text:
Sukunabikona

Sukunabikona or Sukuna bikona (少彦名神, also known as Sukuna-biko, Sukuna-biko-na, Sukuna hikona) is the Shinto kami of the onsen (hot springs), agriculture, healing, magic, brewing sake and knowledge. His name means "the small lord of renown." He is often described as being a dwarf and is frequently paired with Ōkuninushi.

Adventures with Ōkuninushi
One day while Ōkuninushi was at Miho Bay, he saw a small boat on the whitecap waves. The boat was made of a Metaplexis pod. Inside was a small dwarf, no bigger than a thumb. Ōkuninushi picked him up, and Sukuna-biko-na bit him on the cheek. Ōkuninushi asked him his name, but he would not reply. Then a nearby toad said to bring Sukuna-biko-na to Kuebiko the kami of agriculture, as the scarecrow god would know. When Kuebiko saw the dwarf, he said "That is Sukuna son of Kami-Musubi." Kamimusubi is part of the primordial creator trinity with Takamimusubi and Ame-no-Minakanushi. Ōkuninushi was shocked that such a small being could be the son of such a powerful creator goddess.

Ōkuninushi brought Sukuna-biko-na to Kami-Musubi, who said that yes, he was her son, and that he fell out of her fingers. Ōkuninushi was on a quest to continue the creation of the Central Reed Plain and unite the people. She decreed that the two would work together to help finish building Izumo, and they joined forces to help build the land.

Tradition holds that Sukuna-biko-na left this world at Awaji Island by climbing a grain of millet, which then dipped under his weight and rebounded, flinging him into Tokoyo no Kuni.

As part of his quest to help Ōkuninushi complete construction of the land, Sukuna-biko-na invented medicines and cures for illnesses and diseases, including magical spells for protection. In addition to his other domains, he is a master of magic and wizardry. His ascension into space, rather than a natural death, makes him a Marebito.

As Deity of Hot Springs
On one of their adventures, Sukuna became ill. They went to the Dōgo hot springs. Ōkuninushi put Sukuna-biko in the hot spring water to revive him. Sukuna hikona then took a nap. When he awoke, he was cured, and Sukuna danced on a stone. His footprints left an impression on the rock, known as Tamanoishi, which remains in Dogo Onsen today north of the main building.

The ability for the natural hot spring to cure a god bestowed the waters, and the land itself from which they sprung, a divine importance.

He is known as an immigrant deity, in that he came from across the sea and then departed the land.

As Inventor of Sake
Some sources credit him as well with the invention of Sake. He taught the people how to brew the beverage from rice.

In the Kojiki, Empress Jingū gives a banquet toast crediting the deity Sukuna with the creation of Sake:

This fine liquor Is not my fine liquor. The potion-master Who dwells in the Everworld (tokoyo) The rock-standing Deity Sukuna With godly blessing, Blessing in frenzy, With abundant blessing Blessing around and around Came and offered This fine liquor: Drink unsparingly ''Sa! Sa!''

Thereupon Takeuchi no Sukune no Mikoto replied on behalf of the prince:

He who brewed This fine liquor-was it because He took his drum And standing it up like a mortar, Singing while he brewed Did the brewing of the beer Dancing while he brewed Did the brewing of the beer, That this fine liquor, Fine liquor, Makes me feel so extra good? ''Sa! Sa!''

Due to Sukuna bikona's gift of liquor to the people, he is sometimes paired with the goddess of food Uke Mochi. The reference to the standing stone in the song refers to his worship as a sacred stone. Both Sukuna bikona and Ohona-mochi are enshrined as sacred stones in a temple in Noto Province.

Shrines
In Shinto, it is believed that the god resides within a sacred object housed at the shrine. It is possible for a deity to be in more than one place at a time, as such a Kami may be housed at many shrines, as well as being omnipresent and omniscient.

Sukuna Hikona is enshrined at, Oarai Isosaki-jinja. In the Montoku Jitsuroku, a book of Japanese history, Ōkuninushi and Sukuna Hikona descended in 856, proclaiming that they had returned to help the people of the land and a shrine was built to honor their arrival.

He is one of the Shinto deities enshrined at Mt. Mitake

In Noto Province there are Stone Idols said to represent Sukuna bikona and Ohana-mochi.

The Sukuna hikona shrine in Ozu city, Ehime prefecture was registered by the World Monument Foundation in 2014, "Monument List of the Endangered World."

He is enshrined at Awashima in Wakayama. Empress Jingu, while on a journey over the sea, encountered a storm and her ship almost sank. She landed on Awashima island and discovered a shrine for Sukuna Hikona. She prayed for protection and promised she would build a larger shrine in his honor if he protected her. She was granted safe passage, and fulfilled her promise. Empress Jingu was then worshipped alongside Sukuna and Okuniushi. In one version, Harisaijo, Amaterasu's daughter, is exiled to the island of Awashima for having a woman's ailment. She encounters Sukuna hino's shrine and vows to help women.

Empress Jingu is so taken by Sukuna Hikona that she carves a doll in his likeness, a hina-ningyō. This may be the origin of the Hina doll.

As Kami of Healing and Magic
Sukuna Hikona, as a kami of healing, is credited with the invention of cures for several diseases of humans and animals. He was invoked for protection against "creeping things" and "calamities." Creeping things refers to insects, snakes, and other pests that could damage crops. As a god of agriculture, farmers would pray to him for the protection of their crops. Calamities is a euphemism for unseen or spiritual forces. As a Marebito and a son of Kamimusubi, Sukuna bikona was omniscient and proficient in magic. He would offer protection in the way of spells and incantations.

For his interaction with Empress Jingu, who was pregnant at the time of her voyage, he is also credited with helping women's health, women's reproductive ailments, fertility, and safe childbirth.

Eponymy
The asteroid 10725 Sukunabikona derives its name from the kami.

title: Sukunabikona


text:
Talk:Tahmidur Rahman

Untitled

 * The 2013 AfD was about an autobiographical article by a different person of this name. AllyD (talk) 13:24, 24 September 2019 (UTC)

source: wikimedia

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

title: Talk:Tahmidur Rahman


text:
Harvey of Léon

Harvey of Léon was the name of several members of the House of Léon who were Viscounts of Léon or Lords of Léon.

Viscounts of Léon

 * Harvey I
 * Harvey II
 * Harvey III
 * Harvey IV

Lords of Léon

 * Harvey I
 * Harvey II
 * Harvey III
 * Harvey IV
 * Harvey V
 * Harvey VI
 * Harvey VII
 * Harvey VIII

title: Harvey of Léon


text:
Physics Study Guide/Electronics

Electronics is the application of electromagnetic (and quantum) theory to construct devices that can perform useful tasks, from as simple as electrical heaters or light bulbs to as complex as the Large Hadron Collider.

;component of electronics

=Electronics=

Introduction
To discuss electronics we need the basic concepts from electricity: charge, current which is flow of charge, and potential which is the potential energy difference between two places. Please make sure these concepts are familiar before continuing.

Circuits
The interest of electronics is circuits. A circuit consists of wires that connect components. Typical components are resistors, voltage sources. In order to maintain a constant electrical current a continued exhaustion of chemical or mechanical energy is required.

A voltaic cell is a common electromotive power source for a circuit. It consists primarily of two plates, a positive copper plate and a negative zinc plate. One must note that the plates are placed in dilute sulfuric acid. Whence a key is switched or the circuit is closed the zinc reacts with the sulfuric in which it is placed in. One may discern that the electromotive force which is then applied to the circuit is believed to be converted from chemical to electrical energy upon the surface of the zinc cell. Whence the E.M.F is converted from chemical to electrical energy the electromotive force travels through the sulfuric acid. However disadvantages occur whence utilizing a voltaic or galvanic cell. Whence the circuit is closed, simultaneously hydrogen bubbles accumulate upon the copper plate surface hence decreasing the total electromotive power source applied to the circuit in question. The resistance with which the electromotive source encounters as it flows form the zinc plate to the copper plate through the dilute sulfuric acid is distinguished as internal resistance. Hence the voltaic cell uses diluted rather than concentrated sulfuric acid so as to reduce the internal resistance present inside of the component which applies the electromotive force to the circuit.

A circuit can be open, when there is a break so that no current can flow, or it can be closed, so that current can flow. These definitions allow us to discuss electronics efficiently.

Direct current and alternating Current
When the Electrons moves through a particular medium in straight without oscillating on their mean position then it is Direct Current. This DC is used in almost every electronical component. Alternating Current on the other hand as the name suggest, the Electrons alter back and forth and hence produces much electrical energy. AC is mainly used to reduce the wastage of electrons and passing much energy at one time.

Ohm's law
If 'V' is Potential Difference applied at two ends of conductor and 'I' is Current flowing through the conductor then 'I' is directly proportional to its 'V'. V = I x R

Kirchoff's laws
Kirchoff's laws generally hold for direct current (DC) circuits, but fail when dealing with changing electric current and voltage such as alternating current (AC) or signal processing in combination with capacitors, inductors, and antennas.

Kirchoff's current law
The sum of all the currents entering and leaving any point in a circuit is equal to zero.
 * $$\sum_{k=1}^n I_k = 0$$

It is based on the assumption that current flows only in conductors, and that whenever current flows into one end of a conductor it immediately flows out the other end.

Kirchoff's voltage law
The sum of all the voltages around the circuit loop is equal to zero.
 * $$\sum_{k=1}^n V_k = 0$$

It is based on the assumption that there is no fluctuating magnetic field linking the closed circuit loop.

Power
p=work done/time taken p=I*V (current * Voltage) Other Equations for P can also be derived using Ohm's Law, such as P = IR^2, because V=IR, which can be plugged in to get P= I * (IR) and another equation being P = V^2/R.

Resistors in series
In a series circuit, resistance increases as more resistors are added.Each resistor makes an addition to the restriction of the flow of charge.The current through the battery is inversely proportional to the total resistance. The equivalent(total) resistance is calculated by adding the resistances together. R$$eq$$=R$$1$$+R$$2$$+R$$3$$+

Resistors in parallel
1/R = 1/R1+1/R2+1/R3+......

Semiconductors
Current is the rate of flow of charge.

$$I$$ = Current [amperes - A]

$$Q$$ = Charge [coulombs - C]

$$T$$ = Time [seconds - s]

howstuffworks.com

Voltage is equal to current multiplied by resistance

Power is equal to the product of voltage and current

Electronics is the flow of current through semiconductor devices like silicon and germanium.

Semiconductor devices are those which behave like conductors at higher temperature.

Transistor, diode, SCR are some electronic devices.

title: Physics Study Guide/Electronics


text:
πουλί

Etymology
From, from , itself either from or alternatively from.

Cognate with 🇨🇬.

Noun

 * 1) bird
 * 2)  willy, peter, wee-wee, pee-pee the penis

Related terms

 * suffix
 * suffix

title: πουλί


text:
User:Karl Marx ye haha

Communanity is a religion founded in 1964 in Ireland. The god of this religion is Karl Marx and our Bible is the communist manifesto. Our saints are Joseph Stalin and Vladimir Lenin. We have a religious order with 23 members and counting.

title: User:Karl Marx ye haha


text:
Filmmaking Basics/3D Storyboard/Introduction to FrameForge

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Getting started with FrameForge 3D Studio
 * style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

3D Storyboarding with FrameForge 3D Studio free demo version

 * FrameForge 3D Studio demo version is free for both the Macintosh and Windows.  And, it is fun to use.  Best of all, the program is extremely educational for people who want to become film directors or cinematographers.  Absolutely required!

 * Extremely logical / Hard to find
 * This program is design by an engineer. Therefore, it is a very logical program to use... but only after you learn how the program works and know where to find all the features of the program.
 * Learning this program is not easy but the reward is worth the effort. This is an extremely valuable program for filmmakers.

 * Introductory movies
 * Fortunately, there is a set of introductory movies for FrameForge 3D Studio free demo version. Click here to begin.

Getting Started

 * Create a practice scene
 * I recommend that you start by creating a practice scene with just two figures. Horses are fun actors!  Try to create an over-the-shoulder shot with a wide angle lens and a telephoto lens using two horses.

 * That is your first assignment. See the next page.

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Free demo version
 * }
 * style="width:45%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="2"|

Downloading FrameForge 3D Studio

 * You can download the freedemo version of FrameForge 3D Studio at :

www.frameforge3d.com/download.php

Downloading Problems
Note: There has been some problem downloading this program. If you have any problems, please let me know.

And if you are successful, also let me know how you did it. (Did you use a download program or plug-in?)

 * style="padding:0em 0.5em 0em 0.5em;" |

Download tip: Windows
 * style="width:55%; vertical-align:top; border:1px solid PaleTurquoise; background-color:AliceBlue;" |

"I think the problems stems from the fact that most of the downloading comes after the setup program is started. The program is some 65 MB big but the initial setup file is only less than 1 MB.
 * Niri0n (our Swedish computer expert) says :

So this is the trick :

 * 1) Get connected to the internet.
 * 2) Download the setup program. It's only 1 MB so you can use the built-in download function of the browser and save the file somewhere on the computer.
 * 3) Run the setup program until it is finished. This took 20 minutes on my computer.
 * 4) Disconnect from the internet.

I hope this helps."
 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="padding:0em 0.5em 0em 0.5em;" |

Download tip: Macintosh
 * style="width:55%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Azure;" |

 * Your instructor says :

 * Using a dial up connection, Firefox is not reliable enough for downloading all the sections of this program.

 * If you used just Firefox, don't do anything while the downloads are in progress. Download only one section at a time.

 * If possible, use a free download plug-in program such as dTaOneClick! You can download it at DownLoadThemAll's website.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Don't give up!!!
 * colspan="1" style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

This program is important

 * Don't give up. This is an extremely important program and you will learn a tremendous amount.

 * Read the manuals
 * Once you have downloaded the FrameForge 3D Studio FREE demo version, locate the two manual which come free with FrameForge 3D Studio. (See above.)  A good place to start learning all the features of FrameForge 3D Studio.

 * If you wish, you can download one of the manuals now just to take a look. It is at http://www.moviesoft.fr/documentation/FrameForge Quick Start.pdf

 * And do not forget to look at the FrameForge introduction movies for an introduction to FrameForge 3D Studio.

 * }

Important things to know about FrameForge 3D Studio

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Page 1 - The main page of FrameForge 3D Studio
 * colspan="1" style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

The main page of FrameForge 3D Studio

 * Many features crammed into the main page
 * Here is what the main page looks like. It has many features which work independently from each other.

 * 1) Top left is a tiny picture of the current floor plan. Double click on this tiny picture of the floor plan to make it active. Do not double click on the floor plan when it is active because that will create another camera view.  (For now, use only one camera.)
 * 2) The other pictures at the top are the views from the different cameras. (For now, use only one camera.)  Double click on the tiny picture of the camera view at the top of the page to make it active.

Store a shot

 * Storing a shot stores EVERYTHING!
 * The most important thing to understand about FrameForge 3D Studio is every time you store a shot, you store all the settings as well. This can be restored later so you can continue working on the same picture.

Storing shot vs. rendering shot

 * Storing shot is not rendering a shot
 * When you store a shot, the picture will appear on the second page (which is the Shot Manager window.) This does NOT render the shot.

 * To render the shot (convert the shot to a picture that you can use in an animatic), you need to EXPORT the shot which is under the FILE menu.

Send me your .PREVIS files

 * Submitting your assignments
 * When you are finished creating the shots for your movie, you will send me the entire PROJECT file, not the rendered images. This way, I can see what you did and I can make suggestions.  Also, I can render the pictures for you and post them to the Wikiversity Film School web pages.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Page 2 - The Shot Manager of FrameForge 3D Studio
 * style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

The second page of FrameForge 3D Studio

 * In addition to the main page (above), FrameForge 3D Studio has the page of completed (but not yet rendered) pictures which is called the "Shot Manager".

 * You can access this page only by selecting "Shot Manager" in the TOOLS menu.

 * The pictures on this page are much more than simple images. Each picture represents EVERYTHING that was on the movie set at the time the picture was taken.  This is like the "Way Back" machine!

 * Therefore, when you want to, you will be taken back in time to when this shot was taken. EVERYTHING is restored for you, ready for you to continue working.

Changing a shot

 * When you want to redo a shot, select the frame on this page and click on Edit On Set.

 * When you do this, the entire camera setup changes to when you captured this image. This is extremely useful BUT ALSO VERY DANGEROUS.  This immediately throws away (almost completely) everything you have done since the last time you stored a shot.  (There is a way to recover this but it is rather confusing.)

Deleting a shot

 * Since each shot represents much more than a simple picture, deleting a shot must be done carefully. When you delete a shot, you only hide the shot.  You can see the deleted shots simply by selecting the "Show Deleted" button.  Only when you select "Purge deleted shots" will you actually remove the unwanted shots.

 * The free demo version can only store 20 shots. Therefore, if you delete shots (but not also purge the shots), you will quickly reach your limit of 20 shots.  Therefore, frequently go to the Shot Manager window and select to look at the deleted shots and them purge them.  (Note: old versions and demo version of this program did not do this easily.  You have to be on the main page to delete the shots on the Shot Manager page.  This has been fixed in the current version.)

 * }

Getting started with FrameForge 3D Studio

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" The basics
 * style="width:50%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="1"|

Learning FrameForge 3D Studio

 * The easiest way to learn this program is to drag two figures to the movie set and use a camera to look at the figures.

 * The program is surprisingly intuitive... as long as you don't build a movie set. And once you get past a few quirks in the design of the interface.

 * Looking down on the floor plan for a scene can be confusing but this is the easiest way to move the camera and the actors since you can grab them and move them rather than used the controls which are more accurate but slower.

 * Note : You can download the movie set file at from the FrameForge community forum

 * style="padding:0em 0.5em 0em 0.5em;" |

Working on the movie set
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:#fff;" |

A typical movie set

 * Here is the floor plan for our scene as seen in FrameForge 3D Studio.

 * }

Really strange things in FrameForge 3D Studio

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Notes
 * style="width:50%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="2"|

Things to watch out for

 * Here are some things to look out for in FrameForge 3D Studio.

 * }

Why does everyone want to make love?

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Notes
 * style="width:50%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="2"|

Human collision detection

 * Turn this OFF!!!!

 * If you do not turn this feature off, the actors will keep jumping into each other's arms. Interesting effect... but not useful for our current movie.

 * style="padding:0em 0.5em 0em 0.5em;" |

Turn off collision detection
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Beige;" |

Turn off the Collision Detection feature

 * Immediately, turn off this feature. Until you become experienced with FrameForge 3D Studio, you do NOT want this feature turned on.

 * When the young person and the old person are very close together, they can do strange things when they get near to each other.

 * }

Sending your project file to your instructor.

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%"
Notes
 * style="width:50%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="2"|

Saving the project

 * There are three different ways to save the project. Be sure to save it as a cross platform document when you are finished.  This loads very fast but takes a lot of disk space.  (If you have a Windows PC, this is the only way I can see your stored shots.)

 * Look for the words "Cross Platform" when you SAVE the file.

Special format for saving
 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Beige;" |

When you save your project files

 * Send me your project files as cross platform files so be sure to select this when you save the files.

 * }

How to insert new shot?

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%"
The stack of storyboard frames
 * style="width:50%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="4"|

Tape deck controls / Slide show controls

 * This control look like the controls of a tape deck. This control is in the lower right corner of the main page of FrameForge 3D Studio.

 * Rather than tape, think of this as a stack of playing cards or slides for a picture show. Each card or slide is a storyboard frame.

 * When you first use FrameForge 3D Studio, you are only inserting shot at the end (bottom) of the stack of storyboard frames. Therefore, you can completely ignore these controls as long as you are creating shots in the order they will appear.

 * Only when you need add storyboard frames out of order or if you need to go back and change shots will you have to worry about the controls.

 * So when you are just starting out and you see this, you can ignore it since all your pictures are automatically going to the correct place.

This is the correct setup for putting the storyboard pictures at the end of the stack.

 * style="padding:0em 0.5em 0em 0.5em;" |

Controls for the storyboard stack example
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Beige;" |

Insert at the end

 * When you start out or when you click on the End control button, you will see the red highlight around the word "Append Frame" which means "add on" to (in this case, place at the end of) the stack of storyboard frames. Notice that there is no picture in the lower right corner of the controls so there is no storyboard frame after this current picture.

 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="padding:0em 0.5em 0em 0.5em;" |

Controls for the storyboard stack example
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Beige;" |

Erase the last picture

 * When you see a picture highlighted in red, that means this storyboard frame will be replaced when you decide to Store Shot.

 * In this case, the last picture in the stack will be replaced. You know that because there is no picture in the lower right corner.  The next frame is empty.

 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="padding:0em 0.5em 0em 0.5em;" |

Controls for the storyboard stack example
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Beige;" |

Erase the current picture

 * When you see a picture highlighted, that means this picture will be replaced when you decide to Store Shot.

 * In this case, the current picture in the stack will be replaced. And you know that this is not the last picture in the stack of storyboard frames because you see a picture in the lower right hand corner which comes after the current frame.

 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="padding:0em 0.5em 0em 0.5em;" |

Controls for the storyboard stack example
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Beige;" |

Insert in the middle

 * Most of the time, when you make adjustments to a picture, you want to save it separately without destroying the original picture.

 * To do that, the controls must look like this. Just remember if you are using the free demo version, you have a limit of 20 shots.  As you get to 20, you will need to purge some shots which is a extra step after deleting shots.

 * }

What to do when your pictures disappear.

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%"
Notes
 * style="width:50%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="2"|

Missing pictures

 * If you cannot see the pictures on the Shot Manager, click on the buttons which looks like a tiny bunch of very faint blue dots.

Even magnified, the dots are hard to see! These tiny dots are a control button.

 * style="padding:0em 0.5em 0em 0.5em;" |

Turn off collision detection
 * style="width:50%; vertical-align:top; border:1px solid PaleTurquoise; background-color:Beige;" |

"Dots the button!"

 * Click on the blue dot buttons on the Shot Manager page to see what happens.

Actual size Can you even see the tiny dots?

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%"
You need to practice with FrameForge 3D Studio
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Before I explain a way to create the movie set in FrameForge 3D Studio, you need to practice creating a few shots.

 * Go to the Getting started understanding FrameForge 3D Studio.

 * }


text:
Concept Classification, Page 5

Overview
When a concept is difficult for the learners to learn to classify, additional tactics can be used to increase the power of the instruction. It is helpful to think of such instructional enhancement as existing for eachroutine tactic.

Presentation
So how can the generality be srengthened? There are several ways. You can facilitate encoding by focusing the learner's attention on the important parts of it: the label and the critical characteristics. Or you can facilitate encoding by providing a variety of representations of the generality, like a diagram or a paraphrase. You can also present an algorithm (Landa, 1976), a set of steps for the learner to use in checking to see if all of the critical characteristics are present.

The most obvious way to enhance this routine tactic is to increase the number of examples. But we can also make it easier to learn from each example. Since examples are different from each other, some are likely to be harder to identify as examples of the concept. The easier examples should be presented first, followed by progressively more difficult ones. This is called an easy-to-difficult sequence. We can also use attention-focusing to relate the example to the generality by pointing out the presence or absence of critical characteristics in the example. And we can use a variety of representations for the examples, to facilitate "dual encoding" of the information.

Practice
The only ways that practice itself should be enhanced are to increase the number of practice items, to use an easy-to-difficult sequence, and to include prompting on early practice items. Otherwise, ehancements should be reserved for the feedback.

Feedback
Enhancement on the feedback should be much like on the examples. We can use attention-focusing which relates the instance to the generality by pointing out the presence or absence of critical attributes. And we can use a variety of representations for the correct-answer feedback. Of course, motivational enhancement can also be used: praise for correct answers and encouragement for wrong answers.

Click the Next button to continue.

Source

 * Concept Classification by Charles M. Reigeluth. Used by Permission.

title: Concept Classification, Page 5


text:
Lucas Bond

Lucas Bond (born 14 December 2005) is a British actor. He is best known for his roles in Slumber (2017) and Summerland (2020).

Education
Bond is a pupil at Beechen Cliff School, a state day and boarding school for boys in Bath, in South West England.

Career
Lucas Bond made his acting debut in 2015, appearing in the horror movie Lady of Csejte. He plays Gerry in the 2015 British fantasy film Molly Moon and the Incredible Book of Hypnotism. In 2016 he appeared in two episodes of the American television drama series Of Kings and Prophets. In 2017, he played Daniel Morgan in the American-British supernatural horror-thriller film Slumber, he also appeared in an episode of The Miniaturist. In 2020 he played Frank, an evacuee from the London Blitz during World War II, in the British drama film Summerland.

title: Lucas Bond


text:
User:Sophiiquee/Evaluate an Article

Evaluate an article
This is where you will complete your article evaluation. Please use the template below to evaluate your selected article.

 * Name of article: (Language interpretation)
 * Briefly describe why you have chosen this article to evaluate.
 * I wanted to write an article on Language Interpretation. The original article already has a lot of good sources of information, but there are still some issues with citations and providing additional examples I can possibly work on.

Lead

 * Guiding questions

 * Does the Lead include an introductory sentence that concisely and clearly describes the article's topic?
 * Yes
 * Does the Lead include a brief description of the article's major sections?
 * Yes
 * Does the Lead include information that is not present in the article?
 * No
 * Is the Lead concise or is it overly detailed?
 * Concise, but some sections can also use some more details and information.

Lead evaluation
The introductory sentence can be more clear and be more relevant to the article's title, but overall the the article is formatted and laid out into major sections that are easy to understand and hits most of the main points.

Content

 * Guiding questions

 * Is the article's content relevant to the topic?
 * Yes
 * Is the content up-to-date?
 * The most recent revision/edit to the article was September 2018.
 * Is there content that is missing or content that does not belong?
 * No

Content evaluation
Additional sources and examples can be added, but the topic and the information are still good enough to understand.

Tone and Balance

 * Guiding questions

 * Is the article neutral?
 * Yes
 * Are there any claims that appear heavily biased toward a particular position?
 * No
 * Are there viewpoints that are overrepresented, or underrepresented?
 * Yes, under the section "Public Sector", "Modalities" for "On-site" can include more sources of evidence to help support the main topic that is being presented.
 * Does the article attempt to persuade the reader in favor of one position or away from another?
 * No

Tone and balance evaluation
The tone and balance looks really good. It doesn't have any claims that are heavily biased towards a position. It doesn't take any sides. It remains neutral.

Sources and References

 * Guiding questions

 * Are all facts in the article backed up by a reliable secondary source of information?
 * Yes
 * Are the sources thorough - i.e. Do they reflect the available literature on the topic?
 * Because the topic of this article isn't really related to literature, there isn't anything to reflect on. But, the sources are thorough.
 * Are the sources current?
 * Yes, but a few sources are in the 1900s, but most of them are current. The oldest source that is used was published in 1998.
 * Check a few links. Do they work?
 * All of the ones I checked work, except for one.

Sources and references evaluation
The sources and references for this article are pretty well used, but can be more up-to-date. More sources and references can be used also.

Organization

 * Guiding questions

 * Is the article well-written - i.e. Is it concise, clear, and easy to read?
 * Yes
 * Does the article have any grammatical or spelling errors?
 * I didn't spot any at the moment.
 * Is the article well-organized - i.e. broken down into sections that reflect the major points of the topic?
 * Yes

Organization evaluation
The organization of the article is great!

Images and Media

 * Guiding questions

 * Does the article include images that enhance understanding of the topic?
 * Yes
 * Are images well-captioned?
 * Sort of. It can be more formal and clear.
 * Do all images adhere to Wikipedia's copyright regulations?
 * Yes
 * Are the images laid out in a visually appealing way?
 * Yes

Images and media evaluation
The images and captions enhances the understanding of the topic. The images can be more better. Some pictures don't really go with the article.

Checking the talk page

 * Guiding questions

 * What kinds of conversations, if any, are going on behind the scenes about how to represent this topic?
 * There are some issues with missing citations and adding additional sources. There are also suggestions for combining two related topics to just one.
 * How is the article rated? Is it a part of any WikiProjects?
 * It is rated C-Class. It is part of the WikiProject Linguistics / Applied Linguistics, WikiProject Translation Studies, and WikiProject Deaf.
 * How does the way Wikipedia discusses this topic differ from the way we've talked about it in class?
 * I am not sure.

Talk page evaluation
The Talk Page doesn't have much conversations happening, so there may be a lot more revision/editing to do that what is being mentioned on the Talk Page. But, the fact that the topic is rated as Top-importance for the WikiProject Translation Studies is a good sign that more people need to hear/know about this topic.

Overall impressions

 * Guiding questions

 * What is the article's overall status?
 * C-Class
 * What are the article's strengths?
 * Great organization of the major sections and good sources of information.
 * How can the article be improved?
 * Adding more information to some of the sections, provide citation where needed, better images, and maybe a better titile.
 * How would you assess the article's completeness - i.e. Is the article well-developed? Is it underdeveloped or poorly developed?
 * I think it's well-developed and completed.

Overall evaluation
Overall, this article is well-developed, already has a pretty outstanding sources of information, and well-organized structure of the major sections that relates to the topic. It just needs a little more work.

Optional activity

 * Choose at least 1 question relevant to the article you're evaluating and leave your evaluation on the article's Talk page. Be sure to sign your feedback

with four tildes — ~

 * Link to feedback:

title: User:Sophiiquee/Evaluate an Article


text:
Talk:inconnu

Plural
I checked it in Google books. All "inconnues" that I found were in works or passages in French. DCDuring 01:41, 4 November 2007 (UTC)

title: Talk:inconnu


text:
Talk:Battle of Mount Ortigara

Italian victory?
According to the article, the position was retaken by some elite Austro-Hungarian units on 25 June. So, why did the infobox identify this battle as an "Italian victory"?Ti2008 (talk) 13:14, 25 November 2014 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20131014172040/http://www.altopiano7comuni.it/home/detail.asp?iData=368&iCat=389&iChannel=26&nChannel=Links2 to http://www.altopiano7comuni.it/home/detail.asp?iData=368&iCat=389&iChannel=26&nChannel=Links2

Cheers.— InternetArchiveBot  (Report bug) 04:14, 16 July 2017 (UTC)

title: Talk:Battle of Mount Ortigara


text:
Nihal Mazloum

Nihal Mazloum (born January 23, 1951) is a Paris-born Egyptian-Canadian artist.

Early life
Mazloum was born in Paris, France, in 1951 into an affluent family of Turkish-Egyptian ancestry.

She grew up in Cairo and received her bachelor's degree in anthropology from The American University in Cairo; thereafter, she left Egypt to study ethnology in Paris. Mazloum remained in France for seven years and then immigrated to Canada in 1978.

Career
During her time in Paris, Mazloum underwent advanced training in metalwork and, by 1979, she opened a workshop in Montreal, Canada, where she began to display her jewellery.

Mazloum has participated in various craft shows, as well as exhibitions in Canada and the United States. Several of her jewellery pieces are displayed in the Canadian Museum of Civilization's collection.

Personal life
She lives in Montreal.

title: Nihal Mazloum


text:
Roxburgh Castle (ship)

Several ships have been named Roxburgh Castle for Roxburgh Castle:

 * Roxburgh Castle was launched in Spain in 1803 under another name. She was taken in prize in 1809 and her new owners renamed her. She was wrecked in 1814.
 * Roxburgh Castle was launched by Wigrams & Green, Blackwall. She made two voyages for the British East India Company, during the first of which she captured a slave schooner with 125 slaves that she delivered to Sierra Leone. She was condemned as unseaworthy after survey in 1842 and sold for breaking up.
 * Roxburgh Castle was launched at Sunderland. She was sold to a Danish company in 1870. She was wrecked in 1872.
 * Roxburgh Castle was an iron screw-steamer launched at Sunderland. She was sunk in a collision with British Peer in 1891.
 * Roxburgh Castle, of, was launched by Harland and Wolff, Belfast, as a refrigerated cargo ship. She sustained some bomb damage on 21 December 1940 and again on 4 May 1941. GS U-107 (1940) torpedoed and sank her in the Atlantic Ocean on 22 February 1943 at (38.2°N, -26.36667°W), north of the Azores, Portugal.
 * Roxburgh Castle, of, was built by Harland and Wolff. She was broken up in 1971.

title: Roxburgh Castle (ship)


text:
deugen

Etymology
From, from , from , from.

Verb

 * 1)  to be good, well-behaved, moral, etc.
 * 2)  to be of good quality

title: deugen


text:
Talk:Untold Tales

Peart
I don't know how best to represent this in the article, but I do think it matters that the drum track was not recorded for this song, but was an artefact that Glass Hammer built something around. Contrary to the newspaper report given, I don't believe that these tracks were only made available to selected acts: I think anyone can buy them from Sonic Reality. I presume the track in question is the one described here. If so, the drum track was previously released (and, possibly, may have been used on a prior album too: the XYZ—A Tribute to Rush EP). Bondegezou (talk) 12:57, 23 October 2017 (UTC)
 * Ah, yes, this interview I did confirms it's the same piece. Bondegezou (talk) 13:16, 23 October 2017 (UTC)
 * That's a good thing to know. However, the interview does not specify that the track had been previously released, or that it was made available for public use, unless I am mistaken. So, it does not make a real difference regarding the nature of Peart's involvement, although we now know when the track was originally produced, which is good. I guess other things we might do might be to remove the mention of Peart in the lead (mentionning him there might be a bit of a stretch regarding is relatively indirect contribution), and, possibly for the Personnel section, to keep the credit to simply "drums" but add a note (an example of such a note I added in another article is here for Zaher Zorgati at the end of the Vocalists sub-section) that would specify the unusual nature of his contribution. But I am not sure if that is needed.--Hyliad (d), October 23, 2017; 15:27 (5EST)
 * I like the footnote idea. We don't have a clear citation on this, but my understanding is that the Peart drum tracks are available here (volume 2). Bondegezou (talk) 15:00, 23 October 2017 (UTC)
 * The problem is still the lack of source, not to mention that this Sonic Reality thing is still a little unclear. I admit I'm uncertain on what to do. There is the chance that the album's booklet might have the info we need, if you own it. Personally I ordered the album yesterday and am waiting for it to arrive. --Hyliad (d), October 24, 2017; 00:50 (CEST)
 * I've not got the album yet. Yes, will be helpful to see what it says itself. I think your other suggestions still work: de-emphasise Peart in the lede, add a footnote that Peart's drum track was recorded prior to Glass Hammer's involvement. I'd also remove the phrase "and made them available to a selected number of acts" as I think that's wrong. I think my interview qualifies as an acceptable source for some background under WP:UGC, but I'll leave that decision up to others. Bondegezou (talk) 09:31, 24 October 2017 (UTC)
 * I finally received the album, added info to the article based on the inner notes. You'll see that I also changed the info regarding Peart based on the consensus we reached on this talk page; it's still not super clear, but it seems there was more to it than simply buying the sample and using it. If you want to compare my changes to the info on the booklet, here is what is written by Steve Babb for "The Impulsive Type":
 * Written by Fred Schendel, Steve Babb, and Kamran Alan Shikoh, performed by Carl Groves, Fred Schendel, Steve Babb and Kamran Alan Shikoh, featuring Neil Part Drums by Sonic Reality.
 * "In 2014 Dave Kerzner of Sonic Reality asked us to perform a track with Neil Peart. What's that you say ? Well, actually it was a request to write a song on top of Neal's drum tracks that were recorded during the making of Sonic Reality's 'Neil Peart Drums' sample library. The tracks you hear are live drums tracks however, not the samples. Was it possible to write a song over Neal's tracks without it sounding Rush-influences ? No. Enjoy!" --Hyliad (d), October 28, 2017; 21:10 (CEST)
 * Thanks for typing that out. I think that's still what we thought it was. Peart recorded drum tracks for Sonic Reality: these included full recordings of his drum parts for various Rush songs (and maybe more?). Sonic Reality make the point that these aren't just samples: these are full, multi-minute recordings of Peart drumming. They have been used elsewhere, e.g. on the Sonic Elements Rush tribute EP (see and ). However, the point remains that Peart recorded them without any input to or knowing what would then be done to them by others. Peart recorded them, then they were given to Glass Hammer. Peart had nothing to do with Glass Hammer.
 * So I think the current text is mistaken in that it gives the impression that Glass Hammer worked with samples, and then Peart recorded a full drum track. No, Glass Hammer were always working with the same, pre-recorded drum track, done live by Peart. Bondegezou (talk) 09:48, 6 November 2017 (UTC)
 * Re-wrote what you did a little, but I think overall we got the thing turning out alright. In the booklet, Babb seems to insist that those are "live drum tracks", so I added that, also while clearly stating that those were not recorded by Peart specifically for Glass Hammer. I notably used the word "used" instead of "featured" as I think it is more accurate, since Peart is not really "featured" as the album as much as they are using his work (that said with no pejorative connotation). I still have a few doubts regarding some stuff, like "Troll" where the only credit in the booklet is "performed Steve Babb and Fred Scendel, featuring Tim Starnes (harmonica)". Since the track seems to feature dual lead vocals I listed both as lead vocalists but I'm not positive on that. There's also the Tracy Cloud thing as you can see in the first footnote of Personnel. For the rest, I'm satisfied with the article as it is now, Neil Peart things included. Thanks for helping with that. --Hyliad (d), 13:49, November 6, 2017 (CEST)
 * Thanks for all your work on the article. In terms of the drum tracks, my understanding from the time these were recorded is that they are "live" in the sense that Peart sat down at a drum kit and played them, and Sonic Reality recorded him.
 * With the Tracy Cloud thing... it's difficult when reliable sources don't entirely make sense. I worry that pointing this out constitutes OR, but not pointing it can be misleading and confuse the reader even more. Bondegezou (talk) 13:42, 6 November 2017 (UTC)
 * Me again... The liner notes say, "to write a song on top of Neal's drum tracks that were recorded during the making of Sonic Reality's 'Neil Peart Drums' sample library. The tracks you hear are live drums tracks however, not the samples." You've interpreted that as: "Glass Hammer wrote and recorded a song based on those drum samples [...] Instead of the original studio samples, the Untold Tales version uses pre-existing "live drum tracks" by Peart." I think that's wrong: specifically, the liner notes are not saying that Glass Hammer ever recorded a song based on the drum samples. Rather, the liner notes are saying they (always) worked with a full drum track, but that the drum track comes from the same recording sessions as produced a sample library. Does that make sense? Bondegezou (talk) 13:47, 6 November 2017 (UTC)
 * Good point, they don't specify that the actual track used was not the one used for their songwriting. I'll correct that.--Hyliad (d), 19:15, November 6, 2017 (CEST)

title: Talk:Untold Tales


text:
Talk:Lavender Line

History
I have started a major rewrite of the history of the closure of the line to the south of the Lavender line. User:Aquizard:Aquizard 00:46, 28 February 2007 (UTC)

Route map
Can someone with the required knowledge of the line create a route map using the template on other railway line articles? <IP_ADDRESS> (talk) —Preceding undated comment added 15:30, 21 March 2016 (UTC)
 * No. I would have done, but the recent insistence (by certain others) that all methods other than are deprecated means that I am no longer able to produce RDTs. -- Red rose64 (talk) 21:24, 22 March 2016 (UTC)

title: Talk:Lavender Line


text:
Randy Foye

Randy Foye (born September 24, 1983) is an American former professional basketball player. He played collegiately at Villanova University. He was selected seventh overall in the 2006 NBA draft by the Boston Celtics, but was immediately traded to the Portland Trail Blazers, and later traded to the Minnesota Timberwolves where he began his career.

High school career
Foye attended East Side High School in Newark, where he was selected as New Jersey Player of the Year, before being recruited by Jay Wright and Villanova.

Considered a four-star recruit by Scout.com, Foye was listed as the No. 7 shooting guard and the No. 37 player in the nation in 2002.

College career
Foye, along with Allan Ray, Curtis Sumpter, and Jason Fraser were proclaimed as the players to lead the Villanova Wildcats back to a championship. Foye and Ray reached the Elite Eight of the 2006 NCAA Tournament, playing with the other three starters in the four-guard offense (Kyle Lowry, Mike Nardi and Will Sheridan), while Sumpter was sidelined as a medical redshirt with a knee injury.

Foye's college career was productive and eventful, but his senior season was by far the best statistically.

In the 2005 NCAA Tournament, Foye averaged 20 points in three games, before a heartbreaking loss to #1 seed and eventual national champion North Carolina in which Foye scored a career-high 28 points. He was named third-team all Big East that year.

In 2006, Foye won the honor of Big East Player of the Year, beating out teammate Allan Ray, Connecticut star Rudy Gay and the league's leading scorer Quincy Douby of Rutgers.

Villanova tied for the Big East regular season championship with Uconn and split their two games with the Huskies, winning the one played at home, in what some called the biggest Villanova win in over 20 years. Their final Big East regular season record was 14–2 in what some called the toughest conference ever. Overall, their record was 28–5. In the NCAA Tournament in 2006, Foye continued to be Villanova's biggest scoring threat. He had 24 points in their second-round game against Arizona in a winning effort. Foye scored a team-high 25 points in his final game as a Wildcat, on March 26, 2006, a 75–62 loss to Florida in the Elite Eight.

As a senior Foye averaged 20.5 points, 5.9 rebounds, 3.3 assists, 1.4 steals, and 0.6 blocks, with a field goal percentage of 41.1%.

Minnesota Timberwolves (2006–2009)
On June 28, 2006, Foye was selected seventh overall in the 2006 NBA draft by the Boston Celtics, but was immediately traded to the Portland Trail Blazers, and later traded to the Minnesota Timberwolves. He entered his rookie year on a team that already had six guards on its roster. Off-season free-agent acquisition Mike James was slated to start at point guard, Foye's most likely position in the NBA, with Ricky Davis at small forward and Rashad McCants at shooting guard. This left Foye to battle for minutes on a bench full of guards. In November, Foye's first month as a professional basketball player, Timberwolves coach Dwane Casey only gave Foye an average of 14.6 minutes per game. Foye, however, was productive whenever he was given minutes. He scored in double digits in each of the four games he was given 20 or more minutes of playing time.

In December 2007, Foye's minutes per game average increased to 19.6 and he scored in double digits in half of the T-Wolves' games. However, after Dwane Casey's firing after the Twolves' 40th game (when they had a record of 20–20), the Twolves struggled, yet the young star played well when given minutes. In March, Foye saw nearly 24 minutes of playing time a night, and in April saw almost 27 minutes a night to perform.

Foye played all 82 games (12 starts) in his rookie season and averaged 22.9 minutes, 10.1 points, 2.7 rebounds, 2.8 assists, 0.65 steals, and 0.3 blocks per game. Among rookies, he ranked fifth in scoring (10.1 ppg), eighth in field goal percentage (43.4%), third in 3-point shooting percentage (37%), third in free throw shooting percentage (85%), 5th in assists (2.8 apg) and 9th in steals (0.65 spg). He was one of the most consistent rookie performers and was selected to the NBA All-Rookie First Team.

On December 23, 2008, Foye pulled down 16 rebounds to set a career high and break the team record of 15 for a guard set by Isaiah Rider in 1996. Foye also had 26 points and 1 assist in the 99–93 loss to the San Antonio Spurs.

Washington Wizards (2009–2010)
On June 23, 2009, Foye, along with Mike Miller, was traded to the Washington Wizards for Oleksiy Pecherov, Etan Thomas, Darius Songaila, and a first round draft pick.

On January 9, 2010, Foye was fined $10,000 by the Washington Wizards for participating in Gilbert Arenas' antics before a game on January 5, 2010, against the Philadelphia 76ers. Arenas was being investigated for a prior incident involving guns in the Wizards' locker room, but made light of the accusations by pointing his finger at his teammates, as if he were shooting them. His teammates were photographed smiling and laughing with him.

Los Angeles Clippers (2010–2012)
On July 8, 2010, Foye was signed by the Los Angeles Clippers. Foye started the year as a backup, but moved into the starting rotation following an injury to Eric Gordon and trade of Baron Davis. On February 11, 2011, he scored 32 points with seven assists and two steals while shooting 50 percent from the field in a 99-92 loss to the Boston Celtics.

In his first season in LA, Foye developed chemistry with Rookie of the Year Blake Griffin, establishing himself as LA's shooting guard heading into the 2011-12 season. However a busy lockout-delayed offseason saw the Clippers acquire All-Stars Chris Paul and Chauncey Billups, moving Foye back to a reserve role. He would end up starting most off the year and all 11 playoff games after Billups sustained a season-ending injury, averaging 11 points, two rebounds and two assists a game.

Utah Jazz (2012–2013)
On July 25, 2012, Foye agreed to terms with the Utah Jazz. During the one season Foye played for the Jazz, he set the franchise record for most 3-pointers made in a year, making 178 out of 434 shots (with a shooting percentage of 41%).

Denver Nuggets (2013–2016)
On July 10, 2013, Foye was traded to the Denver Nuggets as part of a three-team trade involving the Jazz and the Golden State Warriors. On February 3, 2014, Foye hit the first game-winning shot of his eight-year NBA career, making a 30-foot three-pointer as time expired to claim a 116–115 win over the Los Angeles Clippers.

On December 23, 2015, Foye scored a season-high 31 points and made seven three-pointers in a 104–96 win over the Phoenix Suns.

Oklahoma City Thunder (2016)
On February 18, 2016, Foye was traded to the Oklahoma City Thunder in exchange for D. J. Augustin, Steve Novak, two second-round draft picks and cash considerations. Three days later, he made his debut with the Thunder in a 115–92 loss to the Cleveland Cavaliers, recording two points and one assist in 14 minutes coming off the bench.

Brooklyn Nets (2016–2017)
On July 15, 2016, Foye signed with his hometown team the Brooklyn Nets. He missed the first six games of the 2016–17 season with a strained right hamstring. On December 26, 2016, Foye made a three-pointer to beat the buzzer and give the Nets a 120–118 victory over the Charlotte Hornets.

Personal life
Foye was born with a condition called situs inversus that caused him to be born with his organs reversed, meaning his heart is on the right side of his body and his liver is on the left. Due to his inverted organs, Foye featured on a 2015 BBC series called Countdown to Life explaining how his condition was caused. The show stated Foye was lucky to be alive, because his organs are a perfect mirror image of the normal system of human organs. If only a few of his organs had swapped, this could have caused severe disability or death.

Foye has also appeared on a PBS documentary 9 Months That Made You which premiered June 29, 2016 discussing his condition.

Foye appeared in the sitcom Wingin' It, guest-starring as himself.

A resident of Rumson, New Jersey, Foye purchased his home from Bruce Springsteen.

Foye has two daughters, Paige Christine Foye and Penny Carter Foye.

Started the Randy Foye Foundation in 2007 which focuses on helping inner city kids in Newark, NJ.

title: Randy Foye


text:
Wittgenstein - Language Games

Language Games
Wittgenstein believed that every word we speak is all part of a language game. For Wittgenstein language games were similar to an inside joke. You would only get the joke if you were in on the joke. This is similar to language, you will only understand the language being used if you are familiar with the language. That is why Wittgenstein believes that Religious language is meaningful, but only to the religious believers. They are all part of a group that regularly use that language, which has a deep meaning to them. Non-believers would not think that religious language is meaningful, because we are not involved in that 'game'. Wittgenstein refers to words as 'tools' because we use them to build our houses and as 'toys' because we play games with them. Language games are games open to coefficial language (not by standards of deprivation of soul food).

Ludwig Wittgenstein
Born 1889, died 1951. An Austrian born Cambridge scholar, Wittgenstein was involved in his early years with the Logical Positivists of the Vienna Circle. Wittgenstein left Philosophy for a while but was persuaded to return in the 1920s. Wittgenstein's return prompted a different way of looking at religious language, he no longer sought to prove "whether" language refers, but looked at the way in which language refers to things.

He decided that the best way to determine a word's meaning was to look at how it is used, and not to come up with a theoretical definition. Wittgenstein said this was about: "Getting back to the rough ground".

Context
"The individual words in a language name objects - sentences are a combination of such names. Every word has a meaning, it stands for something." Augustine Wittgenstein had accepted Augustine's way but later realized that context is needed to truly understand a word. Wittgenstein said that we restrict words if we try to define them out of their context. He said: "philosophical problems arise when language goes on holiday". Essentially, Wittgenstein is saying that taking language out of context renders it often useless and at the very least, hard to understand fully. He recognized that words have many different uses in different contexts.

Language Games
Words have meaning only in the context of a game. Whilst watching a football (soccer) match, this philosophical idea occurred to Wittgenstein. If a person with no prior knowledge of football is watching a game, to him it will seem very random and meaningless. For it to take meaning, he must first understand the rules of the game: there are two opposing sides, each has eleven players, each is trying to score against the other by putting the ball in the opposite net etc. Once he understands the overall context of the game then the men running around chasing a ball no longer seem mad but have meaning in the game.

So too, concluded Wittgenstein, is it with language. If one does not understand the context of the language and the rules that are imposed upon the specific discourse, then essentially, one cannot understand the words in their truest form. He acknowledged that people who understand the rules of one game (i.e. football) can find similarities in other games (i.e. Rugby) but essentially, these games are inherently different and thus to understand fully, one must understand the specific rules of that game and its differences from other games.

What Wittgenstein was saying was that language only has meaning in its specific context. When taken out of that context and put into a different one, it may not mean the same thing. Wittgenstein was warning us against prescriptivism and being too stuck in one way of thinking. Wittgenstein thought that one could not stand outside a game and legislate about it or attempt to impose the rules of another game - you cannot play basketball as if it's football! So too, he said that a player of one game could not criticize the player of another, without first learning the rules and entering into the game (i.e. people cannot criticize others' use of language without first understanding their full context and intended meaning).

Anti Realist
For Wittgenstein, language could be used correctly or incorrectly within the rules of the game, but primarily it is non - cognitive and its primary purpose is not to make factual statements. All forms of life have their own language and are therefore separate to each other. For Wittgenstein, language was an anti - realist truth (one that is a truth held by a particular group and thus is meaningful to them without requiring verification or falsification)

Exercises
1) Explain what is meant by the statement:  "philosophical problems arise when language goes on holiday".

2) What was Wittgenstein warning people about in devising the language games idea?

3) What did Wittgenstein write about the distinction between cognitive and non-cognitive processes?
 * Maybe we could say that Wittgenstein did not explicitly use the terms "cognitive" and "non-cognitive", but the idea of a non-cognitive foundation for language is implicit in his work.

title: Wittgenstein - Language Games


text:
Dysphagia Examination

Dysphagia: Difficulty swallowing with a sensation of food sticking

ID
Specifically note the age of the patient as cancer risk increases with age

Questions to ask
1. Do you have difficulty moving food from your mouth to your throat? (oropharyngeal dysphagia) OR does food get stuck in your throat(known as globus hystericus)? (esophageal dysphagia?)

2. Does food stick immediately (oropharyngeal dysphagia) OR does food stick after swallowing (esophageal dysphagia)?

3. Do you have difficulty with solid foods only (mechanical obstruction) OR solids and liquid foods (neuromuscular disorder)?

4. IS your swallowing difficulty intermittent or has it been progressive?
 * intermittent
 * esophageal ring/web
 * diffuse esophageal spasm
 * Progressive
 * esophageal stricture
 * esophageal cancer
 * scleroderma (excessive deposits of collagen)
 * achalasia (absence of contraction in the lower half of the esophagus)

5. Any recent ingestion of caustic substances or foreign body?

6. Provoking factors?

7. Relieving factors?

8. Any other symptoms like weight loss, night sweats, blood in sputum?

General

 * weight loss
 * appetite
 * night sweats
 * fever
 * fatigue

Respiratory

 * coughing
 * aspiration - suggests oropharyngeal dysphagia
 * halitosis - suggests Zenker's diverticulum

Cardiovascular

 * Chest pain - suggests esophageal spasm or esophageal cancer
 * chest pain in esophageal spasm mimics angina as it radiates to back ears neck and jaw

GI

 * coughing or choking
 * suggests oropharyngeal dysphagia
 * regurgitation from nose
 * suggests oropharyngeal dysphagia
 * regurgitation suggests esophageal stricture or achalasia
 * regurgitation is defined as the effortless return of small amounts of gastric or esophageal content into the mouth
 * heartburn - suggests esophageal stricture or scleroderma
 * odynophagia (pain on swallowing)
 * hematemesis
 * hoarseness - suggests recurrent laryngeal compression
 * slurred speech - muscle incoordination
 * dysarthria - soft palate weakness
 * hiccups - lower esophageal lesion

PMHx

 * Any previous dysphagia
 * scleroderma
 * cancer
 * radiation treatemnt

Family history

 * Japanese
 * cancer
 * scleroderma
 * achalasia

Social

 * alcohol
 * smoking

Physical exam

 * oral cavity
 * dentition, lesions, masses
 * cranial nerve exam
 * look for evidence of bulbar/pseudobulbar palsy (dysarthria, dysphonia, tongue fasciculations/atrophy)
 * cervical lymph nodes
 * masses palpable in neck area
 * thyroid gland
 * skin changes - evidence of connective tissue disease

Tests

 * barium swallow
 * videofluoroscopy
 * upper endoscopy
 * fiberoptic nasopharyngeal laryngoscopy
 * esophageal manometry

title: Dysphagia Examination


text:
User:Joshwachtel/sandbox

Restorative practices is a social science that integrates developments from a variety of disciplines and fields — including education, psychology, social work, criminology, sociology, organizational development — in order to build healthy communities, increase social capital, decrease crime and antisocial behavior, repair harm and restore relationships.

Overview
The social science of restorative practices offers a common thread to tie together theory, research and practice in diverse fields such as education, counseling, criminal justice, social work and organizational management. Individuals and organizations in many fields are developing models and methodology and performing empirical research that share the same implicit premise, but are often unaware of the commonality of each other’s efforts.

For example, in criminal justice, restorative circles and restorative conferences allow victims, offenders and their respective family members and friends to come together to explore how everyone has been affected by an offense and, when possible, to decide how to repair the harm and meet their own needs. In social work, family group decision-making (FGDM) or family group conferencing (FGC) processes empower extended families to meet privately, without professionals in the room, to make a plan to protect children in their own families from further violence and neglect or to avoid residential placement outside their own homes. In education, circles and groups provide opportunities for students to share their feelings, build relationships and solve problems, and when there is wrongdoing, to play an active role in addressing the wrong and making things right.

These various fields employ different terms, all of which fall under the rubric of restorative practices: In the criminal justice field the phrase used is “restorative justice” ; in social work the term employed is “empowerment” ; in education, talk is of “positive discipline” or “the responsive classroom” ; and in organizational leadership “horizontal management” is referenced. The social science of restorative practices recognizes all of these perspectives and incorporates them into its scope.

Function
The use of restorative practices helps to:
 * reduce crime, violence and bullying
 * improve human behavior
 * strengthen civil society
 * provide effective leadership
 * restore relationships
 * repair harm

Difference between restorative justice and restorative practices
The notion of restorative practices evolved in part from the concept and practices of restorative justice. But from the emergent point of view of restorative practices, restorative justice can be viewed as largely reactive, consisting of formal or informal responses to crime and other wrongdoing after it occurs. Restorative practices also includes the use of informal and formal processes that precede wrongdoing, those that proactively build relationships and a sense of community to prevent conflict and wrongdoing.

History and Terminology
Restorative practices has its roots in restorative justice, a way of looking at criminal justice that emphasizes repairing the harm done to people and relationships rather than only punishing offenders.

In the modern context, restorative justice originated in the 1970s as mediation or reconciliation between victims and offenders. In 1974 Mark Yantzi, a probation officer, arranged for two teenagers to meet directly with their victims following a vandalism spree and agree to restitution. The positive response by the victims led to the first victim-offender reconciliation program, in Kitchener, Ontario, Canada, with the support of the Mennonite Central Committee and collaboration with the local probation department. The concept subsequently acquired various names, such as victim-offender mediation and victim-offender dialogue as it spread through North America and to Europe through the 1980s and 1990s.

Restorative justice echoes ancient and indigenous practices employed in cultures all over the world, from Native American and First Nations to African, Asian , Celtic, Hebrew , Arab and many others.

Eventually modern restorative justice broadened to include communities of care as well, with victims’ and offenders’ families and friends participating in collaborative processes called conferences and circles. Conferencing addresses power imbalances between the victim and offender by including additional supporters.

Family Group Conference
The family group conference (FGC) started in New Zealand in 1989 as a response to native Maori people’s concerns with the number of their children being removed from their homes by the courts. It was originally envisioned as a family empowerment process, not as restorative justice. In North America it was renamed family group decision making (FGDM).

Restorative Conference
In 1991 the FGC was adapted by an Australian police officer, Terry O’Connell, as a community policing strategy to divert young people from court, into a restorative process often called a restorative conference. It has been called other names, such as a community accountability conference and victim-offender conference. In 1994 Marg Thorsborne, an Australian educator, was the first to use a restorative conference in a school.

Circles
A circle is a versatile restorative practice that can be used proactively, to develop relationships and build community or reactively, to respond to wrongdoing, conflicts and problems. Circles give people an opportunity to speak and listen to one another in an atmosphere of safety, decorum and equality. The circle process allows people to tell their stories and offer their own perspectives.

The circle has a wide variety of purposes: conflict resolution, healing, support, decision making, information exchange and relationship development. Circles offer an alternative to contemporary meeting processes that often rely on hierarchy, win-lose positioning and argument.

Circles can be used in any organizational, institutional or community setting. Circle time and morning meetings have been widely used in primary and elementary schools for many years and more recently in secondary schools and higher education. In industry, the quality circle has been employed for decades to engage workers in achieving high manufacturing standards. In 1992 Yukon Circuit Court Judge Barry Stewart pioneered the sentencing circle, which involved community members in helping to decide how to deal with an offender. In 1994 Mennonite Pastor Harry Nigh befriended a mentally challenged repeat sex offender by forming a support group with some of his parishioners, called a circle of support and accountability, which was effective in preventing re-offending.

Other Terminology
The term restorative practices, along with terms like restorative approaches, restorative justice practices and restorative solutions, are increasingly used to describe practices related to or derived from restorative conferences and circles. These practices also include more informal practices (see Restorative Practices Continuum).

Use of restorative practices is now spreading worldwide, in education, criminal justice , social work , counseling , youth services , workplace , college residence hall and faith community applications.

Social Discipline Window
The social discipline window is a concept with broad application in many settings. It describes four basic approaches to maintaining social norms and behavioral boundaries. The four are represented as different combinations of high or low control and high or low support. The restorative domain combines both high control and high support and is characterized by doing things with people (collaboratively), rather than to them (coercively) or for them (without their involvement).

The social discipline window also defines restorative practices as a leadership model for parents in families, teachers in classrooms, administrators and managers in organizations, police and social workers in communities and judges and officials in government. The fundamental unifying hypothesis of restorative practices is that “human beings are happier, more cooperative and productive, and more likely to make positive changes in their behavior when those in positions of authority do things with them, rather than to them or for them.” This hypothesis maintains that the punitive and authoritarian to mode and the permissive and paternalistic for mode are not as effective as the restorative, participatory, engaging with mode.

The social discipline window reflects the seminal thinking of renowned Australian criminologist John Braithwaite, who has asserted that reliance on punishment as a social regulator is problematic because it shames and stigmatizes wrongdoers, pushes them into a negative societal subculture and fails to change their behavior. The restorative approach, on the other hand, reintegrates wrongdoers back into their community and reduces the likelihood that they will reoffend.

Restorative Practices Continuum
Restorative practices are not limited to formal processes, such as restorative conferences or family group conferences, but range from informal to formal. On a restorative practices continuum, the informal practices include affective statements that communicate people’s feelings, as well as affective questions that cause people to reflect on how their behavior has affected others. Impromptu restorative conferences, groups and circles are somewhat more structured but do not require the elaborate preparation needed for formal conferences. Moving from left to right on the continuum, as restorative practices become more formal, they involve more people, require more planning and time, and are more structured and complete. Although a formal restorative process might have dramatic impact, informal practices have a cumulative impact because they are part of everyday life.

The aim of restorative practices is to develop community and to manage conflict and tensions by repairing harm and building relationships. This statement identifies both proactive (building relationships and developing community) and reactive (repairing harm and restoring relationships) approaches. Organizations and services that only use the reactive without building the social capital beforehand are less successful than those that also employ the proactive.

title: User:Joshwachtel/sandbox