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Talk:Domestic violence in South Korea

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 3 April 2019 and 14 June 2019. Further details are available on the course page. Student editor(s): Sapirbs.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 16:44, 18 January 2022 (UTC)

Defacto merger
The article now at Domestic violence against women in South Korea originally resided at this article's title. A better draft article was then written but rejected as there was already an article existing in the main article space. Also, the main space article was proposed to be merged into the draft version at the time, not the other way around. Instead of a merger, the existing main space article was moved out of the way to make space for the draft of this article, as folding the substantial draft text into the existing main space stub was considered impractical at the time. Subsequently, the original (but moved) article was redirected back to this title. To me, this implies a merger has in fact occurred. So, I have added a "merged from" banner. - Cameron Dewe (talk) 05:55, 7 April 2023 (UTC)

title: Talk:Domestic violence in South Korea


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Dauvit Broun

Professor Dauvit Broun, FRSE, FBA (David Brown) (born 1961) is a Scottish historian and academic. He is the chair of Scottish history at the University of Glasgow. A specialist in medieval Scottish and Celtic studies, he concentrates primarily on early medieval Scotland, and has written abundantly on the topic of early Scottish king-lists, as well as on literacy, charter-writing, national identity, and on the text known as de Situ Albanie.

He is editor of the New Edinburgh History of Scotland series, the pre-1603 editor of the Scottish Historical Review, convener of the Scottish History Society, and the Principal Investigator of the Arts and Humanities Research Council-funded project 'The Paradox of Medieval Scotland, 1093–1286'.

Honours
Dauvit was elected a Fellow of the Royal Society of Edinburgh in 2013. In July 2017, Broun was elected a Fellow of the British Academy (FBA), the United Kingdom's national academy for the humanities and social sciences. In 2013 he delivered the British Academy's Sir John Rhys Memorial Lecture.

source: wikimedia

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

title: Dauvit Broun


text:
Filmmaking Basics/Matte Painting/Tux Paint (long)

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The original movie frame

 * Still test frame from a locked camera
 * When you want to use a matte painting for a scene, you start by grabbing a test frame. The movie camera is locked down therefore the position of the physical movie set will never change in the frame by even a single pixel.

 * From the test frame, it is very easy to decide what part of the physical movie set you want the audience to see and what part you want to hide behind the matte painting.

 * Therefore, it will be very easy to build a mask which protects the good part of the physical movie set so your matte painting will never cover this up.

 * Creating the mask is the critical part of preparing a starter page for Tux Paint.

A sample frame     A still frame from the movie.
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 * }

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A blank piece of paper

 * Window Sizes
 * First you select your page size. This depends on the window size which you set for Tux Paint.

 * Popular window sizes are 800 by 600 pixels, 1024 by 768 pixels, 1280 by 1024 pixels. For these, the actual page sizes are 608 x 472 pixels, 832 x 664 pixels, 1088 x 664 pixels.

 * Once you have created the blank page at the proper size (in a program like Photoshop), put the still test image on the page.  I put the image of the space station window in the middle but you might prefer the space station window on the top or the bottom.  Do not increase or reduce the size of the still test image.  It must be 100% of the actual size.

Place the picture     The frame is on the blank page.
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 * }

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Create a path

 * In Photoshop
 * You need to create a mask. If you use Photoshop, the easiest way to do this is with a path.  You can easily create a path with the pen tool. This path marks the boundry between the good part of the physical movie set and the area around it which must be covered by the matte painting.

Soften the edges Using anti alias makes the mask softer at the edges.
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 * }

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Turn the mask into a channel

 * In Photoshop
 * Once we have the path marking the boundary of the physical movie set, we need to turn this into a channel. This is a two step process.

 * The first step is to turn the path into a selection (marching ants). Then this selection must be saved as an alpha channel.  Finally, you save the picture which now has a red, green, blue and alpha channel.

 * This save picture will be the first starter page you need. Next you need to create the bankground starter page (which is a companion to the regular starter page.)

 * Making the background starter page is surprisinly easy. You simply removed the alpha channel and save the picture with the same name plus "-back".

 * Now you have the pair of picture you need for the starters for Tux Paint.

Four channels     The first starter page now has a red, green, blue and alpha channel.
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 * }

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The Starter Page Set (part 1)

 * The masked image
 * First you select your page size. This is the frame size which you set for Tux Paint.

 * Then you put a frame from the movie on your black piece of paper. In this example, I put the picture in the middle.  You can put it anywhere you want.  It just has to be exactly full size and never reduced or enlarged.  In my case, the original footage (Scene: "Out for a Walk" on the DVD-Data disk "24 Unedited Scenes" from the Star Movie Shop) is 320 pixels by 240 pixels.

 * Then I create a mask. As you can see, this hides the part of the picture which must be replaced by the matte painting.

 * This is only half of what you need to do matte painting in Tux Paint. See the other half on the right.

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The Starter Background Page (part 2 of 2)

 * The whole picture
 * Again, I place the frame from the movie on the window. But this time, I do not add any masks.  (Actually, I just copied the other picture and threw away the mask.)

 * Since there is no mask, you see the en tire picture including the background which will be erased.

 * The trick is to give this image the same name as the first image but add the letter "-back" to the name.

 * This is the second half of the set that you need to create a matte painting of a space station. (Remember I am showing you only minatures.  Click on the picture to see the original at full size.)

 * }

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Three examples

 * Three sets of two pages.
 * Here are sets for window sizes of 800 pixels wide, 1024 pixels wide, and 1280 pixels wide.

 * Click on the picture
 * These are only miniatures. To see the actual starter pages, click on the pictures above.

 * }

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In Tux Paint

 * The good part is protected
 * When you put both parts into Tux Paint Starters folder, you can paint without messing up the good parts.

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A simple matte painting

 * A very simple space station
 * Here ia a completed matte painting created by a slightly senile old man with absolutely no artistic talent. Therefore, any kid should be able to do better.

 * }

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Another Example of a Matte Painting

 * A more complex matte painting
 * This matte painting is a bit more complex. (But who ever heard of a space station made of bricks?  A five year old kid can do better than this!!!  Send me your finished matte paintings using the starter pages above in Tux Paint.)

Done!
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Save the picture

 * Show me!
 * When you save the picture, it goes into a special folder. Make a copy of the picture and send it to me.

 * }

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Send me your finished matte painting

 * When you are finished with your matte painting, please email a copy to me.

Contact Your Instructor

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

 * }


text:
underexpose

Verb

 * 1)  To take a photograph using too small an exposure
 * 2) To provide with insufficient publicity

Translations

 * Finnish: alivalottaa
 * French:
 * German:
 * Hungarian:
 * Portuguese: subexpor

 * French:

Adjective

 * 1)  The condition when a photograph is darker than it should be because the film was not exposed to sufficient light either because the camera aperture was too small or the duration of light was too short.

Translations

 * Maori: huranga pore
 * Portuguese: subexposto

title: underexpose


text:
Instructional design/Component Display Theory

 * New CDT Lesson Design

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Introduction

Lesson Introduction
 * CDT Matrix
 * Performance Matrix
 * /Classification of content/

Learning Scenarios
 * Scenario One
 * Scenario Two
 * Scenario Three

Assess Your Skills
 * Self Assessment
 * Grading Rubric & References
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=Introduction= You, as the Instructional designer, will apply the Component Display Theory process model to delineate content into the appropriate categories to then develop lesson plans based on prescribed action matrices. The result will be better learning objective attainment through the described hierarchical order of learning toward mastery as well as tools that provide greater lesson effectiveness (mastery of learning objectives) and lesson efficiency (in shorter amounts of time).
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Advance Organizers (Job Aids):
 * Component Display Theory Matrix
 * Performance Matrix
 * Grading rubric

Objective of the Lesson
Given a Component Display Model, instructional scenarios and job aids, the learner will be able to choose an appropriate method for defined lesson content to a specified level of learner performance. You should achieve (4/5) or 80% based on the self assessment tool.

At the end of this lesson you should be able to..

 * identify content classifications/categories (fact)
 * differentiate between fact, concept, principles, process and procedures (concept)
 * apply the component display theory to learning content for each of the content classifications based on level of performance within a scenario (procedure)

BUCKLE UP!!!

ITS TIME TO DRIVE!
 * }


text:
Three Equals for four trombones, WoO 30

The Three Equals for four trombones, WoO 30 (German: Drei Equale für vier Posaunen), are three short equales (or equali) for trombones by Ludwig van Beethoven.

They were commissioned in the autumn of 1812 by the Stadtkapellmeister of Linz, Franz Xaver Glöggl, for performance as tower music on All Souls' Day. They were first performed at the Old Cathedral, Linz on 2 November 1812.

Two of the equals (nos. 1 & 3) were performed at Beethoven's funeral on 29 March 1827, both by a trombone quartet and also in vocal arrangements by Ignaz Seyfried.

The arrangements of Nos. 1 and 3 by Seyfried are settings for men's voices of two verses from the 'Miserere'. These were sung at the funeral, alternating with the trombones. The remaining Equal, no. 2 (again arranged by Seyfried for male voice choir) was sung at the dedication of Beethoven's gravestone on the first anniversary of his death in March 1828.

A clean manuscript copy, checked by Beethoven, was made of the original manuscript as part of a complete edition of his work ('Gesamtausgabe') by his Vienna publisher Tobias Haslinger. Although Seyfried's arrangements, published in 1827 and 1829, received public performances and were reprinted in 19th-century books about Beethoven, the original score for trombones wasn't published until 1888 as part of Breitkopf & Härtel's 'old' Beethoven Edition.

All three equals were played at the state funerals of W. E. Gladstone and King Edward VII, where one writer remarked on their "tones of weird simplicity and exquisite pathos", and they have become part of the standard trombone repertory.

Etymology
The title of Beethoven's work, 'Drei Equale für vier Posaunen' is derived from the mediaeval Latin musical term ad equales or a voce (or a parte) equali. It designates two or more performers who sustain an equally difficult and important part ('equal voices') in either vocal or instrumental music, written for a particular restricted range of voice parts.

The term gained popularity during the 16th century among writers on music theory. Equal-voiced music is contrasted with pieces written 'a voce piena, or for a 'full range of voices'.

The singular and plural forms in various languages are confusingly similar:
 * Mediaeval Latin: 'aequale' (plural 'tres aequali')
 * English: 'equal' (plural 'three equals')
 * German: 'Equal' (plural 'drei Equale')
 * Italian 'uguale' (plural 'tre uguali')

Although the German word 'Posaune' is usually rendered as 'trombone' in English, it has also been used historically to refer to slide trumpets, deriving from Middle High German busīne, busūne, 'trumpet', from Old French buisine, busine, from Latin bucina, Italian buccina. 'Posaune' can be generally applied to brass instruments, as in 'Posaunenchor' (brass band).

Equal voices
Equal-voiced music, written for a specific restricted range of voices was developed through the Middle Ages and continues to be composed. The names used during the 14th to 16th centuries to describe the various voice parts have become part of the modern vocabulary of music, both vocal and instrumental.

Music written during the Middle Ages for a full range of voices, including treble, mid-range and bass parts, was described by music theoreticians who used the term 'a voce piena ("for full voice" or "full range"). As well as writing pieces a voce piena, composers used more restricted ranges throughout the sixteenth century, in all major genres, and for a number of reasons. Various terms were used by writers on music to describe this type of music under headings such as ad aequales, a voci pari, the "grammatically peculiar" a voce paribus, or the related term, a voci mutate.

Such designations have often been translated and understood as "equal voices", but the wide variety of music answering to this description shows that these labels are often inadequate or even quite misleading. The multiplicity of Latin phrases used to describe the various voice parts of polyphonic medieval music became associated with modern voice types of treble, alto, tenor and bass.

The terms mentioned above came into use during the development of plainchant, which was sung to a single melody or cantus held by the tenor (from Lat. tenere, 'to hold'.) As polyphonic music developed, a second voice above the cantus was termed the contratenor. The third part was the triplum (the 'third' voice up from the tenor part, the modern 'treble').

By the 15th century the highest musical line was named discantus (whence modern 'descant'), or superius, 'highest': and the contratenor developed into the medium-high contratenor altus (hence modern 'countertenor' and 'alto') and the lower contratenor bassus, or modern bass. These terms are applied to music for any mix or range of voices, both a voce piena and a voce equale.

For music written for e.g. men's voices, or trombones, a certain amount of re-distribution of the full-range harmony was necessary. For most of the early fifteenth-century, French chanson repertory for equal voices – whether in two, three or four voices – the discantus and tenor occupy ranges separated by about a fifth. The contratenor will then be in the same range as the tenor; and the triplum, if there is one, will be in the same range as the discantus.

In the sixteenth century a self-conscious and systematic distinction began to be drawn between conventional, full-range musical textures and those with equal-voiced textures. Treatises by music theoreticians such as Pietro Aron, Nicola Vicentino, Gioseffo Zarlino, Thomas Morley, and not least the "monstrous" El melopeo y maestro by Pietro Cerone all contain remarks on writing for equal voices.

Town pipers

One of the most popular forms of outdoors public music-making in the 17th century in Germany and central Europe was tower music (German: Turmmusik), organised by the town piper (Stadtpfeifer) or tower master (Turmmeister). He and his band of musicians, also called Stadtpfeifer (the German plural is the same as the singular) played music for loud and penetrating wind or brass instruments (alta cappella) from church towers and town hall balconies.

These civic wind bands of town pipers had been a feature of larger German towns and cities since well before the beginning of the sixteenth century, similar to the employment of waits with their sackbuts and shawms in England. Martin Luther, one of the chief figures of the Reformation, encouraged music-making in the service of God, and by around 1570 town councils were employing musicians specifically to take part in church services to supplement the organ playing.

Generations of the Bach family in Erfurt filled the office of Stadtpfeifer or Ratsmusiker (German: 'town council musician'). By 1600 Halle, Dresden, Berlin, Cologne, Stettin, Nordhausen and even Eisenach (J. S. Bach's birthplace) with only 6,000 inhabitants, all had 'Stadpfeifers', whose job it was to sound the hours ('Stundenblasen') in the days before striking clocks were common in towers and churches. They started around 3 or 4 o'clock in the morning to start the working day, sounded (German: blasen, lit. 'blew') the mid-morning break around 10 o'clock (Latin: decima hora) and the afternoon break around three or four o'clock in the afternoon. Finally, at around 9 or 10 o'clock, there was an Abendsegen, or evening blessing. Well known pieces by and for 'Stadtpfeifer' include Johann Schein's Banchetto musicale (1617) and Samuel Scheidt's Ludi Musici (1621).

In Nuremberg and Leipzig and there was a particular penchant for antiphonal tower music: three verses of a hymn would be echoed back and forth three times between the bands stationed in the towers of the Neukirche, St. Thomas Church and St. Nicholas Church, Leipzig. The Leipzig Stadtpfeifer and tower master ('Turmmeister') of St. Nicholas Church from 1669 was Johann Pezel (or Petzold, etc.) whose Hora decima musicorum Lipsiensium ('Leipzig 10 o'clock music') was published the following year, as well as Fünff-stimmigte blasende Music (1685) with five-part intradas and dance pieces for brass instruments. Another Leipzig Stadtpfeifer and virtuoso trumpet player Gottfried Reiche (1667–1734) described tower music in his preface to Vier und zwanzig Neue Quatricinia (1696) for cornett and three trombones, as "a sign of joy and peace", an embodiment of the spiritual-cultural life of the city "certainly whenever the whole country is in mourning, or in war, or when other misfortune is to be lamented."

Although the revival of music in churches was a particularly Lutheran initiative, Catholic areas like Vienna and Salzburg were just as keen to promote tower music. Among the most popular of tunes were the Heilig-Leider, paraphrases in German of the Sanctus from the Latin Mass, which came into fashion after the enlightened reforms of the Holy Roman Emperor Joseph I promoted the use of the vernacular in church services. According to one Stadtpfeifer named Hornbock, quoted in Johann Kuhnau's Quack-Salber: "We know from experience that when our city pipers in the festive season play a religious song with nothing but trombones from the tower, then we are greatly moved, and imagine that we hear the angels singing.".

There was a distinct difference between the town or city bands who played cornetts and trombones, and the guilds ('Kameradschaften') of Imperial trumpeters and kettle-drummers, who played fanfares and other ceremonial duties for the emperor, kings, imperial princes, counts and other nobles. From around 1630 to the end of the 18th century these guilds jealously guarded their Imperial Privilege which allowed them exclusive use of trumpets and drums. Court cases were common in which Statdpfeifers and ordinary musicians had their instruments confiscated, and violence was not uncommon. Trumpeters were not allowed to mix with the town pipers, and the playing of trumpets in processions, dances or sounding an alarm was strictly forbidden. Johann Schein, the Leipzig Stadtpfeifer mentioned above, was prosecuted for using trumpets in a performance in the Thomaskirche, and admonished to use cornetts in future.

The art of trombone-playing was also kept a trade secret by musicians' guilds who feared the loss of their livelihood, one reason why there are few early treatises on the subject. This lack was addressed by Daniel Speer, Stadpfeifer of Stuttgart during the 1660s, whose Grund-Richter (1687, 2nd expanded ed. 1697) was one of the first books written specifically for teachers and students of wind and brass instruments and kettle-drums.

In Germany and Austria, brass music became generally associated with all sorts of events: at parish/community festivals, at burials in funeral processions, as spiritual company during confirmations; dedications at churches, harvest festivals etc.; playing in the New Year; at Epiphany (Dreikönigsblasen), Christmas and Easter; children's bands playing for the sick, the aged, anniversaries, birthdays etc.; and serenades of all kinds.

In Austria, trombones were typically played from church towers (German Turmblasen, lit 'tower blowing') or in cemeteries on All Souls' Day and the previous day (Hallowe'en in England). Their use is mentioned in a handbook explaining the multitude of church music regulations, Kirchenmusik-Ordnung (1828), by the Linz Stadtpfeifer Franz Glöggl. "There appears an explanatory guide of musical worship, according to the existing church music-order for all functions occurring on Sundays, festivals, vespers, litanies, masses, funerals, processions etc. while chants, songs for the congregation, motets, introiten, versicles, graduals, offertories, responses etc. It explains the ritual-texts from the measurement book and Breviarium, and is found at a very cheap price. In all countries where Roman Catholic worship prevails, through its essential usefulness of numerous sales, where the lack of such a reliable signpost has been felt for a long time: until the present moment when – wonderfully enough – under the supervision of some well-informed experts – the simple expedient of this book has been devised."

Glöggl commissioned the Three Equals from Beethoven in 1812. They were both pupils of Johann Albrechtsberger (d. 1807), who wrote one of the first trombone concertos.

Tower music reached a peak in around 1750, and thereafter declined towards the end of the 18th century. From around 1800 official civic concerts began to replace those given by the nobility, and what has been termed "Saint Culture" ('St.-Kultur') suffered a split, leading on one side to the growth of professional symphony orchestras, and on the other to amateur Stadtkapellen conducted by professional or semi-professional town music directors.

Composition and first performance
Background

Beethoven completed his seventh symphony in the summer of 1812, later published as Op. 92. He began work straight away on the eighth symphony, but continued to suffer the same headaches and high fever from the year before. His doctor again ordered Beethoven to rest in the Bohemian spa town of Teplitz, where he wrote the well-known letter to his "Immortal Beloved", whose identity is still unknown. He also finally met Goethe in Teplitz in July 1812, a somewhat equivocal meeting of minds. Beethoven, out walking in the company of Goethe, deliberately walked straight through the midst of some royalties with his hands in his pockets, and rebuked Goethe for being too deferential.

Furthermore, Beethoven's youngest brother, (Nikolaus) Johann, had begun cohabiting during 1812 with Therese Obermayer, who already had a 5-year-old illegitimate daughter (Amalie Waldmann) from a previous relationship. Beethoven journeyed to Linz in late September 1812, primarily to convince Johann to end the relationship. Although he finished the eighth symphony after only four months in Linz in October, Johann remained obdurate, and Beethoven appealed instead to the bishop, to the civic authorities and to the police.

Composition The Stadtpfeifer in Linz at the time was Franz Xaver Glöggl (also Gloeggl), whose full title was Stadtcapell- und Turmmeister (i.e. 'director of city music and tower master'). Glöggl had been appointed as Tonkünstler und Musik-Commissioneur in 1789, living at Schmidtor 41. The following year he was Stadt- und Dommusikdirektor und Casininounternehmer ('director of city and cathedral music, and casino manager'). He may have been the world's first basset-horn teacher. Glöggl lived in the Schmidtor (de) or Schmiedtor-Turm (Smithgate Tower), provided for the Stadtpfeifer's use by the city: "A narrow staircase led from the street into the tower, where the tower master lived with his fellows."

Glöggl, as tower master, asked Beethoven for some trombone music to be played at the cathedral on All Souls' Day (2 November). According to an anonymous account (probably by Haslinger) printed in the introduction to Ignaz Seyfried's choral settings of the equals: "L. van Beethoven ... was asked by the local cathedral Kapellmeister, Mr Glöggl, to compose for him so-called Equale for four trombones for All Souls' Day (November 2nd), which he would then have his musicians play, as was usual, on this feast. Beethoven declared himself willing; he actually wrote three movements for this purpose, which are indeed short, but which, through the excellence of their design, attest to the master's hand; and the current publisher of these same [works] was later so fortunate to be able to enrich his collection, which through the many autographs of this great composer had acquired such estimable worth, with this original manuscript."

Beethoven may have written more than the three equals which have come down to us. 1838 Glöggl himself reported in a letter to Robert Schumann that "he [Beethoven] also wrote me some mourning pieces for trombones, of which I gave two to my friend Haslinger in Vienna, and one of them was played at his funeral. He wrote them in my room, and I kept one back for myself alone."

According to the memoirs of Glöggl's son Franz (though these were not written until 1872): "My father asked Beethoven to write him an Equale for 6 trombones, since in his collection of old instruments he still owned a soprano trombone and a quart trombone [presumably a bass trombone in F], whereas usually only alto, tenor, and bass trombones were used. But Beethoven wanted to hear an Equale as played at funerals in Linz, so it came about that my father one afternoon summoned three trombonists, since Beethoven was eating with us at that time, and had them play an Equale of this sort; following which Beethoven sat down and wrote one for 6 trombones, which my father also had his trombonists play."

However, there is no evidence in the manuscript itself that he composed a fourth piece that was subsequently separated from it. Beethoven's manuscript was acquired by Tobias Haslinger, Beethoven's publisher, to add to his collection of Beethoven MSS. "The original MS of this curious production is in the possession of Mr. Haslinger, and prized as a relic of no common kind."

Not long after the solemn music was performed on Sunday 2 November, Johann van Beethoven and Therese Obermayer finally got married on 8 November 1812 and Beethoven returned to Vienna.

Beethoven's funeral

Fifteen years later, as Beethoven was dying, Haslinger approached Ignaz von Seyfried with the manuscript on the morning of 26 March 1827 to discuss the possibility of forming a choral anthem out of these Equals to the words of the Miserere. Beethoven died that afternoon, and the arrangement was finished that same night.

Beethoven's funeral took place in the afternoon of 29 March 1827. The music was played in accordance with the regulations of the Catholic Church governing the use of music in church, including at funerals. These assorted rules were only gathered together the following year with the publication of Kirchenmusik-Ordnung (1828), ('Church music regulations') by Franz Xaver Glöggl, director of music in Linz and its cathedral (Stadt- und Domkapellmeister'): "For first-class funerals, the arrival of the clergy will be announced by a short mourning-music (Equale) played on trombones or other wind instruments. This will mark the beginning of the funeral service. After this, the funeral procession will set out, again suitably announced by mourning music played on wind instruments. During the procession, this shall be played alternately with a three- or four-voice choral Miserere until arrival at the entrance of the church or graveyard, where the benediction of the Requiem aeternam is sung. After the benediction and common prayer, a mourning motet is sung." This corresponds fairly closely to the order in which events took place at the funeral. During the funeral procession from Beethoven's house in the Schwarzspanierhaus to the Alserkirche, nos. 1 & 3 were played alternately, stanza by stanza, first by the four trombones and then sung by the choir.

No. 2 was sung at Beethoven's grave on 26 March 1828, the first anniversary of his death, in another arrangement by Seyfried, setting words by the poet Franz Grillparzer.

Publication history
Tobias Haslinger, Beethoven's publisher, acquired the MS after they were first played. "The original MS of this curious production is in the possession of Mr. Haslinger, and prized as a relic of no common kind." – Haslinger died in 1842.

The MS was used in the preparation of the Haslinger-Rudolphine edition of 1817, in which they appeared as 'Short funeral pieces'. This Haslinger-Rudolphine edition was used in the preparation of the 1888 Breitkopf & Härtel edition of the 'Drei Equale für vier Posaunen, WoO 30. The score of the 'New Beethoven edition' was prepared exclusively from the original manuscript.

Seyfried's arrangements for 4-part male chorus were published in Vienna by Haslinger, Nos. 1 & 3 in June 1827, and No. 2 in March 1829. See below.

Seyfried's arrangements
Ignaz Seyfried was a pupil of Mozart, and along with F. X. Glöggl and Beethoven, a pupil of Johann Albrechtsberger, whose complete works he posthumously edited. A prolific composer of stage works and wind band arranger, Seyfried was the musical director (Kapellmeister) from 1797 of Emanuel Schickaneder's Theater auf der Wieden (where the first performance of Mozart's The Magic Flute took place), and of its successor, the Theater an der Wien, from 1797 to 1826.

Seyfried arranged two of Beethoven's three equals (nos. 1 & 3) for four-part male voice chorus, setting the words of verses 1 and 3 of Psalm 51, Miserere mei, Domine and Amplius. This involved some re-writing in order to give the words the right note-values. The music was transposed a tone lower to make it easier for the vocalists. His arrangements of WoO 30 Nos. 1 and 3 for male voices and piano were published in June 1827, prefaced by a lengthy description of the funeral and the music. The choral version has many changes from the original trombone music, necessary to accommodate the words of the text and range of the male voices.

Seyfried's arrangement of WoO 30, No. 2, in a setting of words by Franz Grillparzer (Du, dem nie im Leben Ruhstatt ward) was played at the dedication of the gravestone 29 March 1828. Printed as a supplement to Allgemeiner Musikalischer Anzeiger, No. 12 (21 March 1829).  Du, dem nie im Leben Ruhstatt ward, und Herd und Haus, Ruhe nun in Tod aus, im stillen Grabe aus. Und wenn Freundes Klage reicht über's Grab hinaus, Horch eig'nen Sangs süssen Klang, Halb erwacht im stillen, stillen Haus. (Grillparzer)  You, who in life ne'er had resting place, nor hearth nor house, Rest now in death, in the quiet grave. And if your friends' lament transcends the grave, Hark to your own song's sweet sound, Half awake in the still, still, house.

These choral arrangements were performed at a Beethoven memorial concert in Nuremberg on 26 March 1828, and appeared in the appendix of Beethoven's Thorough-bass studies, edited by Seyfried. As late as 1806 Nuremberg had a tradition of playing 'Statdpfeiler' antiphonal tower music, consisting of verses of a hymn echoed back and forth from church to church.

Performance history
"The hushed stillness which pervaded the noble fane was broken with indescribable tenderness as the sustained chord of D minor fell upon the ears of the great congregation in tones of weird simplicity and exquisite pathos."
 * All three Equals were first performed at Linz cathedral, 2 November 1812
 * Nos. 1 & 3 were played at Beethoven's funeral on 29 March 1827, alternating with the choral arrangements by Ignaz Seyfried.
 * No. 2 was sung at the dedication of Beethoven's headstone on 26 March 1828, in the choral arrangement by Seyfried of Franz Grillparzer's poem.
 * The first performance in England was probably 70 years later, at W. E. Gladstone's funeral at Westminster Abbey on 28 May 1898, by the London Trombone Quartet, at the suggestion of their alto player, George Case. The four trombone players—two altos, a tenor and a bass—were stationed in the chantry of Henry V, above the high altar. According to one witness,
 * Other music played during the service included arrangements for organ, trombones and timpani.

 * The Three Equals were also played at King Edward VII's funeral on May 20, 1910. On both occasions, "musicians agreed that there was nothing more impressive."
 * They were performed at the Royal College of Music on 26 March 2001 (the 174th anniversary of Beethoven's death) at an RCM Brass Day by trombone students of Peter Bassano, and a choir of men's voices from RCM and other London conservatories.

title: Three Equals for four trombones, WoO 30


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User:Dbuckmil/sandbox

(edited article: original copied and then edited)

Sears Catalog Homes (sold under the Sears Modern Homes name) were catalog and kit houses sold primarily through mail order by Sears, Roebuck and Company, an American retailer. Sears reported that more than 70,000 of these homes were sold in North America between 1908 and 1940. More than 370 different home designs in a wide range of architectural styles and sizes were offered over the program's 33-year history.

Sears homes can be found across the continental United States. While sold primarily to East Coast and Midwest states, Sears homes have been located as far south as Florida and as far west as California. Examples have also been found in Alaska. A handful of Sears homes have been identified in Canada.

Sears Modern Homes offered the latest technology available to house buyers in the early part of the twentieth century. Central heating, indoor plumbing, and electricity were all new developments in house design that "Modern Homes" incorporated, although not all of the houses were designed with these conveniences. Primarily shipped via railroad boxcars, these kits included most of the materials needed to build a house. Once delivered, many of these houses were assembled by the new homeowner, relatives, friends and neighbors, in a fashion similar to the traditional barn-raisings of farming families Other homeowners relied on local carpenters or contractors to assemble the houses. In some cases, Sears provided construction services to assemble the homes. Some builders and companies purchased homes directly from Sears to build as model homes, speculative homes or homes for customers or employees.

Sears discontinued its Modern Homes catalog after 1940. A few years later, all sales records were destroyed during a corporate house cleaning. As only a small percentage of these homes were documented when built, finding these houses today often requires detailed research to properly identify them. Because the various kit home companies often copied plan elements or designs from each other, there are a number of catalog and kit models from different manufacturers that look similar or identical to models offered by Sears. Determining which company manufactured a particular catalog and kit home may require additional research to determine the origin of that home. National and regional competitors in the catalog and kit home market included Aladdin, Bennett, Gordon-Van Tine, Harris Brothers, Lewis, Pacific Ready Cut Homes, Sterling and Montgomery Ward (Wardway) Homes.

Contents

 * 1
 * Sears Modern Homes 1908–1942
 * 2
 * Sears Modern Homes after 1940
 * 3
 * Models
 * 4
 * Identifying Sears Modern Homes
 * 5
 * Existing Sears Homes
 * 5.1
 * National Register of Historic Places
 * 6
 * Modern interpretations of Sears Catalog Houses
 * 7
 * See also
 * 8
 * References
 * 9
 * Bibliography
 * 10
 * External links
 * 8
 * References
 * 9
 * Bibliography
 * 10
 * External links
 * 10
 * External links
 * External links

Sears Modern Homes 1908–1942[edit]
Sears Magnolia in Benson, North Carolina

Catalog image and floorplan of Sears Magnolia model

In 1906, Frank W. Kushel, a Sears manager, was given responsibility for the catalog company's unwieldy, unprofitable building materials department. Sales were down, and there was excess inventory languishing in warehouses. He is credited with suggesting to Richard Sears that the company assemble kits of all the parts needed and sell entire houses through mail order. In the same year, the Aladdin Company of Bay City, Michigan, offered for sale the first kit homes through mail order. In 1908, Sears issued its first specialty catalog for houses, Book of Modern Homes and Building Plans, featuring 44 house styles ranging in price from US $360–$2,890. The first mail order for a Sears house was filled in 1908. As Sears mail-order catalogs were in millions of homes, Sears had a distinct advantage over many of its competitors as it was able to promote its "Modern Homes" plans to large numbers of prospective customers through its general merchandise catalog.

As sales grew, Sears expanded its production, shipping and sales offices to locations across the US. To provide the materials needed for the Modern Homes division, Sears operated a lumber mill in Cairo, Illinois. Later, Sears constructed a second mill in Port Newark, New Jersey and purchased the Norwood Sash and Door Company in Norwood, Ohio. The ability to mass-produce the materials used in Sears homes reduced manufacturing costs, which allowed Sears to pass along the savings in lower prices for customers.

Precut framing timbers, an innovation pioneered by Aladdin, was first offered by Sears in 1916. Precut lumber was cut to the appropriate lengths and angles based on where the framing timber would be used in the house. Prior to 1916, the prospective home builder had to cut their Sears-supplied lumber to appropriate lengths. These pre-1916 houses are not generally considered to be "kit houses" but do fall under the definition of a "catalog house". Construction of a house with pre-cut lumber reduced construction time by up to 40% according to Sears. Sears's use of "balloon style" framing systems did not require a team of skilled carpenters, as did previous methods. Balloon frames could be built faster and generally only required one carpenter. This system used precut timber of mostly standard sizes (2"x4" and 2"x8") for framing. Balloon framing systems rely only on nails to make connections between joints, whereas previous methods used heavier members and pegs. The method was originally named in the sense that the structure was light and could be lifted away like a balloon. The balloon structures began very basic due to the need for home buyers to be able to assemble them independently and also because designers had yet to see the implications the method held.

Shipped by railroad boxcar, and then usually trucked to a home site, the average Sears Modern Home kit had approximately 25 tons of materials, with over 30,000 parts. Plumbing, electrical fixtures and heating systems were not included in the base price of the house but could be included, at an additional cost, with the house order. The Modern Homes features of central heating, indoor plumbing, and electrical wiring were the first steps for many families to modern HVAC systems, kitchens, and bathrooms. During the Modern Homes program, large quantities of asphalt shingles became available. Asphalt shingles were cheap to manufacture and ship, and easy and inexpensive to install. Sears also offered a plasterboard product similar to modern drywall as an alternative to the plaster and lath wall-building techniques which required skilled carpenters and plasterers. This product offered the advantages of low price, ease of installation, and added fire protection. Local building requirements sometimes dictated that certain elements of the house construction be done professionally and varied depending on where the house was constructed.

= Economic Influences = Sears began offering financing plans around 1912. Early mortgage loans were typically for 5 – 15 years at 6% – 7% interest. Sales peaked in 1929, just before the Great Depression. While financing through Sears helped many homeowners purchase homes, the Great Depression led to rising payment defaults, resulting in increasing strain on the Modern Homes program. By 1934, Sears had stopped offering mortgages after the company was forced to liquidate $11 million in defaulted debt. Sears stopped selling homes for a short time in 1934 before restarting sales. Sales slowly recovered as the United States emerged from the Great Depression.

Sears Modern Homes after 1940[edit]

The last Sears Modern Homes catalog was issued in 1940. A possible factor in the decline and discontinuation of Sears kit homes was the US housing industry imposing stricter rules and requirements following the second World War, along with the rise of prefabricated homes killing the trend of the precut home. Both of these factors made the financial competition for the company to high to carry on. Although it is sometimes claimed that no Sears kit homes were built after 1940, Sears continued to offer pre-cut kit homes through 1941 and 1942. Many of these homes were based on models from the 1940 and earlier Sears catalogs but not all were, leading to debate over whether these homes qualify as "Sears Catalog Homes". Because these homes were constructed using pre-cut lumber and plans provided by Sears, these homes can be considered to be "Sears Catalog Homes". Many of these homes were built in Sears planned "Home Club Plan" developments in New Jersey, New York and Ohio. Homes were also built for industrial firms like Bethlehem Steel which purchased and constructed 61 Sears homes in Hellertown, Pennsylvania.

Models[edit]
Over the 32 years that Sears offered homes by catalog, Sears offered 370 different models. In the early years, the models were identified with numbers. After several years, Sears also began assigning names to the various models, a convention that carried through to the end of the program. Some models were offered with variations, the most common of those being expanded floor plans and additional finished living spaces. Sears houses could also be ordered with reversed floor plans. While the vast majority of models were for single-family house designs, Sears did offer a smaller number of duplex house designs and even a few larger multiple-family buildings.

Certain models were more popular than others and the most popular models were offered over multiple years. Other models were only offered for one year and some models that were offered have yet to be identified as ever having been actually built. Some models were offered in both wood siding and brick veneer versions with different names attributed to the same or almost identical home plan. The models listed below are some of the most popular models.

 * Alhambra
 * Argyle
 * Avondale
 * Barrington
 * Conway/Uriel
 * Crescent
 * Dover
 * Elsmore
 * Gladstone/Langston
 * Hathaway
 * Lewiston
 * Lynnhaven
 * Osborn
 * Starlight
 * Vallonia
 * Westly
 * Willard
 * Winona

The largest and one of the most expensive Sears models was the Magnolia. Only seven Magnolias are known to be still standing. One Magnolia built in Lincoln, Nebraska was demolished.

There was no singular architect for the Sears designs. In fact, many of the famous designs were commandeered from other sources and/or purchased from architects but given just enough change to be advertised as their own. Later on in the Modern Homes timeline, Sears had in-office designers but titled them as “experts” rather than actual architects.

Identifying Sears Modern Homes[edit]
Stamped lumber in a Sears house

Up-close view of the column detail on a Sears Vallonia

Catalog image of the column detail on the Vallonia model

Shipping Label from a Sears house

Sears Homes have become increasingly popular among history enthusiasts because of their sturdy structure, the do-it-yourself nature of construction and the popular architectural design concepts. However, many houses described as Sears Homes are not true Sears Homes, being either the product of another kit home manufacturer or not a kit home at all. Sears houses can be identified and/or authenticated using the following methods.

 * 1) Sears Catalog homes were only offered between 1908 and 1942. Any homes built before 1908, or after 1942, cannot be a Sears Catalog home. However, there is some debate about whether some homes from Sears that were built in 1941 and 1942 qualify as Sears Catalog homes. Some of these homes were based on models offered in the Sears Modern Homes catalog. Others were not but were still pre-cut kit homes from Sears.
 * 2) Original paperwork for the house including blueprints and letters of correspondence from Sears.
 * 3) Public records: From 1911 to 1933, Sears offered home mortgages and Sears company officials or the Sears Roebuck corporation may be named on the mortgage or deed associated with the property where the home was constructed. Sears company officials most commonly listed on mortgages and deeds include:

 * Edwards D. Ford (starting in 1929)
 * Walker O. Lewis (primarily before early 1930)
 * John M. Ogden
 * E. Harrison Powell (starting in 1930)
 * William C. Reed (primarily from 1922 - 1929)
 * F. C. Schaub (starting in 1932)
 * Nicholas Wieland (sometimes spelled Weiland)

Cities that have records of building permits may list Sears Roebuck as the original architect. Also, homes in southern Ohio may have financing documents through the "Norwood Sash and Door Company" of Norwood, Ohio.

 * 1) Shipping labels: Often found on the back of millwork like baseboard molding or door and window trim, shipping labels associated with Sears may indicate that the home is a Sears Catalog house. Most of the millwork was fulfilled by the Sears-owned "Norwood Sash and Door Company" of Cincinnati, Ohio. However, building materials like millwork could be purchased separately from Sears so millwork with shipping labels is not, by itself, a definitive indicator of a Sears Catalog house.
 * 2) Stamped lumber: Most easily found in unfinished spaces like a basement or attic, framing members were stamped with a letter and a number. These stamps are normally located on or near the ends of pieces of framing timber. However, these stamps were not used on lumber shipped before 1916, when Sears first started offering pre-cut lumber.
 * 3) Compare house designs to original catalog images. Some models of Sears homes were very similar in design to models offered by other kit home manufacturers or through plan books. Designs may have been modified but generally should match in layout and dimensions.
 * 4) Sears Catalog homes built in the 1930s may have a small circled "SR" cast into the bathtub in the lower corner (furthest from the tub spout and near the floor) and on the underside of the kitchen or bathroom sink.
 * 5) Goodwall sheet plaster was an early drywall-like product offered by Sears and may be an indication of a Sears Catalog house.

Existing Sears Homes[edit]
Because the Modern Homes division sales records were destroyed, there is no way to definitively verify the number of Sears houses that still exist. Documented Sears houses have been found across the United States and in a few locations in Canada. Cities with large numbers of documented Sears Catalog Homes include:

 * Aurora, Illinois with 117
 * Carlinville, Illinois with 149 in the Standard Addition neighborhood as well as several other Sears houses elsewhere in the city. Carlinville is said to have "the highest concentration of contiguous Sears homes in the nation."
 * Cincinnati, Ohio and surrounding communities in southern Ohio and Northern Kentucky with over 450
 * Downers Grove, Illinois with 67.
 * Elgin, Illinois with 213.
 * Rockford, Illinois with 144.
 * Massapequa Park, New York: Several dozen houses were built in the 1920s and 1930s. The largest number were built on Grand Boulevard.
 * Washington, D.C. with 300.
 * Wood River, Illinois with 23.

The Carlinville, Illinois concentration consists of houses bought in bulk by the Standard Oil Company in 1918 to house its mineworkers at a total cost of approximately US $1 million. The houses, comprising eight different models, were all built in a 12-block area known as the Standard Addition. Building of the houses took nine months which were completed in 1919. The bulk order is the largest known order for Sears Modern Homes and led to Sears, Roebuck naming their "Carlin" model after the city.

Not all Sears houses became private residences. At Greenlawn Cemetery, near the Hampton Roads waterfront in the Newport News, Virginia, area, the cemetery office building is a 1936 Sears Catalog Home.

=== Like the Standard Addition in Carlinville, IL, neighborhoods of Sears houses still hold a sense of identity and community. Due to reviews by homeowners then and now, it would appear that Sears Catalog Homes are just as appreciated now as they were then. According to a review written by Mary Ann O’Boyle of Takoma Park, MD, her Sears home feels “unabashedly American, the kind of house you see in movies about the good old days” and “allows me to connect with the past”. Another homeowner, Erskine Hogue Stanberry, states that his Saratoga model was the “first house in Chelsea to have electric lights” and that they “are using the original plumbing and wiring”. ===

National Register of Historic Places[edit]
Several Sears catalog houses are listed on the National Register of Historic Places. Among those are:

 * Alhambra: At Triangle Ranch near Philips, South Dakota
 * Saratoga: The Hogue House in Chelsea, Oklahoma
 * Strathmore: Chester Valentine House in Saranac Lake, NY

Sears catalog houses can also be found in historic districts listed in the National Register of Historic Places:

 * Eastwood Historic District: 10 Sears catalog houses of various models in Cincinnati, Ohio
 * Old Town College Park: Includes a Sears Alhambra and Sears Sheridan in College Park, Maryland

Rock House inhabited by Laura Ingalls Wilder, Mansfield, MO.

According to Carolyn Fraser's Pulitzer-winning book, Prairie Fires: The American Dreams of Laura Ingalls Wilder, the house that Rose Wilder Lane built for her parents, Laura Ingalls Wilder and Almanzo Wilder, at Rocky Ridge Farm in Missouri was from a Sears kit. The kit was greatly modified by Lane's ambitious designs. Her parents did not care much for the house and eventually moved back into their original farmhouse.

Modern interpretations of Sears Catalog Houses[edit]
Modern reproduction of a Sears Hillrose at the Farm at Prophetstown in Battle Ground, Indiana

There are examples of modern homes built based on the design of Sears Catalog homes. In some cases, homeowners used plans from original Sears Catalog homes to recreate a modern version of a Sears home. In other cases, the home followed the general design of a Sears house without being an exact duplicate.

One well-known replica of a Sears catalog house is at the "Farm at Prophetstown" museum in Battle Ground, Indiana, which features a replica of a Hillrose model. The house forms part of the farmstead at the museum.

There was speculation that the kit homes were going to lead the housing industry well into the future. This was not the case; soon after the trend of the kit homes began it was already outdated by “stick” built construction. Only 3% of homes built in the 1920’s were kit homes.

See also[edit]

 * Kit houses in North America
 * American Foursquare

References[edit]

 * ^ "Sears Archives". Retrieved 2012-12-31.
 * ^ "Did Sears, Roebuck Sell Homes in Canada?". Retrieved 2015-10-21.
 * ^ "Sears mail order homes". Retrieved 2011-11-30.
 * ^ "Bill of Materials for Sears Modern Home". Retrieved 24 September2017.
 * ^ "Two Italian Families and their Neighboring Sears Houses". Retrieved 2015-02-17.
 * ^ "New Homes in Cranford for $4,000!" (PDF). Cranford Chronicle. 1992-07-09. Retrieved 2013-11-09.
 * ^ "New Homes in Cranford for $4,000!Biggest development evolved in Sunny Acres" (PDF). Cranford Chronicle. 1983-04-07. Retrieved 2013-11-09.
 * ^ "Yes, Virginia, Sears Homes Were Built After 1940". Sears Homes of Chicagoland. 2012-11-25. Retrieved 2013-11-09.
 * ^ "The Top Four Most Popular Sears Homes--Have You Seen These?". Sears Homes of Chicagoland. 2012-07-21. Retrieved 2013-10-13.
 * ^ Thornton, Rosemary (2012-11-27). "How to Properly Identify a Sears Magnolia". Sears Modern Homes. Retrieved 2013-10-13.
 * ^ Thornton, Rosemary (2013-08-29). "Eight Pretty Maggies in a Row". Sears Modern Homes. Retrieved 2013-10-13.
 * ^ "Sears Homes in Hopewell". Retrieved 2012-12-31.
 * ^ http://www.kithouse.org/#historical . Retrieved 2018-11-11. Missing or empty |title= (help)
 * ^ "The Sears Home Leaderboard". Retrieved 2018-08-20.
 * ^ "Tour of Sears kit homes in Aurora" (PDF). Retrieved 24 September2017.
 * ^ Holliday, Art (28 April 2017). "How Sears built an entire local neighborhood". KSDK Channel 5. Retrieved 30 October 2017.
 * ^ "Sears homes in Cincinnati, Ohio". Retrieved 2014-05-20.
 * ^ "Sears Catalogue Homes". drive.google.com. Retrieved 2017-02-27.
 * ^ "Sears Houses in Elgin Illinois arranged according to model name". Illinois Digital Archives. Retrieved 27 December 2017.
 * ^ "The Sears Home Leaderboard". Retrieved 20 August 2018.
 * ^ "Sears Houses of Massapequa Park, New York". Kit House Hunters. 25 October 2015. Retrieved 11 November 2018.
 * ^ P-D, Joe Holleman •. "Sears home". Retrieved 24 September 2017.
 * ^ "Cemetery Office in Newport News". Retrieved 2012-12-31.
 * ^ "Hogue House in Chelsea, Oklahoma". Retrieved 2013-06-08.
 * ^ Fraser, Carolyn. Prairie Fires: The American Dreams of Laura Ingalls Wilder. Henry Holt and Co., 1917.
 * ^ Solonickne, Lara. "A New Sears Avalon in Wisconsin". www.sears-homes.com. Retrieved 24 September 2017.
 * ^ Solonickne, Lara. "A Sears Kilbourne--Built in 2004". www.sears-homes.com. Retrieved 24 September 2017.
 * ^ "Farmstead – Farm at Prophetstown". prophetstown.org. Retrieved 24 September 2017.

Bibliography[edit]

 * Reiff, Daniel D., (2000) Houses from Books: The Influence of Treatises, Pattern Books, and Catalogs in American Architecture, 1738-1950 Pennsylvania State Univ Press
 * Stevenson, Katherine Cole, and Jandl, H. Ward, (1995) Houses By Mail: A Guide to Houses from Sears, Roebuck and Company John Wiley & Sons; Hoboken, New Jersey
 * Thornton, Rosemary (2002) The Houses That Sears Built: Everything You Ever Wanted To Know About Sears Catalog Homes Gentle Beam Publications; Alton, Illinois
 * Thornton, Rosemary (2004) Finding The Houses That Sears Built: A Guide to Their 60 Most Popular Designs Gentle Beam Publications; Alton, Illinois
 * Davis, Michael W.R. and Schweitzer, Robert (1990) America’s Favorite Homes. Wayne State University Press; Detroit, Michigan
 * Gowans, Alan (1989) The Comfortable House: North American Suburban Architecture 1890-1930. The MIT Press

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Production engineering

Production engineering, also known as manufacturing engineering, is the design, development, implementation, operation, maintenance, and control of all processes in the manufacture of a product. Within this context a 'product' is defined as an item that has value added to it during the production process. Value is added by means of processes such as forming, machining, joining, and assembly.

Basic Processes
A product may be produced by:

Manipulating existing materials to produce another material. Manipulating a produced material into a required form. Cutting a produced material into a required form. Assembling items and/or materials into a required product.

Producing the Raw Materials

Raw materials are obtained:

From within the earth, rocks, oil etc. From on the earth, animal and plants.

Production Engineering the Raw Materials

While the oldest profession is rarely disputed, second place creates much discussion. One may wish to place the production engineer in that slot. Who was it who made the first cutting tool? Who was it who organised the use of these first tools? It was the humans who made the first products.

Not much has changed fundamentally. A sharp edge is still used to cut. Fire is still used to form and remove material. Heat is generally an essential part of processing the raw materials from within the earth, while the sharp edge cuts the material growing on the earth.

From within the earth the raw materials are solid and liquid. Grown on the earth are plants and animals. These were the raw materials of the first production engineers, and it is still the same today. Proportions may have changed, but these are our raw materials.

Take the automobile. Materials from the earth include metals and oils. Materials from the soil include wood and animal skins. Prehistoric man might not recognise the car as a means of transport, but he would certainly recognise some of the basic materials it is made from.

Understanding Materials
Working with any material requires and understanding of that material. A production engineer needs to know how a material will behave when used as part of the manufacturing process. Because there are so many materials they are subdivided, and then subdivided again.

The following cover the majority of materials used in manufacturing. Often their properties will be described in the terms of the product made from that material. Note the properties and how they might help or hinder any processing on that material.

The main divisions and sub divisions are:

All metals

 * Metal
 * Alloys

Ferrous Metals- all based on iron

 * Steel
 * Iron

Non Ferrous Metals- all other metals.
The following are the main metals used in manufacturing. Most metals are used in some form, often only as an alloying agent. Also most metals are used in alloy forms and some of these listed here refer to alloys.

 * Aluminium
 * Copper
 * Brass
 * Bronze
 * Zinc
 * Titanium

This will give you science of metals, but so far little in the way of application. As the Production Engineer is concerned with the metals in their applied form the performance of individual metals is dealt with under each process.

Organic Materials

 * Wood and Fibres

Non Organic Materials
The following is a list of the main non organic, non metallic materials. Consequently the materials will be dealt with individually under processes.

 * Plastic
 * Silicon
 * Carbon
 * Hydrocarbons

Understanding the Processes
An object may be manufactured in a number of ways. Obviously a finished product may have undergone a number of processes. For practical purposes the main processes are:

 * /Forming/: Casting, forging, moulding etc.
 * /Cutting/: Machining, blanking etc.
 * /Joining/: Assembly, welding, adhesives, fasteners etc.

Wikimedia

 * Wood processing
 * Process (engineering)

title: Production engineering


text:
Oskar

Etymology
, from.

Etymology
From, from.

Etymology
Borrowed from, from , from.

Etymology
From, in turn from or ,. In the latter case, it is a doublet of

Usage notes
Patronymics
 * son of Oskar:
 * daughter of Oskar:

Etymology
Variant of.

Etymology
, from.

Etymology
From, from.

Etymology
From, from.

Usage notes

 * Became very fashionable in 19th century, as the name (Oscar) of two kings of Sweden.
 * Returned to favor in the 1980s. Oskar or Oscar (the slightly more common spelling today) is the most common first name of boys born in Sweden in the 2000s decade.

title: Oskar


text:
John Angus (children's advocate)

John Hall Angus (1948 – 10 January 2015) was a New Zealand historian, social worker and children's advocate. He served as the New Zealand Children's Commissioner between 2009 and 2011.

Biography
Educated at Palmerston District High School and Bayfield High School, Angus completed a PhD in history at the University of Otago in 1976. His research examined politics and society in late-19th century Otago. In 1977 he became a social worker with the Department of Social Welfare in Dunedin, until moving into an advisory role in the department in Wellington 10 years later. Between 2001 and 2006 he was the principal advisor in the Ministry of Social Development. He participated in the review of the Children, Young Persons, and Their Families Act 1989, led work on the prevention of child abuse for the Taskforce on Action on Violence within Families, and, in 2003 to 2004, served on the ministerial task force on the community and voluntary sector.

In 2009, he succeeded Cindy Kiro as the Children's Commissioner, a role in which he served until June 2011. In 2009 he voiced his support for the Crimes (Substituted Section 59) Amendment Act 2007 (the so-called "anti-smacking" law) in advance of the citizens-initiated referendum later that year, aimed at repealing the act. In the 2012 New Year Honours, Angus was appointed a Member of the New Zealand Order of Merit for services to the State.

Angus died in Clyde in 2015. The Minister of Social Development, Anne Tolley, said that Angus had been a "tireless advocate for the rights of children."

title: John Angus (children's advocate)


text:
Talk:Introduction to Philosophy/What is Ethics

'Philosophical ethics could be called the study of what is good and bad'? - I would question this as being a definition of Ethics! That 'good' and 'bad' exist by themselves, I find a difficult assumption.

I think a better definition would be "Ethics is the study of how one ought to live,""Ethics is the study of what makes for the best life," or some more eloquently written equivalent. In general I don't see how this page in it's current state is informative. Would anyone object if I began to edit it?

Terrible. Simply too many flaws in the 'introduction' to list.

Introduction to Philosophy: What is Ethics?
The heading here correctly says "What is Ethics?"

The link to it, however, says "What are Ethics?"

Also many of the subjects overlap, making it hard to distinguish between the three documents "what is ethics?" "what is ethics" and "introduction to philosophy/what is ethics"

all three of these should be combined or layed out in such a way that there is little or no overlap

Merging content from other Wikibook modules
This is part of a clean up campaign, but there are a couple of orphaned modules that appear to have come from this Wikibook. See:

 * What is Ethics?
 * What is Ethics (note that this is a different page missing the question mark)

When the content of these modules has been added successful to this page, please mark both modules with the cleanup template  . --Rob Horning 15:08, 6 February 2006 (UTC)

review
I hope to provide input for content shortly ...--Billymac00 (talk) 19:58, 7 December 2008 (UTC)


text:
talous

Etymology
. "household" and "housekeeping" are the oldest senses of the word; other senses are from later, probably mostly from the 19th century.

Noun

 * 1) economy system of production and distribution and consumption
 * 2) finances monetary situation
 * 3) an independently acting and managed economic unit, especially in terms of food procurement and cooking
 * 4)  household
 * 5) housekeeping, household management
 * 6) economy effective management of a community or system, or especially its resources
 * 1) housekeeping, household management
 * 2) economy effective management of a community or system, or especially its resources
 * 1) economy effective management of a community or system, or especially its resources
 * 1) economy effective management of a community or system, or especially its resources

Usage notes

 * When used to refer to a unit that manages its economic aspects, is used as part of some compound words to describe different units.  is used to refer to the food aspect more specifically, while  refers to a large unit.

title: talous


text:
Using Firefox

This book is designed to help you get the most out of your installation of. Don't have Firefox? You can download it from Mozilla's website.

Contents

 * 1) /Introduction/
 * 2) /Installation/
 * 3) /Browsing with Tabs/
 * 4) Searching and finding within documents
 * 5) User preferences
 * 6) /Extensions/
 * 7) /Plug-ins/
 * 8) /Mouse shortcuts/
 * 9) /Keyboard shortcuts/
 * 10) /Privacy/
 * 11) Advanced configuration
 * 12) Developers tools
 * 13) Creating an extension

 * 1) External Links

Note
While we, the maintainers of this book, strive to future-proof our texts, things can change, and in the software industry, change happens often and quickly before writers have a chance to catch up. For example, this book was written when Firefox was still on Windows XP, an operating system Firefox no longer supports (along with Vista and all operating systems haven't received Firefox updates since August 2018). If you're still on Windows XP or Vista, Mozilla recommends that you upgrade to Windows 7, 8, 10 or 11. Alternatively, you can switch to a Linux distribution.

Edit: On Mozilla Firefox Mozilla Firefox Firefox Mozilla Firefox שימוש בפיירפוקס Firefox Mozilla Firefox คู่มือการใช้ไฟร์ฟอกซ์ Mozilla Firefox January 14th, 2020, Microsoft Stopped Windows 7 Updates. On January 10th, 2023, Microsoft Stopped Windows 8.1 Updates. It Is HIGHLY Recommended To Upgrade To Windows 10 Or 11 Or Switch To A Linux Distro. This Will Let You Keep Getting Updates From Mozilla For Firefox.

title: Using Firefox


text:
Ruhabad, Darbqazi

Ruhabad (, also Romanized as Rūḩābād) is a village in Darbqazi Rural District, in the Central District of Nishapur County, Razavi Khorasan Province, Iran. At the 2006 census, its population was 506, in 150 families.

title: Ruhabad, Darbqazi


text:
Iraklion Air Station

Iraklion Air Station was a United States Air Force facility located  16 km east of the city of Iraklion near the village of Gournes, in the north central section of the Greek island of Crete.

Major commands to which assigned
Detachment 2, 34 Radio Squadron Mobile, USAFSS, 1953–1955
 * United States Air Forces in Europe, 1954–1979
 * U.S. Air Force Electronic Security Command, 1979–1991
 * Air Force Intelligence Command, 1991–1993

Major units assigned

 * Det 2, 34th Radio Squadron Mobile, USAFSS 1953–1955
 * Det 1, 1603d Air Transport Wing (MATS), 1 October 1954 – January 1966
 * 6938th Radio Squadron Mobile (RSM), April 1955
 * 7222d Air Base Squadron, 1 August 1955 – 1 January 1958
 * Det 1, 7206th Spt Group, 1 January 1958
 * 6930th Radio Group, Mobile (RGM) (6931st Scty Gp), 1 April 1958 – 1 July 1963
 * Redesignated: 6931st Security Group (SG) 1 July 1963-1 October 1978

 * 6931st Security Squadron (SS), 1 July 1974 – 1 October 1979
 * Redesignated: 6931st Electronic Security Squadron (ESS), 1 October 1979-30 September 1993

 * 7276th Air Base Group, 1 October 1978 – 30 June 1994
 * 2115th Communications Squadron, 2 March 1979 – 30 September 1993
 * USAF Hospital Iraklion 1954-1993

Operational history
A non-flying facility, Iraklion Air Station (Iraklion AS) began operations in support of activities of the 1603rd Air Transport Wing and other USAFE liaison operations in Crete beginning on 5 October 1954. The base also supported units of USAFSS, USAFE and NATO as directed. The base provided administrative and logistical support to the 6931st Electronic Security Squadron, as well as policy guidance in administrative, logistical and support matters for all regular and other tenant organizations at Iraklion AS, and as well as other dispersed U.S. Department of Defense units located on the island of Crete from October 1, 1978, until the closure of the base in 1994. Iraklion AS also provided liaison and base support services for the Embassy of the United States, Athens.

Since the station's closure in 1994, the facility has been abandoned and appears to have been looted and vandalized. It is in an unkempt state being taken over by weeds. Currently, an aquarium known as the Cretaquarium, a dinosaur park and an animal shelter are housed at the site.

Future
In 2020, it was reported that the United States and Greece were considering the reactivation of the station as a base for U.S. Air Force combat and strategic assets, in lieu of Incirlik Air Base in Turkey.

title: Iraklion Air Station


text:
2009–2010 Massachusetts legislature

The 186th Massachusetts General Court, consisting of the Massachusetts Senate and the Massachusetts House of Representatives, met in 2009 and 2010 during the governorship of Deval Patrick. Therese Murray served as president of the Senate and Robert DeLeo served as speaker of the House.

title: 2009–2010 Massachusetts legislature


text:
Portal:Learning Projects/Selected picture

Guernica was inspired by Picasso's horror at the bombing of Guernica, Spain on April 26, 1937 during the Spanish Civil War. What roles do the reactions of artists and journalists play in our perception of war? Can a single painting express more than any single photograph? Participate at the Art and War seminar.


text:
Talk:Algonquian–Basque pidgin

Language codes
I took that the three letter codes are language codes. eus is Basque, but what is roa? --Error (talk) 23:34, 21 April 2013 (UTC)

It's the ISO for the Romance languages collectively, I think it was used because it's not sure what the giver language is, Spanish or French maybe. Akerbeltz (talk) 00:59, 22 April 2013 (UTC)

 * Thank you, I couldn't guess. I think that I first read Normandia chave andia, I thought that it was a case of the monogenetic theory of pidgins. Chave and cognates are one of the terms that could be transmitted from Sabir to Portuguese pidgin and to many other pidgins and creoles. But I don't have a reference for that. --Error (talk) 19:32, 24 April 2013 (UTC)

title: Talk:Algonquian–Basque pidgin


text:
Talk:Dermot Chichester, 7th Marquess of Donegall

Untitled
Being a junior officer in World War II is sufficient to qualify one as a subject of the military history wikiproject? john k 18:32, 8 November 2007 (UTC)


text:
User:Auric/L. P. Fisher newspaper references

This is a list of newspaper references to Lewis P. Fisher, (excluding those already present in the article) intended to help sort. The problem is that there are a great many references to him, but few are about what would be considered notable on their own. The search is further complicated by namesakes that occur after his lifetime.

 * (donated bushel of apples)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (donated bushel of apples)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (et seq - appears to have been a yearly trip)
 * (leaves for New York - eye trouble)
 * (leaves for New York - eye trouble)

 * Death of L. P. Fisher - no mention found yet

 * [excluding references to wife]
 * [excluding references to wife]
 * [excluding references to wife]

 * (wife's obittuary)
 * (tender for school building)
 * (Mrs William F. Smith, sister)
 * (obituary- studied law with L. P. Fisher)
 * (was law student under L. P. Fisher)
 * (Tender for Fisher buildings)
 * (agricultural school)
 * (studied law with Fisher)
 * (Tender for Fisher buildings)
 * (agricultural school)
 * (studied law with Fisher)
 * (Tender for Fisher buildings)
 * (agricultural school)
 * (studied law with Fisher)
 * (agricultural school)
 * (studied law with Fisher)
 * (studied law with Fisher)
 * (studied law with Fisher)
 * (studied law with Fisher)
 * (studied law with Fisher)
 * (studied law with Fisher)
 * (studied law with Fisher)
 * (studied law with Fisher)

 * (practised law with Fisher)
 * (sent telegram of congradulations)
 * (law partner of Fisher)
 * (sent telegram of congradulations)
 * (law partner of Fisher)
 * (sent telegram of congradulations)
 * (law partner of Fisher)
 * (law partner of Fisher)


text:
доити

Etymology 1
, from.

Verb

 * 1) to reach at, to arrive at, to go to
 * 2) to come

Etymology 2
From

Verb

 * 1) to breastfeed, suckle
 * 2) to milk

Etymology
, from, from , from , from , from. Cognate with 🇨🇬.

Verb

 * 1)   to milk, to express milk from
 * 2) to breastfeed, suckle
 * 1) to breastfeed, suckle

title: доити


text:
MacEachron

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

 * J. Reginald MacEachron, American architect and musical composer
 * Paul N. MacEachron (1889–1930), American college football and college basketball coach

title: MacEachron


text:
The Archer (film)

The Archer (Jousiampuja) is a 1982 Finnish film directed by Taavi Kassila. The plot concerns a young drug dealer who is taken in and reformed by an old man who also teaches his archery.

Cast

 * Kari Heiskanen
 * Åke Lindman
 * Eeva Eloranta
 * Vesa Vierikko
 * Jarkko Rantanen
 * Pekka Laiho

title: The Archer (film)


text:
Alfonso Alvarado

José Alfonso Alvarado Pérez (born 15 March 2000), also known as Plátano, is a Mexican professional footballer who plays as a forward for Liga MX club León.

Honours
Monterrey
 * Copa MX: 2019–20
 * CONCACAF Champions League: 2021

León
 * CONCACAF Champions League: 2023

Mexico U17
 * CONCACAF Under-17 Championship: 2017

title: Alfonso Alvarado