optometrists diagnose injury-related gross ocular and perception impairments, provide education regarding functional implications of visual diagnoses, and recommend treatment and compensatory strategies to speed rehabilitation. Treatment often includes prescription of specialty lenses and prism for improved performance in rehabilitation activities and reduced symptoms in daily living. Many neuro-optometrists work with trained vision therapists in their office to implement in-house vision rehabilitation therapy programs. In addition, some specialize in low vision, and intervene when low vision aids are needed secondary to reduced central vision, blindness, or cortical visual impairment that does not resolve with therapy.

Please note that at our clinic, we refer all ocular health exams to general practice optometrists or ophthalmologists. This allows us to spend our time where it is of best service to our patients.

Treatment: Vision Rehabilitation/Therapy Vision rehabilitation was commonly thought of as helping patients with low vision (poor ability to see clearly) with devices and accommodations. It is now being defined as rehabilitating the pathways in the brain responsible for how the eyes track, work together, and how the brain uses the visual information for depth/space and vestibular integration.2 Vision rehabilitation allows for the previous conditions to be addressed in ways that improve function and reduce symtoms.2  There is a wide variety of ‘vision rehabilitation’ or ‘vision therapy’ that is offered, and the discerning practitioner is recommended to ask individual practitioners about their approach, success rates, and references.

A large amount of the information adapted from: Suter PS, Harvey LH. Vision Rehabilitation: Multidisciplinary Care of the Patient Following Brain Injury. Boca Raton, FL: CRC Press, in press. � References:

1.	O’Dell, M.W., Bell, K. R., & Sandel, M. E. (1998). 1998 Study guide: brain injury rehabilitation, pain rehabilitation. Supplement to Archives of Physical Medicine and Rehabilitation. 2.	Suter PS, Harvey LH. Vision Rehabilitation: Multidisciplinary Care of the Patient Following Brain Injury. Boca Raton, FL: CRC Press, in press. 3.	Deng SY, Goldberg ME, Segraves MA, Ungerleider LG, Mishkin M (1986) The effect of unilateral ablation of the frontal eye fields on saccadic performance in the monkey. In: Keller EL, Zee DS, editors. pp. 201–208. 4.	Sharp,J.L. (1986) Adaptation to frontal love lesions. In E.L. Keller & D. S. Zee (Eds.), Adaptive processes in visual and oculmotor systems (pp.239-246). Oxford, UK: Pergamon Press. 5.	Xollin N.G. Cowey, A., Latto, R., & Marzi, C. (1982). The role of frontal eye fields and superior colliculi in visual search and non-visual search in rhesus monkeys. Behavioural Brain Research, 4(2), 177-193. 6.	Guitton, D., Buchtel, H. W. & Douglas, R. M. (1985). Frontal love lesions in man cuasing difficulties in suppressing reflexes glances and in generating goal directed saccades. Experimental Brain Research, 58(3),455-472. 7.	Kapoor, N., Ciuffreda, K.J., & Han, Y. (2004). Oculomotor rehabilitation in acquired brain injury: a case series. Archives of Physical Medicine and Rehabilitation, 85(10), 1667-1678. 8.	Ciuffreda, K.J.,Suchoff, I.B., Marrone, M., $ Ahmann, E. (1996) Oculomotor rehabilitation in traumatic brain-injured patients. Journal of Behavioural Optometry, 7(2), 31-38. 9.	Suchoff, I. B., Kapoor, N. Waxman, R., & Ference, W. (1999). The occurrence of visual and ocular conditions in an acquired brian-injured patient sample. Journal of the American Optometric Association, 70(5), 301-308. 10.	Suchoff, I. B., Gianutsos, R., Ciuffreda, K. J., & Groffman, S. (2000). Vision impairment related to acquired brain injury. In B. Silverstone, M. A. Lang, B. P. Rosenthal, & E. F. Faye (Eds), The lighthouse handbook on vision impairment and vision rehabilitation (Vol 1, p.523). New York: Oxford University Press. 11.	Kapoor, N., & Ciuffreda K. J. (2002). Vision disturbances following traumatic brain injury. Current treatment Options in Neurology. 4(4), 271-280. 12.	Padula, W. V., Wu, L., Vicci, V., Thomas, J., Nelson, C., Gottlieb, D., Benabib R. (2007). Evaluating and treating visual dysfunction. In N. D. Zasler, D. I. Katz, & R. D. Zafonte (Eds.) Brain injury medicine: Principles and practice (p.511). New York: Demos. 13.	Kappoor, N., & Ciuffreda, K. J. (2009) Vision deficits following acquired brain injury. In A. Cristian (Ed), Medical management of the adult with a neurological disability (pp. 407-425). New York: Demos Medical Publishing. 14.	Karnath, H. O. (1994). Subjective orientation in neglect and the interactive contribution of neck proprioception and vestibular stimulation. Brain, 117, 1001-1012. 15.	Kapoor, N., Ciuffred, K. J., & Suchoff, I. B. (2001). Egocentric localization in patients with visual neglect. In I. B. Suchoff, K. J. Ciuffreda, & N. Kapoor (Eds.), Visual & Vestibular consequences of acquired brain injury (pp.131-144). Santa Ana, CA: Optometric Extension Program Foundation. 16.	Kapoor, N. Ciuffreda, K. J., Harris, G., Suchoff, I. B., Kim, J. Huang, M., & Bae P. (2001) A new portable clinical device for measuring egocentric localization. Journal of Behaivoural Optometry, 12, 115-119. 17.	Al-Quirainy, I. A. (1995). Convergence Insufficiency and failure of accommodation following midfacial trauma. The British Journal of Oral & Maxillofacial Surgery, 33(2), 71-77. -->

source: wikimedia

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

title: User:Gingersnap233/sandbox


text:
Talk:Kevin Gissi

External links modified
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title: Talk:Kevin Gissi


text:
Today's Active Lifestyles

Today's Active Lifestyles is Polvo's second studio album. It was produced by Bob Weston and released on Merge Records in 1993.

Cover
Early versions of the cover art featured red tigers in the yellow color field, but these were soon removed due to a copyright dispute raised by Jehovah’s Witnesses. The band reissued the album in 2020 with cover art featuring nothing but similar red tigers, claiming in an interview that the original was all based on public domain artwork to begin with.

Release
The album was released on Merge Records. "Tilebreaker" was released as a 7" single with the song "Chameleon" and the instrumental "Tiara Fetish" on the B-side. ("Tiara Fetish" would later appear, with lyrics, as the song "Watch the Nail" on the Merge compilation 5 Rows of Teeth.)

Reception
The album went on to receive mostly positive reviews upon release. Tracy Fey of Allmusic called it "an excellent album with many layers." "Never a band to follow formulaic musical styles," she writes, "Polvo once again shakes things up with its twisted song structures of multiple tempos and intricate, distorted guitars." Gerry McGovern of Hot Press gave the album a very positive review, calling it "a massive album. In the sense that it is sprawling, falling, tipping all over the place." He writes that the album sounds the way "Sonic Youth might if Sonic Youth untuned their untuned guitars." CD Review wrote that the album "has all the credentials for a bona fide indie rock classic." Spin wrote that the "refreshingly potent" album sounds more like a "top-notch Glenn Branca spinoff than a college-rock favorite." A mixed review from Select found the album to be derivative of acts like Dinosaur Jr. & Swervedriver, despite noting its "beguiling rhythmic charm".

The Wire included the album on their year-end "Out Rock-Pop" list.

Legacy
Under the Radar called the album a "gift" that "explode[s] your mind with inventive guitar work." Dusted Magazine called it "fresh and off-the-cuff". The album is now described by many as being a "landmark" and a "classic". According to Popmatters, the album along with its follow up "found the best balance between [...] assaulting you with bending notes one moment, and soaring over you with crunching anthems the next." Peter Watts of Uncut reviewed the album's 2020 reissue very positively, and hailed the closing track "Gemini Cusp" as a "lo-fi prog masterpiece."

Treble included the album on their list, "Merge Records: 20 Essential Albums". Similarly, Popmatters included it on "Merge's Silver Age: 25 Essential Albums Over 25 Years".

Track listing

 * 1) "Thermal Treasure" – 4:32
 * 2) "Lazy Comet" – 3:49
 * 3) "My Kimono" – 2:21
 * 4) "Sure Shot" – 3:24
 * 5) "Stinger (Five Wigs)" – 7:23
 * 6) "Tilebreaker" – 4:09
 * 7) "Shiska" – 1:30
 * 8) "Time Isn't On My Side" – 3:06
 * 9) "Action Vs. Vibe" – 3:43
 * 10) "Gemini Cusp" – 7:05

Personnel

 * Ash Bowie – vocals, guitar
 * Dave Brylawski – guitar, vocals
 * Steve Popson – bass guitar
 * Eddie Watkins – drums

title: Today's Active Lifestyles


text:
SAASTE Technology/Modules/Structures Grade 8

SITUATION:
You have received a Hi-Fi / play station. It is a very expensive piece of equipment and needs to be kept safe. You will need to use the knowledge and skills of this module to address this situation. Your solution must be a frame structures that includes at least three structural elements you have learnt. (E.g. columns, beams, arches, buttress, struts, stays, guys and ties)

Structures have FIVE BASIC FORCES that acts on it. Structural elements are used to strengthen structures that are subjected to various forces that act on it

Activity 1: Research Task
Look at pamphlets, magazines, furniture stores and various structures to get information.

 * Cut out or Draw pictures showing how structures are strengthen by various structural elements.
 * Identify and Show at least 2 structural elements in each picture / drawing.
 * Make an A4 poster of these structural elements with labels and present it to the class.

Place this research task in your portfolio under the section: Investigate.

Assessment: RESEARCH

Activity 2: Investigating rigidity
Investigate whether the following shapes are rigid or non-rigid.

Use the following as a guide in your investigation.

 * Use sticky tape and strips of cardboard to make the shapes shown above.
 * Use a small amount of force to check whether the shape is rigid or not.
 * Make the non-rigid shape rigid with extra strip/s of cardboard.
 * Record your results on the table below:

Draw on shape how each shape was made

 * What can you deduce from this investigation?
 * Find pictures or draw sketches that demonstrate this type of strengthening in the real world.
 * Paste it on an A4 page and put it together with the above activity under INVESTIGATE.

Activity 3: Practical task
- Group work (4 learners per group)

Collect the following materials at home or at school.

 * Cardboard
 * Egg containers
 * Straws
 * Corks
 * Plastic bottles, lids, plastic containers
 * Nails
 * Polystyrene
 * Glue
 * String
 * Wood
 * Wool
 * Skewers
 * Wire
 * Sucker Ə

Design and make any article using at least 3 of the above materials and include at least 3 structural elements in the one design.

 * Identify a problem, need or opportunity and write a brief
 * State 2 specifications for the product.
 * State the tools and materials list
 * Evaluate the product against the specifications and whether the structure is stable/ rigid when a force is applied to it.
 * Suggest one improvement to the product.
 * You must also comment on the impact of your product on the environment.

== The use of Technology == People now use technology, but why. People would have fast and easy technical things like:•Mobile cellphone

•Microwave

And other technical things.In grade 8 we learn that frame structures have many sides.


text:
2019–20 Second Men's League of Serbia (basketball)

The 2018–19 Second Men's League of Serbia is the 14th season of the Second Basketball League of Serbia, the 2nd-tier men's professional basketball league in Serbia.

On 16 March 2020, the Basketball Federation of Serbia temporarily suspended its competitions due to the COVID-19 pandemic. On 2 June, the Federation canceled definitely the season due to the COVID-19 pandemic.

Promotion and relegation

 * Teams promoted to the First League (1st-tier)
 * Kolubara LA 2003
 * Napredak JKP
 * Teams relegated from the First League (1st-tier)
 * Spartak
 * Beovuk 72
 * Teams promoted from the First Regional League (3rd-tier)
 * Radnički Beograd
 * Sveti Đorđe
 * Fair Play
 * Železničar
 * Teams relegated to the First Regional League (3rd-tier)
 * Vrbas
 * Rtanj
 * Žarkovo
 * Plana


text:
pulmonary alveolus

Noun

 * 1)  A small air sac in the lungs, where oxygen and carbon dioxide are exchanged with the blood.

Translations

 * Catalan:
 * Chinese:
 * Mandarin:
 * Czech:
 * Dutch:
 * Finnish:
 * French:
 * Hungarian: tüdőalveolus
 * Italian: alveolo polmonare
 * Polish: pęcherzyki płucne
 * Spanish:

title: pulmonary alveolus


text:
User:Soundoftoday

I'm an archivist in beautiful Richmond, Virginia. I'm just this guy, yknow?

Particularly Interested In

 * Richmond neighborhoods
 * Local history
 * History of Medicine, particularly in Virginia and the American South
 * Nursing history

title: User:Soundoftoday


text:
Talk:Charles Baily

There is a problem with this article- there appear to be two or three Charles Bailys all conflated into one person. We have an architect who was working in Newark and whose son continued his practice in Newark. We have a precocious Charles Baily who at the age of 16 published a major art catalogue and was associated withe the Ironmongers Company and we have a London architect who may also have worked in Liverpool (according to Brodie). All this needs to be untangled.Tyssul (talk) 21:33, 4 May 2016 (UTC)

title: Talk:Charles Baily


text:
Talk:Yumi Yoshimura

Vandalism
I haven't reverted it yet, but the cancer bit added by a known anon vandal is dubious. I could revert this to the pre-vandal edit after further verification...Ranma9617 21:50, 25 May 2006 (UTC)

 * I took out the vandalism. Everything should be normal now. --Snkcube 06:17, 26 May 2006 (UTC)

Yumi's cartoon voice
Why do you think that Grey DeLisle was casted as the voice of Yumi? I'm not saying Grey is bad. I'm just confused why Renegade would pick a Irish lady to do the voice of a Japanese singing star.--<IP_ADDRESS> 03:59, 12 December 2006 (UTC)

Photo
There needs to be an actual picture of Yumi in real life, not just her American cartoon counterpart.

Baby boy??
I'd like to see a cite for Yumi having a baby boy. I follow PUFFY extremely closely (including the Japanese press) and this is the first I've ever heard of this. I literally can't even think of a period of time when she *could* have had a baby; she hasn't been out of public view long enough, and no photos of her exist that show a pregnancy. Unless she had it at the exact same time as Ami had her baby, which seems pretty unlikely (and again, first I've heard of it). She has never mentioned having a baby in any interview or personal history I've ever read (and I think I've got them all, including the books).Badasscat 12:46, 10 July 2007 (UTC)

Nevermind, I edited it out. It shouldn't be there if there's no cite; it's a pretty major piece of info that's potentially scandalous. There's still tons of other stuff in that trivia section that's problematic, but I left alone anything that seemed benign. Still, it should all be fact checked and referenced. Badasscat 01:11, 11 July 2007 (UTC)

Fair use rationale for Image:VACATION.JPG
Image:VACATION.JPG is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

BetacommandBot 04:36, 20 July 2007 (UTC)

Why the refimprove?
It may just be a vestige at this point, but I don't see anything on this article tagged as needing a source at this point. Should that refimprove tag be removed? It was probably put there because of the trivia section, but all that crap is gone now.Badasscat 18:19, 12 October 2007 (UTC)

Fair use rationale for Image:CartoonYumi.jpg
Image:CartoonYumi.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

BetacommandBot (talk) 06:50, 1 January 2008 (UTC)

"Sue"???
Can someone tell me why her name is listed as 'Yumi "Sue" Yoshimura'? In the ten years I've been a Puffy fan I've never once heard this name for her. So I'm editing it out. If someone can provide a source for the name, that's fine, go ahead and revert it, but otherwise I stand by the edit. —Preceding unsigned comment added by <IP_ADDRESS> (talk) 20:29, 15 April 2008 (UTC)

External Links section.
The link that is titled [1] in the External Links section links to a pornographic website and as it is completely unrelated to the article needs to be removed. I would remove it myself, but I do not know how. It would be nice if someone could do this for me.

Thanks <IP_ADDRESS> (talk) 09:15, 6 June 2012 (UTC) YourAvgOtaku

title: Talk:Yumi Yoshimura


text:
Talk:Charles Ashworth

There is a spelling mistake with the name BUENZA. It doesn't exist, it is BEUNZA. All the English books of that time (1809-1814) make the same mistake. — Preceding unsigned comment added by <IP_ADDRESS> (talk) 15:46, 5 June 2013 (UTC)

title: Talk:Charles Ashworth


text:
Wikipedia:Articles for deletion/Fair Trade Soccer

The result was Delete. Nakon 21:47, 18 February 2015 (UTC)

Fair Trade Soccer

 * – ( View AfD View log  Stats )

This is a somewhat difficult nomination for me. There are indeed a few sources in the article. But all but one appear to be non-independent sources. This could also potentially be merged to fair trade, but either way I can't see this really needing a separate article. Also, the article seems to have some POV issues so should the article be kept, these need to be resolved. Narutolovehinata5 tccsdnew 15:57, 11 February 2015 (UTC)
 * Delete - as nom, there are POV, OR & Notability issues. The author seems to be also using it as a way of re-introducing his Senda athletics and Botas (company) articles (both A7, G11, G12 earlier today). The continued focus on this topic also raises potential questions of COI. Bazj (talk) 17:28, 11 February 2015 (UTC)
 * Note: This discussion has been included in WikiProject Football's list of association football-related deletions. • Gene93k (talk) 20:29, 11 February 2015 (UTC)
 * Note: This debate has been included in the list of Business-related deletion discussions. • Gene93k (talk) 20:30, 11 February 2015 (UTC)
 * Note: This debate has been included in the list of Football-related deletion discussions. • Gene93k (talk) 20:30, 11 February 2015 (UTC)

 * Delete - no evidence of notability. GiantSnowman 20:33, 11 February 2015 (UTC)
 * Delete- whilst I think it is probably a good cause, I don't believe that it is notable, and the article itself is too POV. Joseph2302 (talk) 00:03, 12 February 2015 (UTC)

 * Keep - my arguments for notability are that there are separate pages for fair trade bananas and fair trade coffee. there is less information available to me for fair trade soccer, but i still think the topic is important.  the issue of POV is difficult for me to assess, but any necessary adjustments would be welcome.  i dont have a conflict of interest other than i would like to increase awareness of fair trade in soccer.  Kruno Skaric (talk) 11:15, 12 February 2015 (UTC)
 * Delete - This article reads more like an essay than an encyclopaedic text, and the sources are of questionable encyclopaedic worth. – PeeJay 13:45, 12 February 2015 (UTC)

 * Merge to fair trade There are clearly several fair trade organizations whose sights are set on the sports equipment industry. Perhaps not sufficient independent sources for a standalone article, but certainly enough for a section: Fair trade. WikiDan61 ChatMe!ReadMe!! 19:39, 12 February 2015 (UTC)
 * Keep (potentially) Smaller newspapers to Forbes have several articles related to a couple of the emerging companies. Google Scholar and Books provide many related hits. Most of it appears to be about the balls with Pakistan receiving attention. A lot needs to be done regarding MOS (the capitalization in the title jumps out) and better sources. The text would likely change to reflect those sources if given the chance. Alternatively, a redirect to fair trade along with adding a paragraph to the chile labor in Pakistan article could be sufficient.Cptnono (talk) 04:00, 13 February 2015 (UTC)
 * Merge and Redirect - to Fair Trade. Looks like there is some reliable information here worth a paragraph in the main article, but soccer is a lot more than just boots and balls, so not sure what other areas of the sport could be addressed by this article. Fenix down (talk) 13:27, 13 February 2015 (UTC)

 * Comment - I definitely agree with the above statement. I previously wrote Keep, but that's because I'm new to this.  A merge to fair trade is more appropriate and would even help increase awareness.  A lot needs to be done to improve the article, but I have to admit that I lack the necessary skills. Kruno Skaric  — Preceding undated comment added 21:38, 13 February 2015 (UTC)
 * Delete nothing worth merging. The article Fair trade does not discuss every product to which the term can conceivably apply. WP is not a directory. DGG' ( talk ) 04:57, 18 February 2015 (UTC)
 * Delete- Same reasons as DGG, the Article has more on child Labour in Pakistan then on the subject Bentogoa (talk)


text:
Govt. Fazlul Huq College, Chakhar

'''Govt. Fazlul Huq College''' is a public institution for higher education in Chakhar, a small town in Barisal district in Bangladesh. It was founded in 1940 by then Prime Minister of Bengal A K Fazlul Huq with a view to creating opportunity of higher education to underprivileged students in rural areas. It offers Higher Secondary School Certificate (HSC), as well as 3 years degree(pass) courses and 4 years honours programs which divisions are affiliated to the National University, Bangladesh. It is the second oldest and largest college in Barisal division and was previously affiliated with University of Calcutta before partition and University of Dhaka after formation of Pakistan and Bangladesh respectively.

History
Chakhar is a prominent village town in Barisal district best known for the parental home of the Sher-e-Bangla A.K. Fazlul Huq. It's located about 16 miles to the north-west of the district headquarters and administered under Chakhar union of Banaripara sub-district. It is also home of some aristocratic Muslim families and Zammindars of Mughal era. The Zamindars were reported to have been entrusted with some revenue powers, especially collection of Chouth, i.e. chau-kar from which probably the name Chakhar originated.

During the early 1930s, Huq bequeathed his entire homestead and other ancestral properties at Chakhar for the interests of education. Chakhar, also patronised and inspired by him, gradually became an important centre of culture and education.

In 1940, Fazlul Huq College was established as a degree college at Chakhar. He also founded a high school, known as Chakhar Fazlul Huq Institution for boys (Multilateral) and another for girls, known as Wazed Memorial Girls High School. Huq himself also established a public library, a reading hall, a rural reconstruction society, a boys' club and a rural hospital in the village.

The college was nationalized in 1978 by the Government of Bangladesh.

Library
The central library of Dhaka College was established in 1940 at the time of establishment of the college. It has a collection of 10,000 books sponsored by A K Fazlul Huq himself.

Academics
Fazlul Huq College offers H.S.C.under the Barisal education Board, 3 years degree courses and four years Honours programs in Nine Important Subject under National University,Bangladesh

 * For HSC Level ↓
 * Science
 * Business Studies
 * Humanities

 * For Degree (Pass) Level ↓
 * B.A. (Pass)
 * B.Sc. (Pass)
 * B.B.S.(Pass)

 * For Honours Level ↓

 * Department of Bangla
 * Department of English
 * Department of History
 * Department of Islamic history and culture
 * Department of Philosophy
 * Department of Political Science
 * Department of Economics
 * Department of Accounting
 * Department of Management

title: Govt. Fazlul Huq College, Chakhar


text:
Grange Corner Covered Bridge

The Grange Corner Covered Bridge was west of Grange Corner, Indiana. The single-span Burr Arch covered bridge structure was built by the J. J. Daniels in 1899 and destroyed by flood in 1968.

Construction
J. J. Daniels had placed two bids for the construction of the bridge. The first was for $1,485 for just the superstructure and the second was $2,520 for the superstructure and the abutments. Meanwhile, Thomas Alward had placed a bid for $945 for the abutments. With Daniels bid of $1,485 and Alward's for $945 totaling $2,430 the contract was split between the two contractors. This was a common practice to award the bridge and abutments separately and even when awarded to one bidder the abutments sometimes were subcontracted anyway.

Destruction
Even though the Grange Corner Covered Bridge was eventually lost to a flood in 1968 when one of the abutments washed away the real reason can be traced back to politics. It could be said that the bridge was lost to a bureaucratic game of "chicken." The abutments had been inspected and declared unsafe, but with the Parke County Highway Department trying to maintain county roads with a limited budget often conflicting with Parke County Incorporated's goal of maintaining covered bridge, Grange Corner Covered Bridge was stuck in the middle. Repairs had to be deferred while funding for the repairs was sought. However, the flood came before the funds and the bridge fell into the creek bed.

Witnesses would later claim that the bridge was not destroyed and they felt the bridge could have been jacked out of the creek bed and removed as a complete unit in hopes of preserving or moving the bridge. Conflicting photographs show that the bridge was in much worse conditions though. But with no funds available to do this the County would only release enough funds to demolish the bridge.

title: Grange Corner Covered Bridge


text:
User:RedJulianG40

About Me
I was the owner of the Bradford City Fire Website, which until I decided to close the site was the number one resource for details on this tragedy and had documents on it that were donated to UEFA. I am also a Bradford City supporter.

Wikipedia Page Contributions

 * Major edits and improvements to the Bradford City stadium fire Wikipedia Page

 * Update to Attraction (shadow theatre group) Wikipedia Page to highlight involvement in a Swinton TV Campaign

 * Major clean up and significant expansion of Swinton Insurance Wikipedia Page

 * Update to Howard Gossage Wikipedia page to reference the book written by Steve Harrison.

 * Major expansion to the David Abbott Wikipedia page.

 * Tidying up and expansion of the Grattan wikipedia page.

 * Tidying up of James Hanson's wikipedia page.

 * Adding information to Stafford Heginbotham wikipedia page.

 * Adding information, citations and tidying up of the Phil Hawkins wikipedia page.

 * Expanding the wikipedia page for the Seattle band Posse.

 * Major clean-up and updates to the wikipedia page for Jess Wright.

 * Major update and clean-up of the wikipedia page for former EMF guitarist and songwriter Ian Dench.

Wikipedia Pages Created

 * 11/02/2015 Page created for the ex lead singer of the rock band Terrorvision, Tony Wright

 * 18/02/15 Page created for the award-winning Copywriter, Creative Director and Author, Steve Harrison

 * 20/02/15 Page created for Two Chairmen public house in London

 * 03/03/15 Page created for Rory Sutherland

 * 10/03/15 Page created for The Hutt Inn public house in Ravenshead

 * 11/03/15 Page created for Dave Trott legendary advertising executive and creative

 * 26/05/15 Page created for the Murder of Carol Wilkinson

 * 28/05/15 Page created for the Bantams Banter

 * 31/05/15 Page created for the The City Gent

 * 12/06/15 Page created for Hotel Football

 * 22/06/21 Page created for Wejo

 * 10/07/22 Page created for Jesus Man of Bradford

title: User:RedJulianG40


text:
Template talk:Welcome/old

Too much information?
I wonder if this template is too big? --HappyCamper 02:34, 12 May 2007 (UTC)
 * I think it needs an update. --JWSchmidt 02:43, 12 May 2007 (UTC)
 * Me too. Maybe we can slowly prune some things? --HappyCamper 02:59, 12 May 2007 (UTC)
 * Template:Welcome/new <-- try new ideas here. --JWSchmidt 03:20, 12 May 2007 (UTC)
 * Count me in. :-) Cormaggio talk 16:44, 12 May 2007 (UTC)

Updates
OK, being bold, I have moved what used to be the initial welcome template on Wikiversity to this location. Details at Template:Welcome. --HappyCamper 03:06, 12 June 2007 (UTC)

 * Good move - I see a lot of people actually deleting the old template from their talk pages - let's see if this one gets deleted as much... Cormaggio talk 21:01, 12 June 2007 (UTC)

title: Template talk:Welcome/old


text:
Chisholm Trail Museum (Wellington, Kansas)

The Chisholm Trail Museum in Wellington, Kansas is a museum that celebrates the Chisholm Trail. The Museum was formed in 1963 by a group of Wellington citizens. In 1965, the Hatcher Hospital Building was donated to the museum.

It includes artifacts of local domestic life.

There are other museums dedicated to the Chisholm Trail in Duncan, Oklahoma (the Chisholm Trail Heritage Center), in Waurika, Oklahoma (the Chisholm Trail Historical Museum), in Kingfisher, Oklahoma (also named Chisolm Trail Museum, in Cleburne, Texas, and in Cuero, Texas.


text:
Abstract Algebra/Integral domains

Integral Domains
Motivation: The concept of divisibility is central to the study of ring theory. Integral domains are a useful tool for studying the conditions under which concepts like divisibility and unique factorization are well-behaved. In fact, they are very important for polynomial rings as well.

The integral domain was already defined before on the page on rings. We provide the definition again for reference.

Definition An integral domain is a commutative ring $$R$$ with $$1_R \neq 0_R$$ such that for all $$a, b \in R$$, the statement $$ab=0$$ implies either $$a = 0$$ or $$b = 0$$.

An equivalent definition is as follows:

Definition Given a ring $$R$$, a zero-divisor is an element $$a \in R$$ such that $$\exists x \in R, x \neq 0$$ such that $$a*x = 0_R$$.

Definition An integral domain is a commutative ring $$R$$ with $$1_R \neq 0_R$$ and with no non-zero zero-divisors.

Remark An integral domain has a useful cancellation property: Let $$R$$ be an integral domain and let $$a, b, c \in R $$ with $$ a \neq 0 $$. Then $$ a b = a c$$ implies $$ b = c$$. For this reason an integral domain is sometimes called a cancellation ring.

Examples:
 * 1) The set $$\mathbb{Z}$$ of integers under addition and multiplication is an integral domain. However, it is not a field since the element $$2 \in {Z}$$ has no multiplicative inverse.
 * 2) The set trivial ring {0} is not an integral domain since it does not satisfy $$0 \neq 1$$.
 * 3) The set $$\mathbb{Z}_6$$ of congruence classes of the integers modulo 6 is not an integral domain because $$[2] * [3] = [0]$$ in $$\mathbb{Z}_6$$.

Theorem: Any field $$F$$ is an integral domain.

Proof: Suppose that $$F$$ is a field and let $$a \in F, a \neq 0$$. If $$ax = 0$$ for some $$x$$ in $$F$$, then multiply by $$a^{-1}$$ to see that $$ax = 0 \Rightarrow a^{-1}(ax) = a^{-1}0 \Rightarrow 1x = 0 \Rightarrow x = 0$$. $$F$$ cannot, therefore, contain any zero divisors. Thus, $$F$$ is an integral domain.$$\square$$

Definition If $$R$$ is a ring, then the set of polynomials in powers of $$x$$ with coefficients from $$R$$ is also a ring, called the polynomial ring of $$R$$ and written $$R[x]$$. Each such polynomial is a finite sum of terms, each term being of the form $$r x^n $$ where $$r \in R$$ and $$x^n$$ represents the $$n$$-th power of $$x$$. The leading term of a polynomial is defined as that term of the polynomial which contains the highest power of $$x$$ in the polynomial.

Remark A polynomial equals $$0$$ if and only if each of its coefficients equals $$0$$.

Theorem: Let $$R$$ be a commutative ring and let $$R[x]$$ be the ring of polynomials in powers of $$x$$ whose coefficients are elements of $$R$$. Then $$R[x]$$ is an integral domain if and only if $$R$$ is.

Proof If commutative ring $$R$$ is not an integral domain, it contains two non-zero elements $$a$$ and $$b$$ such that $$a b = 0$$. Then the polynomials $$a x$$ and $$b x$$ are non-zero elements of $$R[x]$$ and $$ a x b x = a b x x = 0 x x = 0 $$. Thus if $$R$$ is not an integral domain, neither is $$R[x]$$.

Now let $$R$$ be an integral domain and let $$A$$ and $$B$$ be polynomials in $$R[x]$$. If the polynomials are both non-zero, then each one has a non-zero leading term, call them $$a x^m$$ and $$b x^n$$. That these are the leading terms of polynomials $$A$$ and $$B$$ means that the leading term of the product $$A B$$ of these polynomials is $$a b x^{m + n}$$. Since $$R$$ is an integral domain and $$a, b \in R$$, $$a b \neq 0$$. This means, by the Remark above, that the product $$A B$$ is not zero either. This means that $$R[x]$$ is an integral domain.

Unique Factorization Domains, Principal Ideal Domains, and Euclidean Domains
Unique Factorization Domains, Principal Ideal Domains, and Euclidean Domains are ideas that work only on integral domains.

Some definitions

 * Two ring elements a and b are associates if a=ub for some unit u, we write a~b
 * A nonzero nonunit a is irreducible if a=bc (b,c in domain)=>a~b or a~c.
 * a divides b if b=ar for some r within R. When this happens, we write a|b.
 * A nonzero nonunit is prime when a|bc implies that a|b or a|c.

Theorem: If a is prime, then a is irreducible.

Let a be prime, and let a=bc, so that either a|b or a|c. Without loss of generality, assume that a|b, so that b=ad for some element d. Then you can factor a=bc into a=adc, implying that cd=1, or that c is a unit.

Now that we have proven that all prime elements are irreducible, is the converse true? The answer to that is no, for we can easily obtain counterexamples to it. However, we will prove a sufficient and necessary condition for all irreducible elements to be prime.

Unique Factorization Domains
Definition: Let R be an integral domain. If the following two conditions hold: Then we call (the integral domain) R a unique factorization domain (UFD).
 * 1) If a is nonzero, then a=up1p2...pn where u is a unit, and pi are irreducible.
 * 2) Let a=uq1q2...qm be another factorization of irreducibles. Then n = m and after a suitable re-ordering, each pi and qi are associates.

The converse to the above theorem holds true in a UFD.

Theorem: In a UFD, all irreducibles are prime.

Proof

Let a|bc, where a is irreducible. Then ad=bc for some element d. Taking the factorization, a = ud1d2...dl = vb1b2...bmwc1c2...cn = bc where u, v, and w are units. Because it is a UFD, a must be an associate of some bi or ci, implying that a|b or a|c.

The following theorem provides a sufficient and necessary condition for an integral domain R to be an integral domain.

Theorem:
 * 1) Let R be a UFD. R satisfies the following ascending chain condition on principal ideals: let $$a_1, a_2, a_3,...$$ be a sequence of elements of R such that the principal ideals $$(a_1),(a_2),(a_3),...$$ satisfy the condition that $$(a_1)\subseteq (a_2)\subseteq (a_3)\subseteq ,...$$. Then there exists an N such that for all n>N, all the $$(a_n)$$ are the same.
 * 2) If an integral domain R satisfies the ascending chain condition, then every nonzero element can be factored into irreducible elements, meaning that it satisfies the first condition for being a UFD.
 * If, in addition to satisfying the ascending chain condition, all irreducible elements are prime, then the integral domain is a UFD.

Proof
 * 1) Consider a sequence $$a_1, a_2, a_3,...$$ of elements of R such that $$(a_1)\subseteq (a_2)\subseteq (a_3)\subseteq ,...$$. Then obviously $$a_{n+1}|a_n$$ for all natural numbers n, since $$a_n\in (a_{n+1})$$. Then due to unique factorization, all the factors of $$a_{n+1}$$ are associates of the factors $$a_n$$, counting multiplicity of factors. Therefore, the number of non-unit factors is a decreasing sequence on the whole numbers. However, $$a_1$$ has finitely many factors, so there is an N such that for all n>N, all the factors are $$a_n$$ associates, meaning that all the $$(a_n)$$ are also the same.
 * 2) Clearly any nonzero irreducible $$a_1$$ can be factored into irreducibles, which is itself. Otherwise, let $$a_1=a_2b_2$$ be a product of nonunits. If this is not a product of irreducibles, then suppose that one of them is not irreducible, say $$a_2$$. Then obviously $$a_2|a_1$$ so the principal ideals satisfy the relations $$(a_1)\subseteq (a_2)$$. We can factor $$a_2$$ in the same way, to obtain $$a_2=a_3b_3$$ as a product of nonunits. Thus, if $$a_1$$ cannot be factored into irreducibles, we can get an increasing chain $$(a_1)\subseteq (a_2) \subseteq (a_3)\subseteq ...$$ of principal ideals, meaning that it does not satisfy the ascending chain condition.
 * 3) Let $$a=sp_1p_2p_3...p_n=rq_1q_2q_3...q_n$$ where r and s are units and each $$p_i$$ and $$q_i$$ are irreducible, and thus prime. Since $$p_1$$ divides a, it divides one of the factors, and after suitably re-arranging the second factorization, $$p_1$$ can divide $$q_1$$. However, $$q_1$$ is irreducible, so they must be associates, and thus can be factored out and replaced by a unit. We can continue this process until there are no factors left, at which point we conclude that all the factors are associates.

Principal Ideal Domains
Definition: a principal ideal domain (PID) is an integral domain such that every ideal can be generated by a single element (i. e. every ideal is a principal ideal).

Theorem: All PIDs are UFDs.

Proof:

Suppose we have an ascending chain of principal ideals $$(a_1)\subseteq(a_2)\subseteq...$$ and let I be the union $$I=\bigcup_{i=1}^\infty (a_i)$$. Obviously I is an ideal, and is a principal ideal because it is in a PID. Therefore, it is generated by a single element, $$I=(a)$$. Since $$a\in I$$, $$a\in (a_N)$$ for some N. Then if $$i\geq N$$, then we have $$(a)=(a_N)$$, so it satisfies the ascending chain condition of principal ideals.

Let an element $$a$$ be irreducible. If $$1\in (a)$$, then $$a$$ would be a unit, so (a) must be a proper ideal. If there is no maximal proper ideal containing (a), then the ascending chain condition would not be satisfied, so we can conclude that there is a maximal ideal proper ideal I containing (a) (Note: This does not require the Zorn's lemma or axiom of choice, since we did not use the theorem on maximal ideals). This ideal must be a principal ideal (b), but since $$a\in (b)$$, b|a, and since $$a$$ is irreducible, b must either be a unit or an associate of a. Since (b) is a proper ideal, b must not be a unit, so it must be an associate of $$a$$. Therefore, (a)=(b), so (a) is maximal. However, all maximal ideals are clearly prime, so (a) is a prime ideal, which implies that $$a$$ is prime.

Theorem: A UFD is a PID if and only if every nontrivial prime ideal is maximal.

Proof:

Suppose R is a PID, so that consequently, it is a UFD. Let (a) be an ideal of R, which in turn must be contained in a maximal proper ideal (b) due to the ascending chain condition (Note: again, this does not make use of Zorn's lemma). Since $$a\in (b)$$, b|a. Since $$a$$ is irreducible, b must either be a unit or an associate of $$a$$. However, since (b) is a proper ideal, it must not be a unit, so it must be an associate of $$a$$. Therefore, (a)=(b), so (a) is maximal. Conversely,

Euclidean Domains
Definition: An integral domain R is a Euclidean domain (ED) if there is a function f from the nonzero elements of R to the whole numbers such that for any element $$a\in R$$ and any nonzero element b, that a=bq+r for some $$q,r\in R$$ and such that f(r)<f(b) or such that r=0.

Note: In an ED, the Euclidean algorithm to find the greatest common divisor is applicable.

Theorem: All EDs are PIDs.

Proof:

Suppose we have an ideal of R. If it contains only 0, then it is principal. Otherwise, it contains elements other than 0. Then f(I), the image of I under f, is a nonempty set of nonnegative integers. Choose the minimum x of this set, and consider an element b within I which mapped to this x. Let a be another element of I, and there exists $$q,r\in R$$ such that a=qb+r and such that either f(r)<f(b) or r=0. Since both a and b belong to I, r must also belong to I since r=a-qb. However, f(b) is the minimum, so it must be less than or equal to f(r). Thus, r must be 0, so a=qb, proving that b is the generator of the principal ideal (b).

title: Abstract Algebra/Integral domains


text:
Radiation Oncology/Simulation devices

Patient immobilization devices

 * BOHAP - Blue OverHead Arm Positioner

 * Karolinska Hospital (Sweden)(1998-2001) -- head mask vs head-and-neck mask setup
 * Randomized. 241/260 patients. H&N cancers excluding NPC. Arm 1) Head mask vs. Arm 2) Head-and-shoulder mask. Both Posicast thermoplastic masks. Assessed reproducibility (port films and table positions), patient tolerability (fit, pain, movement within, claustrophobia), and skin damage
 * 2005 PMID 15629618 -- "Randomized trial on two types of thermoplastic masks for patient immobilization during radiation therapy for head-and-neck cancer." (Sharp L, Int J Radiat Oncol Biol Phys. 2005 Jan 1;61(1):250-6.)
 * Outcome: No difference in reproducibility of setup
 * Toxicity: Claustrophobia head mask 45% vs. head-and-shoulder masks 58% (SS), otherwise no difference in tolerability. Skin toxicity Grade 3 head mask 21% vs. head-and-shoulder mask 39% (SS)
 * Conclusion: Smaller head masks reduced claustrophobial and skin reactions, without compromising reproducibility of the setup

title: Radiation Oncology/Simulation devices


text:
Too Soon

Too soon or Too Soon may refer to:

 * Too Soon?, book by cartoon celebrity portraits by Drew Friedman (cartoonist)
 * Too Soon, Season 8 Episode 17 of Doctors (2000 TV series)
 * Too Soon, 2004 album by Matthew Jay
 * "Too Soon", song by Animal Collective from their 2003 album Ark
 * "Too Soon", song by DJ Vanic
 * An audience comment to a joke made by Gilbert Gottfried after the September 11th attacks:
 * Humor based on the September 11 attacks

title: Too Soon


text:
Talk:The Circle (Eggers novel)/Archive 1

Similarity to "Boy Kings"
Section on similarity between this book and The Boy Kings was deleted. The facts in question are easily verified. What was the reason for this deletion? <IP_ADDRESS> (talk) 02:59, 19 September 2013 (UTC)noviceuser

Re: the two flags: on notability, the book has received substantial media attention. See, for example, http://online.wsj.com/article/SB10001424127887323342404579081503189753492.html

In addition, the author himself is critically acclaimed (see his page).

On sources, Amazon is a credible source for the topic in question, the relative contents of two books. The Twitter sources are necessary given that 1. Twitter is the topic being discussed (specifically: discussions on Twitter about the book), and 2. the issue is new and has not yet been written about in mainstream publications. These sources can be improved as additional information and media coverage becomes available which is likely given the high profile of the author, the ongoing media attention to the book, and the fact that The Circle will soon be released. <IP_ADDRESS> (talk) 03:19, 19 September 2013 (UTC)noviceuser

 * If it's easily verified, it shouldn't be hard to find secondary sources to support it. Ford MF (talk) 06:22, 19 September 2013 (UTC)

Agreed, that is a fair point, though it will only be easy to do so if sufficient time has passed for secondary sources to pick up on it which they haven't yet. It was only a matter of hours ago that the alleged victim of plagiarism was made aware of the details of the book in question (The Circle) and therefore able to point out the similarities. In the coming days it is likely to receive more attention. The female author in question has upward of 1,500 Twitter followers and a well-received book on Amazon and the other comments on Twitter corroborating her interpretation also come from prominent Tweeters. While I am a Wikipedia novice, it does not seem that this is an unusually suspect story to report in somewhat-real-time versus other pages that are rapidly updated, and to reiterate, it is very obvious from reading the respective Amazon pages that there are myriad similarities between the books and it is only a matter of time before this is picked up. <IP_ADDRESS> (talk) 08:05, 19 September 2013 (UTC)noviceuser

Update: a secondary source is now available. Updating accordingly. <IP_ADDRESS> (talk) 18:10, 19 September 2013 (UTC)noviceuser

 * I see your edit was removed by a bot. I don't think it's impossible that there might surface secondary sources to support this part of the article, but these aren't them. Tweets are generally considered unsuitable, which is why bots remove them. And that Medium post isn't a suitable source either. 1) it's written by the person who is theoretically the aggrieved party in this case, 2) Medium is basically a self-publishing platform, like Livejournal, and doesn't really qualify as a secondary source, especially in the case of a potentially contentious allegation like this. Ford MF (talk) 08:46, 20 September 2013 (UTC)

Let's not let this plagiarism flap stand in the way of making this a better article. It could use a lot of improvement. My personal opinion is that the plagiarism claim (which amounts to "I wrote a book about a woman hired by a social networking firm, and any similar books are plagiarism") should not be included in the article anyway, in the absence of a lawsuit or settlement. So let's get some interesting stuff about the book in there. For one thing, Margaret Atwood reviewed the book at length. <IP_ADDRESS> (talk) 23:04, 30 March 2014 (UTC)Eric


text:
Talk:Battle of Babylon Hill/GA1

GA Review
The edit link for this section can be used to add comments to the review.''

Reviewer: Sturmvogel 66 (talk · contribs) 21:54, 24 September 2019 (UTC)

I'll get to this shortly.--Sturmvogel 66 (talk) 21:54, 24 September 2019 (UTC)
 * (Just in case you'd forgotten about this.) Harrias  talk 10:09, 6 October 2019 (UTC)

 * No DABs, external links OK
 * Images properly licensed
 * "nominal" victory rather than "notional"
 * were carrying out reconnaissance passive voice "reconnoitering"
 * Link Somerset, musketeer, dragoon, artillery on first use
 * were able to pull back from the hill under the cover
 * town itself but were unable comma after "itself"
 * defence on Yeovil Bridge, over the River Yeo, a combination of infantry and artillery awkward
 * I have rephrased to "Bedford had posted a guard, consisting of both infantry and artillery, on Yeovil Bridge, which spanned the River Yeo." Harrias  talk 08:55, 8 October 2019 (UTC)
 * Before the entire foot >Before all of the foot
 * amongst Moreton's men too "as well"
 * Which son of William Balfour?
 * None of the sources say. Harrias  talk 08:55, 8 October 2019 (UTC)
 * lost five, and the Royalists around 20 MOS says that spelling needs to be consistent for quantities of the same things, overriding the normal requirement about spelling numbers below ten
 * No need to link publisher locations--Sturmvogel 66 (talk) 02:32, 8 October 2019 (UTC)
 * Thanks for your review; I have edited the article to account for each of your points, and have addressed a couple directly above. Harrias  talk 08:55, 8 October 2019 (UTC)

title: Talk:Battle of Babylon Hill/GA1


text:
User:Aneekpatel

Hi, I'm Aneek!!!!!!!!! I'm a student at Johns Hopkins University editing Wikipedia as a class project. I have the best roommate.

title: User:Aneekpatel


text:
Talk:Austrocidaria prionota

Classification of article
Editing classification to C class in line with ORES rating - C  (2.92). - Ambrosia10 (talk) 17:59, 25 September 2019 (UTC)

title: Talk:Austrocidaria prionota


text:
Klingon/Irregular nouns

Irregular nouns
There are a handful of irregular nouns in Klingon.

Irregular plurals
These nouns have plurals that are not formed by adding a plural suffix (-Du', -mey or -pu'). Adding -mey gives a meaning scattered about or all over the place. The plural form of these nouns take a singular prefix such as yI-.

Plural nouns
These noun exist in the plural only, and have no known singular. When used in a sentence, the verb prefix referring to the noun must also be singular, such as yI-. (However, a Klingon noun without a plural suffix can be used as a plural, in which case it may be that the normal plural forms exist for some of these nouns.)

* There is no canon to back up these assumptions. The *cha in lolSeHcha and 'eDSeHcha may have nothing to do with torpedoes (just as the word "does" (meaning 'female deer, plural') has nothing to do with "torpedoes" even though they contain the same sound).

Topic:Klingon

title: Klingon/Irregular nouns