text:
Lombard/Orthography and pronunciation rules

Orthographies overview
Since Lombard language consists of different varieties with a separate literary tradition, it has no spoken standard. In times past, different local spellings were used, especially for the main dialects. A first attempt to give a written standard to the Lombard language was that of the singer-songwriter Lissander Brasca in 2014 with his orthography “Scriver Lombard” (literally “Lombard Writing”). This was followed in 2020, with the establishment of the Academia Bonvesin de la Riva, by a new pan-Lombard writing system, the New Lombard Orthography.

They range from local orthographies, specifically designed for dialects but often inconsistent with each other, to the Scriver Lombard (Write Lombard) which claims to write the same word in the same way in all dialectal variants, and it will then be the reader to read it differently based on his dialect, the New Lombard Orthography is a bit of a middle ground, which at the same time guarantees spelling comprehension and consistency between the different variants of the language. In this book the New Lombard Orthography will be used.

For the classical Milanese orthography refer instead to the book on Insubric language (also known as Western Lombard), which precisely it is the western branch of the Lombard language, with the Milanese dialect in the historical centre.

Note
 * = fundamental importance
 * = medium importance
 * = rarely used

New Lombard Orthography
The New Lombard Orthography (NOL) is an orthography derived from the graphic tradition of various Lombard variants and designed for the entirety of Lombard language

Features
NOL was born as a polynomial orthography, i.e. with the possibility of writing in the same way for everyone, with the specific aim of involving all local variants and at the same time maintaining and showing local differences. This is achieved thanks to the flexibility of the handwriting: in fact, it is possible to write in a more standard or local way depending on the need of the person using it.

The spelling choices were made on the basis of past spelling proposals and the local spellings of Lombard, to try to make them more consistent with each other and not stray too far from traditional orthographies.

Compound words
For compound words, a dash is used between the two words that make up the compound: (per exemple: mazza-pioeugg, ...).

Infinitive
There are some verbs that have an irregular ending in the infinitive and that do not follow the rules just explained (for example: prodù, toeu, …).

The infinitive verbs of the 1st, 2nd and 4th conjugation used with an enclitic maintain the graphic accent, instead they lose the -r in the 3rd. Even verbs with an irregular ending in the infinitive have the same ending (and sometimes also the graphic accent).

Participle
The participle suffix is orthographically fixed:

For monosyllabic verbs of the first conjugation and the verb vesser there is the possibility of two endings:

Imperative
The monosyllabic forms of the imperative of the second person singular are always written with the graphic accent (for example: fà, dà, stà, scrìv, bév, ...).

Local pronunciations and Wiktionary
As can be seen, the pronunciation of the New Lombard orthography is not unique for all the letters; the reader should know the correct pronunciation a priori, it may be useful to consult the Wiktionary. However, some more information can be obtained if one knows in which dialect the text was written, see for example:

 * Phonology of the New Lombard Orthography in Milanese dialect
 * Phonology of the New Lombard Orthography in Bergamasque dialect
 * Phonology of the New Lombard Orthography in Laghee dialect

In the year 2021 a Lombard-language wikictionary was born, available on the site https://lmo.wiktionary.org/ which contains:

 * definitions in Lombard;
 * ways of writing the same word in different dialects and orthographies;
 * etymology of the word;
 * pronunciation, as far as pronunciation is concerned, it has also been specially designed to provide the pronunciation IPA of the same word in different dialects.

This will be discussed in more detail in the module about dictionaries


text:
Template:Wt/lmo/*fo

 FO

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

title: Template:Wt/lmo/*fo


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MED

title: Template:Wt/lmo/*med


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Template:Wt/lmo/*rar

• RAR

title: Template:Wt/lmo/*rar


text: Category:Book:Lombard

title: Category:Book:Lombard


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Template:Wt/lmo/-

Western Lombard

title: Template:Wt/lmo/-


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Template:Wt/lmo/+

Eastern Lombard

title: Template:Wt/lmo/+


text: Template:Lombard/Phonology

title: Template:Lombard/Phonology


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User talk:129.63.22.25

Please read Using Wikibooks before making any further edits - this is not Wikipedia.

--Xania   talk 01:13, 29 November 2022 (UTC)

Welcome!
Welcome, 129.63.22.25!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally. You should create the page Pokémon Diamond and Pearl Surf glitch if your going to create subpages for it. Otherwise see if there is a Pokémon Diamond and Pearl book to merge yours with. Alternatively, create your pages as a subpage of Pokémon.

Also consider making an account. 09:40, 21 September 2023 (UTC)

title: User talk:129.63.22.25


text:
AI Art Generation Handbook/Promptcrafting

What is promptcrafting ?
Promptcrafting a.k.a Promptcraft is combination of 2 words :

Prompt and craft.

Based on the words definition from Wiktionary:

Prompt : A sequence of characters that is displayed to indicate that a computer is ready to receive input

Craft : To construct, develop something (like a skilled craftsman).

It is akin more to like a human user trying to describe to a robot (AI Image model) about the general ideas that have for their final image output. Sometimes, the AI image model may get the ideas but at times, it may not get the ideas.

What is prompt ?
In context of AI Art Generation, a prompt is the instructions in form of text input that are going to be processed by AI Art Generation Model for it to generate images. Although the current AI Art Generation Model are keep improving day by day, we may need to treat the instructions to be as descriptive as possible to get approximately what we wanted.

For successful text - to - image generation, a good prompt usually follow this format :

To learn more about prompts, you can head directly to chapter : Prompting in Stable Diffusion Style to understand the basis of the prompt.
 * 1) Which kind of the medium / art that it is going to be ? ( The medium here is usually divided to 2 types of category: paintings and photography)
 * 2) Which artist style that you are going to follow ?
 * 3) Which type of framing techniques that you are going to use ?
 * 4) Which type of lighting techniques you are going to use ? (Notably for medium that are more to photos)

Note that the prompts discussed is tested on popular AI to Text Generation model : Bing Image Creator

[ART MEDIUM] + of [MAIN SUBJECT], [PERSPECTIVE], by [ARTIST], in the style of [STYLE], [MOOD], [OTHER DETAILS], [BOOSTERS]

Word Ordering
As per norm of English language structures, the "subject" should be at the front of sentence so that the text encoder shall put this in higher priority during the image generations. Thus, this will leads the AI Image model will have a higher chances of generating the images according to your requirements.

First example, we want the rhinoceros to be part of design of the dollar note currency as per :

Hence, the "subject" in this case is the dollar note as we can see the rhinoceros in left images is generated without being part of designs on dollar notes because the "subject" is put to the back of sentences unlike the images in the right.

Second examples, we wanted the rhinoceros to paint the girl with Pearl Earring but in the left images, the word rhinoceros is at the front of the prompt making the "rhinoceros concept" bleeding into "Girl with Pearl Earring" instead. Instead, putting the word rhinoceros at the back making the AI Images generations as it should

Modifier
Modifier in a sense is the language of AI Art Generation models and it is able to tweak the generated images into different aesthetics / according to what you are looking for.

Usually, modifier consists such as following:

(a) Art Medium

(b) Artist Style

(c) Lighting Techniques

(d) Framing Techniques

(e) Camera Types

One or more modifiers maybe added to create the unique image generation and the word ordering may changes according to your needs


text:
Cookbook:Glucose

Glucose or dextrose is a kind of sweetener. The exact terminology used will depend on the degree of processing. It is not equivalent to corn syrup, although some corn syrups can be considered glucose syrups.

Glucose syrup
To make glucose syrup, starch obtained from sources like corn, wheat, tapioca, and sorghum is mixed with water. The starch is then broken down by the addition of acids and/or enzymes. This results in a clear, sweet syrup with a high concentration of glucose as well as other carbohydrate byproducts of the starch breakdown. The concentration of glucose in the syrup is what determines the syrup's grade (called the Dextrose Equivalent or DE). This syrup can be dried to make what is called powdered dried glucose syrup.

Dextrose
To make pure powdered glucose (often commercially called dextrose), the starting starches must be fully broken down into their glucose subunits. The resulting product is then crystallized and dried to make the refined dextrose powder.

Characteristics
Glucose syrup is clear, viscous, and mildly sweet. It is less sweet than sucrose (table sugar) and fructose (found in fruit and honey). Dextrose powder is a white solid and is sweeter than glucose syrup due to the higher sugar concentration.

Use
Glucose is used in a variety of applications, for both its flavor and textural properties. Because it is less sweet than sucrose, it can be used as a substitute in recipes without outright reducing the sugar content. Glucose can also be used to retard freezing in cold desserts and to prevent over-crystallization of icings.

title: Cookbook:Glucose


text:
Cookbook:Chia Seed

Chia seeds are the edible seeds of the plant Salvia hispanica.

Characteristics
Chia seeds are very small in size and usually speckled black and white in color. They have a very mild, nutty flavor and crunchy texture when dry. When mixed with liquid, chia seeds will swell and absorb up to ten times their original volume of liquid—this results in a gel-like consistency similar to that of soaked tapioca.

The seeds can also be ground to make chia flour or sprouted in a moist environment to yield chia sprouts.

Selection and storage
Avoid solid brown seeds, which tend to be less mature and more bitter —ideally they will be speckled or solid white. When kept cool and dry, chia seeds have a very long shelf life. They are not particularly prone to rancidity, but storage in the freezer may help retard this if it is a concern. Soaked or sprouted chia seeds have a shorter shelf life and should be consumed within a week.

Use
Chia has a variety of uses in sweet and savory preparations. They can be eaten raw, which adds a crunchy texture to dishes. Their swelling power makes them useful in puddings, and they can also be used to add body in gluten-free baking. They may also be used as an egg substitute in some recipes by combining 1 tablespoon of ground chia seeds with 3 tablespoons of warm water and allowing it to gel. Chia sprouts can be used like other sprouts and microgreens, such as in salads or sandwiches.

In Latin America, the beverage chia fresca is made by combining chia seeds, citrus juice, and a sweetener.

title: Cookbook:Chia Seed


text:
Talk:AI Art Generation Handbook/How does AI generate art ?

Images credit link for the explanatory AI art generation
MrAlanKoh (discuss • contribs) 05:25, 29 November 2022 (UTC)


text:
AI Art Generation Handbook/Diffusion Model

Note 1: There are many types of diffusion model in the public right now and each AI Art -To-Text Models have different implementations

(Some maybe even better / completely different implementation to what is presented here.)

Note 2: This chapter is dedicated to the overall ideas / layman guide how the diffusion model works for public mass

Forward Diffusion Model
First of all, to train the diffusion models, the forward diffusion model will add noises layer by layer.

In this example, we have an image of Rhino by the rocky riverbed for example. From T=0 (The original images), forward diffusion model will add more and more noise consecutively for each steps (T) until the images is virtually unrecognisable. Although it seems counter intuitive, this whole process will teach forward diffusion model will teach denoising diffusion model on how to remove noise from an images.

Diffusion Denoising Model
Next process, we have diffusion denoising model which it will learn from the prior forward diffusion model on how to remove noise from the images.

The diffusion denoising model will try to remove one "step" of noise from the input images and do it over-and-over again until it hopefully be able to re-construct the images at T=0 (original image).

But however, this process will *almost never be able to create exact replica of original images and will introduces little variances amongst the output.

Latent Diffusion Model
According to Wiktionary, latent in this context meant lying dormant or hidden until circumstances are suitable for development

Hence, latent diffusion models in this model context meant that instead of applying the diffusion process directly on a overall images, the models project the input into a compressed image representations/latent space (instead of full images) and apply the diffusion models to reconstruct the images.

Latent space can be visualised as shown on the left picture (as 3D scatterplots for ease of understanding)

For examples, we might need to classify animals such as Javan rhinoceros.

As for Javan rhinoceros, there are many types of classifications such as animals horns, gray coloured skins, near-extinct animals and such.

To increase efficiency and space savings, latent space only cares about the most important and distinguishable features for Javan rhino (i.e. lived in Javan rainforest, have one horn animal). Latent space also care the unlikeliness for compressed image representation overlapped with others features.

Hence, the Javan rhinoceros distinguishable features are clustered in the latent space representation of data.

As a result, the representations of chairs become less distinct and more similar. If it were to imagine them in latent space representation, Javan rhinoceros dataset would be ‘closer’ together.


text:
Salut, ionatano!

'''Salut, Ionatano! Scuian by the Direct Method'''

Salut, ionatano! (Hello, Jonathan!) is the story of a young Englishman who goes to visit his friend in another European country...or so it would seem.

“Salut, ionatano” ê la storia dî un omin îngleza chi vat por visider la sea amic în una paieza altra Ueropal… u asî parescat.

1 maiea
Un omin stat în un citad. L’omin scribat un iurnâl. L’omin vedat un citad.

L’omin stat în un citad? Sic, el stat în un citad.

L’omin stat... în un omin? Non, el no stat în un omin. Stat în un citad.

L’omin stat în un trin? Non, el no stat în un trin. Stat în un citad. L’omin stat în un citad.

L’omin scribat un iurnâl? Sic, el scribat un iurnâl.

La iurnâl scribat l’omin? Non, la iurnâl no scribat l’omin. Un iurnâl no scribat. Un omin scribat. L’omin scribat la iurnâl.

La citad vedat l’omin? Non, la citad no vedat l’omin. Un citad no vedat. Un omin vedat. L’omin vedat la citad? Sic, l’omin vedat la citad.

Ub stat l’omin? El stat în un citad. Che l’omin scribat? El scribat un iurnâl. Che l’omin vedat? El vedat un citad. El stat în un citad, e el scribat un iurnâl, e el vedat un citad.

L’omin stat în un iurnâl? Non, el scribat în un iurnâl. L’omin vedat un omin? Non, el no vedat un omin; vedat un citad.

L’omin ê grand. L’omin ê bon, e l’omin ê înteleient. El pensat. Pensat nel citad. Pensat: “Che ê la citad? La citad ê bon? La citad ê grand?”

L’omin scribat un citad? Non, el no scribat un citad; un citad ê grand. El scribat un iurnâl; un iurnâl no ê grand.

La iurnâl pensat nel omin? Non, un iurnâl no pensat. Un omin pensat. Pensat nel iurnâl, e pensat nel citad.

E el scribat nel iurnâl. El scribat supche la citad. Scribat: “La citad ê bon, e la citad ê grand.”

Pensat: “La citad ê bon”; el pensat che la citad ê bon. Pensat: “La citad ê grand”; el pensat che la citad ê grand. Pensat nel citad, e pensat nel iurnâl.

Che ê la iurnâl? La iurnâl, cê ubche l’omin scribat; scribat nel iurnâl. Nel iurnâl, l’omin scribat supche la citad. Nel iurnâl, l’omin no scribat supche la trin; l’omin stat nel citad, no nel trin. No pensat nel trin, pensat nel citad, la citad Munich.

Che ê la citad? Cê Munich. Ub stat Munich? Cê ubche l’omin stat. Ub stat l’omin? El stat în Munich.

Sic, Munich ê un grand citad, e un bon citad. L’omin pensat che Munich ê un bon citad, e pensat che cê un grand citad. L’omin ê înteleient. Dicat: “Salut, Munich.” El ê un bon omin!

L’omin stat e pensat: “Ub stat la trin?” El vedat… vedat la trin. Pensat: “La trin!” El nî pensat nel iurnâl, e nî pensat-el nel citad. Pensat nel trin!

2 maiea
Aior l’omin stat nel trin. No stat in Munich; stat în un trin. El vagat. Pensat: “Aior io vagam dî Munich a Viena. Cê una bona vagaia. Mi încandan le vagaie.”

El pensat nel Munich. Pensat: “Aior stam nel trin, mî aier stim în Munich. E aior scribam un iurnâl nel trin, mî aier scribim un iurnâl în Munich. E aior pensam nel trin, mî aier pensim în Munich. Aier io pensim nel Munich în Munich, e aior pensam în Viena nel trin. Aior stam nel trin, no în Viena. Mî io pensam în e scribam supche Viena.”

L’omin pensat aior în Munich? Non, aior l’omin no pensat în Munich, pensat nel trin. Aier pensô în Munich. Dicat: “Salut, trin!”

L’omin stat nel trin, e el vagat a un citad. La citad no ê Munich; Munich ê la citad dî aier. La citad ê Viena; Viena ê la citad dî oiurn.

L’omin pensat în Munich e Viena. Pensat: “Munich sô la citad dî aier, e Munich sô bon. Aior cê oiurn, e io stam în un trin; la trin ê bon. Viena vat a ser bon?”

L’omin pensat în Munich; Munich sô la citad dî aier. El pensat nel trin; stat nel trin oiurn. E el pensat în Viena; Viena vat a ser la citad dî demagn.

E el pensat: “Munich sô grand. La trin ê grand. Viena vat a ser grand?”

E el pensat: “În Munich scribim un iurnâl. Nel trin scribam un iurnâl. În Viena, vam a scriber un iurnâl? Sic, demagn în Viena, io vam a scriber un iurnâl. Mi încandan le iurnâle.”

L’omin pensat muld (el pensat muld = el pensat e pensat e pensat) e el scribat muld. Sic, el ê un omin înteleient. Le omine înteleient scriban muld e pensan muld. Ê Ionatano; Ionatano ê un omin înteleient.

Scribat: “io som ionatano. Stam în un trin. Aier io stim în Munich; demagn io vam a ster în Viena.”

El pensat, e scribat: “La trin… cê bon, mî vel. No cê nov, cê vel. În Munich le trine son vel? Sic, în Munich le trine son vel. Mî le trine dî Munich son bon, e mi încandan le trine dî Munich. Aier mi încandô la trin în Munich, e oiurn mi încandat la trin aior, e demagn vat a încandermi la trin în Viena. Mi încandan trine!”

ionatano scribat: “Munich ê un citad bon e un citad vel, e Viena ê un citad bon e un citad vel. Munich e Viena no son nov, mî son bon. Munich e Viena son vel, mî bone citade. Le citade no son nov, mî bon. Mi încandan le citade!”

ionatano pensat, che la second iurn del vagaia ê bon. Dicat: “Oiurn sô un bon second iurn del vagaia. Mi încandan le vagaie!”

2 maiea
ionatano stat în Viena: la citad dî Viena. ionatano pensat che Viena ê bon, e che Viena ê bel. ionatano no pensat che Viena ê desbel, pensat che Viena ê bel. Dicat: “Viena ê un bel citad! Ci vam a scriber.” E scribat nel iurnâl supche Viena. Nel iurnâl scribat: “La mea iurn terz ê for bon! Nel iurn second io stim în Munich. Mî aior stam în Viena; Viena no ê Munich. Munich ê Viena son due citade; Munich no ê Viena e Viena no ê Munich. Stam în Viena e la citad ê for bel. Mi încandat Viena; la citad no ê desbel. Che bel ê Viena! Mî io tenam una problema.”

Chi? ionatano tenat una problema. Cuâl problema? Aior no vedat la iurnâl, vedat la citad e pensat. El pensat muld nel problema. La problema dî ionatano, cê che a lui la încandat Viena, mî el no tenat tempor.

Pensat: “Hm. Aior son le septe (7) ore. Al deze (10) ore la trin pardat. Deze ore min septe ore facat tre ore. Tre ore no ê belcop dî tempor por un bel citad! No tenam tempor. Tener tempor ê bon, mî no lo tenam. Scriber un iurnâl ê bon, mî no tenam tempor por scriberlo! Che facer în Viena?”

Pensat: “io no tenam muld tempor. Che facer – scriber un iurnâl, u comer, u vider la citad? Che vam a facer?”

Pensat plu, e dicat: “Tenam una bona idea! Un moment… io pensam. La mea trin pardat al deze ore. Ci at un trin plu tard, a unze (11) ore, u duze (12), trize (13), cuatorze (14), u cuinze (15) ore?”

Vedat… sic! Ci at un trin che pardat al cuinze ore. Aior ionatano stat felix.

ionatano dicat: “Cuinz (15) min sept (7) facat oxt (8). Aior tenam oxte ore dî tempor. Che vam a facer?”

El dicat: “Sapam! Vam a comer un bistec. E vam a beber un cerviz. Un moment… no, vam a beber due cervize, u tri cervize. Bona idea!” Aior ionatano bebat un cerviz în Viena, e comat un bistec. El stat felix. Dicat: “Che felix stam-io! Mi încandat la citad dî Viena. Che mi los încandan le vagaie!”

title: Salut, ionatano!


text:
User:Bbuskens/sandbox

< Scriptapedia

The Tweet
A way to quickly review/recap the facilitation session. It provides a quick way for the group to look back on the session and recap what the session has been like. It also provides a way for people to see how others in the group experienced the session.

Status: under development

Primary nature of group task: Evaluation

Time:

preparation: 0 mins

Time required during session: 15 mins

Follow up time: 0 mins

Materials: Post-it notes or some other piece of paper, and a pen.

Inputs: The overall experience of the day

Outputs: a clear overview of the days’ events in small form

Roles: Facilitator to introduce the exercise and GMB participants (possibly in groups depending on available time)

Steps:

 * 1) Every participant (or group of participants) receives a piece of paper and pen.
 * 2) They are asked by the facilitator to review or recap their GMB session based on their experience in 140 characters.
 * 3) The facilitator says: “You are not allowed to exceed 140 characters, so be creative!”
 * 4) The facilitator sighs and says: “Yes I know the tweet limit is 280 characters”
 * 5) The participants, after 5-10 mins read out their tweets to the rest of the group.

Evaluation Criteria:

 * Participants have made a small overview of their session, a recap.

 * Participants have gotten an indication of the experiences of the others.

 * The participants have recapped the session and are reminded of the session allowing them to think about what was discussed after the session.

Authors: Made into a script by Sebastiaan Buskens

History: This script was used in a workshop by NRG Prof. A company that does consultancy for energy companies.

Revisions: none

References: none

Notes:

 * This activity is great when a follow up session will be done. The review will allow participants to be more actively involved in the happenings of the session going into the next.

 * At around more than 6 people it will probably be best to divide the group into sub-groups for time management. This can be done based on their stakeholder affiliation or on other categorization.

 * This script is supposed to be light and fun to do after an intense session of GMB. It relieves tension and creates a build up towards the next session.

title: User:Bbuskens/sandbox


text:
User talk:Bbuskens/sandbox

Improving the page
I am new to wikibooks.

I would like to remove the top part saying 'User:Bbuskens/sandbox'. I do not know how. Also, I would like to remove the category of the same name from the page. Bbuskens (discuss • contribs) 10:36, 29 November 2022 (UTC)

title: User talk:Bbuskens/sandbox


text:
User:21stcenturyjournalism

This page is a companion to the OER textbook "How to be a journalist in the 21st century" (CC BY-NC-SA 4.0), written by Andre Gouws, lecturer in journalism, and students at North-West University, Potchefstroom, South Africa. Gouws created these resources as an open educational resources (OER) fellow at North-West University in 2021-2022. The accompanying textbook is aimed at undergraduate journalism students and anyone else who would like to learn some tools and tricks of journalism. The textbook is published under a CC Attribution 4.0 International (CC BY 4.0) license.

title: User:21stcenturyjournalism


text:
No Man's Sky/Crash course/Death

Did this come as a surprise? Yes, if the game has health, of course you die if it drops to zero. And dying can be a game changer. You drop your inventory, and on survival difficulty, your inventory gets deleted! I bet you don't want to lose your stockpile of 20 million carbon you're saving for later over a single wrong turn in a cave. Nobody does. Yet death does not need to be the setback it was designed to be.

This is where a little common sense helps. If you die on land, you lose your exosuit inventory. If you die in space, you lose your starship's inventory. If you die in an exocraft, it drops its inventory. You die in a freighter... But wait, no you don't! You don't die in a freighter! So a freighter is the only safe place to store items!

A similar issue unrelated to death: you go to sell stuff from your inventory, and accidentally sell your 20 million carbon. Now you need to reload an old save. That can be such a hassle! But if you never sell directly from your freighter, you never lose what's in it!

The trick, then, is to store everything in your freighter, and install the matter beam upgrade to it. Store stuff needed to recharge equipment, as well as a v3 AtlassPass. A complete list:
 * 1) Sodium nitrate: starship shields only part damaged.
 * 2) Starsheild battery: fully damaged starship shield recharge.
 * 3) Tritium: pulse engine fuel.
 * 4) Ion battery: hazard shield recharge (don't recharge hazard protection if you have a hazard shield. Having a charged hazard shield will automatically recharge hazard protection for free).
 * 5) Oxygen: crafting/repairing (it is much less efficient than life support jelly for recharging life support).
 * 6) Life support jelly: fully recharges life support. Ignore the warnings on the tooltip, they are just for show. They do no harm to me after hundreds of uses.
 * 7) Unstable plasma: upgrading/repairing and for recharging certain explosive multi-tool weapons.
 * 8) Ammunition: used to reload certain multi-tool weapons. Make sure to have a very large amount. 50 ferite dust makes 2,500 ammunition, so it isn't expensive.
 * 9) Ferrite dust: crafting. Maybe get a couple of stacks of it.
 * 10) Carbon/condensed carbon: charging the mining beam, exocraft weapons, and both are used in crafting.
 * 11) Chromatic metal: essential crafting ingredient.
 * 12) Repair kit: used for repairing if you are missing really rare resources.
 * 13) Warp cells: for recharging the hyperdrive.
 * 14) Di-Hydrogen: used in crafting and recharging.
 * 15) V3 AtlasPass: used to open locked doors and supply barrels. V1 and V2 also work for some things, but V3 works for all of them.

The following are not essential, but may save time in repairs without wasting expensive repair kits.
 * 1) Wiring loom
 * 2) Hydraulic wiring
 * 3) Microprocessor (also used in some quests)
 * 4) Quantum computer
 * 5) Pure ferrite
 * 6) Metal plating (also used in some quests)
 * 7) Sodium (also used in some quests, avoid using to recharge as sodium nitrate is five times as effective as sodium, and only 2 sodium is used to make sodium nitrate)
 * 8) Navigation data (can be used for so many things, it isn't even worth mentioning it all)

And you may also add any other items you don't want to lose. Don't add the items to freighter storage containers, as that prevents you using them to recharge with the quick menu.

Now, assuming you did the above correctly, selling everything in your starship and exosuit inventory will give you no guilt, and you will find it slightly faster! Plus your main inventories are emptier, leaving more room to hunt for rare stuff. And of course, death is no longer as bad as it used to be. Unless you're playing permadeath mode. But it was sill a useful precaution to make.

title: No Man's Sky/Crash course/Death


text:
Using Chrome

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

Contents

 * 1) /Introduction/
 * 2) /Installation/
 * 3) /Browsing with Tabs/
 * 4) Searching and finding within documents
 * 5) User preferences
 * 6) /Extensions/

title: Using Chrome


text:
AI Art Generation Handbook/Archive/Model List

Here are list of some of the more commonly used Stable Diffusion Models.

Note that this models listed here may or may not be safe to used. It is wise to get the  pickle scanner  to scan before start to use it for the AI art generation projects.

If possible, please get the model files in  .safetensor  format as it is highly unlikely to contain virus

This table list is updated as of Dec 2022. Note: If you have any models to be introduced, please propose the models in the Discussion tab


text: Category:Book:Using Chrome

title: Category:Book:Using Chrome


text:
Using Chrome/Introduction

Google Chrome is a cross-platform web browser developed by Google. It was first released in 2008 for Microsoft Windows, built with free software components from Apple WebKit and Mozilla Firefox. Versions were later released for Linux, macOS, iOS, and also for Android, where it is the default browser. The browser is also the main component of ChromeOS, where it serves as the platform for web applications. The current version is 109.0.5414.x, which is released on January 10, 2023.

History of Chrome
The browser was first publicly released, officially as a beta version, on September 2, 2008, for Windows XP and newer, and with support for 43 languages, and later as a "stable" public release on December 11, 2008. The first official Chrome OS X and Linux developer previews were announced on June 4, 2009, with a blog post saying they were missing many features and were intended for early feedback rather than general use. In December 2009, Google released beta versions of Chrome for OS X and Linux. Google Chrome 5.0, announced on May 25, 2010, was the first stable release to support all three platforms.

title: Using Chrome/Introduction


text: Template:Using Chrome/TOC

title: Template:Using Chrome/TOC


text:
Talk:Chemicals Of The Table

The wonders of the chemicals
@Chemistry Education Nilered′s Youtube and Radio Chemistry.org TheAmericanChemist (discuss • contribs) 19:41, 29 November 2022 (UTC)

title: Talk:Chemicals Of The Table


text:
Lombard/Gerund and gerundial complements

Gerundial complement and gerund in Lombard
The gerund does not normally exist in Lombard except in some western and southern dialects in which it was imported from the Italian language, and in which its use is in any case limited. Contrariwise, gerundial complements are used. Gerundial complements are used when two actions occur simultaneously, and depending on the temporal overlap of the two actions and the causal relationship that may exist between two sentences or actions, there are different types of gerundial complements.

Case of no gerundial complement
If two actions take place simultaneously and are superimposed in the same time interval and without a causal relationship, there is no gerundial complement. They must be connected with conjunctions. Usually to join them you use "e intanta" which in English means "and meanwhile"

 * Example
 * He walked away laughing = He went away and meanwhile laughed =L'è andad via e intanta el rideva (dialect: )

Gerund
In some western dialects towards the south of Lombardy including Milanese, the use of the gerund is admitted but only to indicate a second action that cannot be separated from the first one. To be authorized to usage the gerund, the simultaneity of the actions is not enough but their inseparability is also necessary.
 * Example:
 * He walked away laughing = L’è andad via ridend (dialect: )

 * the "o" is euphonic

Gerundial complement of continous time
If an action takes place within the interval of time in which an other action takes place but does not last for the entire interval of the other, this is expressed through the gerund complement constructed by the articulated preposition "in del" (or its dialectal variants) followed by verb in the infinitive (“in del” + verb in the infinitive). It is equivalent to saying "within the time interval in which + subject + verb
 * Example
 * While seeing him he started laughing = Within the time interval in which she saw him she started laughing = In del vedé ll l’ha tacad a rider (dialet: )

Gerundial complement of cause and fixed time
If a second action occurs at the instant in which a first occurs and is a consequence of the first and the subject of the first and second is the same, the first action can be expressed through the gerund complement constructed by the articulated preposition “al” (= a + el) followed by infinitive verb (“al” + infinitive verb). It is equivalent to saying "when + subject + verb"

 * Esempio:
 * When seeing her he started laughing = When he had sawed her he started laughing = Al vedé lla l'ha tacad a rider (dialect: )

Attention: if the subjects of the two sentences do not coincide or there is no causal relationship between the two sentences, only the extended construction is possible

 * Example:
 * When they saw him he started laughing = Quand che l’hann vist, lù l'ha tacad a rider (dialect: )

Extended construction is also possible in the penultimate example, but it is better to avoid it due to the risk of misunderstandings in some cases. For example, in the case below, also in lombard, if the subjects are not specified better, it is not clear who is looking and who is being looked at, while in the construction with gerundial complement they are intended as coincident the subject is intended to be only one.

 * Esempio:
 * When he saw him he started laughing = Quand che l'ha vist l’ha tacad a rider (dialect: )

Gerundial complement of cause and continuos time

 * In the case in which a second action takes place at the same time of a first action and is also the effect of the first one, the first action is expressed through the gerundial complement constructed by the preposition "a" followed by the infinitive verb ("a" + infinitive verb ).

 * Example:
 * Doing so there is no more life = A fà inscì a gh’è pu de vita (dialect: )

Negative form: the negative form is constructed by adding the adverbs of negation as described on page "Lombard/Negation".

Gerundial complement of means
Another more specific case of gerundial complement is the one in which a second action is a consequence of the first and the first is the means to arrive at the second. It is a mean complement gerundial, equivalent to the English "by + gerund". It is constructed by the preposition “cont” plus the masculine singular definite article “el” (or its dialectal variants) followed by the verb in the infinitive form or by the preposition “a” followed by the verb in the infinitive form (“cont el” + verb in the infinitive / “a” + verb in the infinitive).
 * Example:
 * A knot is made by tying two threads together = On grop l'è fad cont el ligà insema du fil / On grop l'è fad a ligà insema du fil (dialect: )

Negative form: The negative form of this type of complement is constructed with the preposition "senza" instead of "cont el"

Gerundial complement of means and/or cause with persistent action

 * A case similar to the previous one in which we want to emphasize the persistence of the action contained in the gerund complement is constructed with the prepositional locution “a forza de” / “ a furia de” + gerund and is equivalent to the English “by dint of” + noun

 * Example:
 * By dint of work you will learn = A forza de lavorà te imparareet / A furia de lavorà te imparareet (dialect: )

Gerund complement applied to the direct object
Another case of gerundial complement built with "a + verb at the infinitive form” is shown in the example below. It is used in cases where the gerund can be replaced by an extended expression "while + subject + verb to be + gerund".
 * Example:
 * I saw you walking = I saw you while you were walking = T'hoo vist a caminà (dialect: )

In this case the preposition “a” is often omitted under the influence of the Italian language and in this case it is no longer a gerund complement but simply a verb in the infinitive (like in Italian language). In extended form without the use of the complement of the gerund the same example could also be written so:
 * I saw you walking = I saw you while you were walking = T’hoo vist intanta che te seret adree a caminà (dialect: )

Progressive construction
Another case is that of progressive construction which is discussed on the appropriate page.
 * to be + gerund = vesser adree a + verb in the infinitive form

Other cases of usage of the gerund in English
The table below shows the ways to translate into Lombard other uses of the gerund in English that in Lombard are not definable as a real gerund complement.

 * Note


text: Template:Lombard/Morphology

title: Template:Lombard/Morphology


text:
User:Hadiza inwa

Habiba Maina jibrin also known as Habiba Maina (born July 9 1994) is a Nigeria n Hausa writer, author, Podcast host, nature photographer,poem artist and entrepreneur. Early life Habiba was born in Borno state Nigeria, she is the daughter of late maina jibrin Muhammad Aliyu biu the son of late Amire of biu Mai Muhammad Aliyu biu. Habiba grew up in Maiduguri metropolitan cancel mmc she obtained her primary, secondary and tertiary education in Maiduguri. she studied civil engineering in Ramat Polytechnic Maiduguri, Nigeria. Early career Habiba Maina was the writer of Shamat, ladi, Bargon so, yarima, sharifa, hasken idanuna, gimbiya, soyayyar da nayi and rayuwata.

title: User:Hadiza inwa


text:
AI Art Generation Handbook/Lighting Techniques

This modifier is to show examples of how the lighting techniques will affect the photos in the end.

Note that for some picture, the DALL-E models have difficulties to render the rhino head on business suit This modifier is shown to show samples of photos of subject illuminated by other light source but unfortunately it does not able to show illumination by light sources except for certain cases

It may help in certain case, to put another keyword


text:
OpenGL Programming/Modern OpenGL Tutorial Virtual Trackball

The virtual trackball is a tool to rotate objects with the mouse naturally.

The concept

Imagine a virtual ball that is just behind the screen. By clicking it with your mouse, you would pinch it, and by moving your mouse you would make the ball spin around its center. And the same rotation would be applied to an object in the OpenGL scene!

The diagram on the right shows the virtual ball in top view. The black line at the bottom is the screen, and x1 and x2 are two successive mouse positions during the drag. This is shown in 2D but the same principle applies in 3D.

The goal is to compute the α angle and the rotation axis. This is the point where you understand that maths are really necessary as soon as you get serious with OpenGL ;) In particular we'll need the Pythagorean theorem, the vector dot product and cross product.

We'll:

 * 1) Convert the screen coordinates (in pixels) to camera coordinates (in [-1, 1])
 * 2) Compute the vectors OP1 and OP2, the points at the surface of the ball that match our mouse click
 * 3) * x and y coordinates are directly taken from the click in camera coordinates
 * 4) * z coordinate is computed using the classical Pythagorean theorem $$\scriptstyle b \;=\; \sqrt{c^2 \,-\, a^2}. \,$$
 * 5) * If P1 or P2 is too far away from the sphere ($$\scriptstyle \left|\mathbf{OP}\right| \;>\; 1$$), we normalize it to get the nearest point on the surface of the ball
 * 6) We have $$\scriptstyle \mathbf{a} \cdot \mathbf{b} \;=\; \left\|\mathbf{a}\right\| \, \left\|\mathbf{b}\right\| \cos (\theta) $$, and the ball's size is 1 ($$\scriptstyle \left\|\mathbf{a}\right\| \;=\; \left\|\mathbf{b}\right\| \;=\; 1$$), so we get the angle using $$\scriptstyle \arccos\left(\mathbf{OP1}\cdot\mathbf{OP2}\right)$$.
 * 7) Get the rotation axis in 3D, we compute $$\scriptstyle\mathbf{OP1}\times\mathbf{OP2}$$, which will give a unit perpendicular vector

Capturing mouse events
GLUT offers a way to get the mouse clicks and drag events:

will call  for each mouse click, where:
 * button is GLUT_LEFT_BUTTON, GLUT_MIDDLE_BUTTON or GLUT_RIGHT_BUTTON
 * state is GLUT_DOWN or GLUT_UP
 * x and y are the screen coordinates, starting from the top-left corner (y is reversed compared to OpenGL coordinates!)

will call  for each mouse move when any button is pressed down, where x and y are the screen coordinates.

You also have  which works similarly for mouse moves when no button is pressed at all.

So we add two functions to keep track of the mouse moves when the left button is pressed:

Compute OP1 and OP2
We add a new function to compute the trackball surface point:

We first convert the x,y screen coordinates to [-1,1] coordinates (and reverse y coordinates). Then we use the Pythagorean theorem to check the length of the OP vector and compute the z coordinate, as explained above.

Compute the angle and axis
Once we have OP1 and OP2 (here named  and  ), we can compute the angle with.

Since we're using  variables, there may be precision issues:   may return a value slightly greater than 1, and   will return , which means an invalid float. The consequence is that our rotation matrix will be all messed, and usually our object will just disappear from the screen! To remedy this, we cap the value with a maximum of.

An extra trick is converting the rotation axis from camera coordinates to object coordinates. It's useful when the camera and object are placed differently. For instace, if you rotate the object by 90° on the Y axis ("turn its head" to the right), then perform a vertical move with your mouse, you make a rotation on the camera X axis, but it should become a rotation on the Z axis (plane barrel roll) for the object. By converting the axis in object coordinates, the rotation will respect that the user work in camera coordinates (WYSIWYG). To transform from camera to object coordinates, we take the inverse of the MV matrix (from the MVP matrix triplet).

And last we can apply our transformation using  as usual :)

Exercises

 * Is the rotation angle proportional to the mouse move? Try to make a move near the border of the virtual ball.
 * The virtual ball will stop rolling when the mouse is too far away. Other mouse controls are possible.  For instance, study how dragging with the middle button works in the Blender 3D modeler.
 * Try different roll speeds, by multiplying the rotation angle.


text: User talk:131.106.35.82

title: User talk:131.106.35.82


text:
Javagony/Conclusions

In this book, you have learned how to write programs in Javagony that manage to do regular Java tasks despite the limitation of the programming language. Please do not use Javagony for serious projects as it will result in poor performance as well as a messy code. However, you can use Javagony to challenge yourself.

title: Javagony/Conclusions


text:
JavaScript/Control structures/Exercises

Topic: Conditional Branches

1. Write a script that allows a user to type in his name (prompt). The script shall answer depending on the length of the name.
 * Up to 5 characters: "Hello, . You have a short name."
 * Up to 10 characters: "Hello, . You have a name with a medium length."
 * Greater than 10 characters: "Hello, . Your name is very long."

2. Write a script that allows a user to type in a single character. The script shall decide whether it is a vocal ('a', 'e', 'i', 'o', 'u') or a consonant.
 * "You typed in the vocal: "
 * "You typed in the consonant: "
 * "You typed in a digit or some other character (+, -, *, ...): "

3. try / catch
 * Write a script that calls a function . This function does not exist in your script, which causes the JavaScript engine to generate a runtime error.
 * Catch the error and produce a meaningful error.
 * Terminate the script.

{What is the result?

+ A single message - Two messages
 * type=""}

{What shows the 'alert' statement? + 0 - 2 - 4 - None of the above
 * type=""}

title: JavaScript/Control structures/Exercises


text:
JavaScript/Loops

JavaScript supports the repetitive execution of code blocks via the keywords  and. Similar behavior is offered by the  method of data type   (and similar data types).

for {}
The syntax of the  statement is:. It is executed based on the following rules:

 * 1) The   is executed - exactly once for the complete   statement. Usually, it declares and initiates one or more variables - often numbers with integer values. Sometimes the declaration of the variables is made above the   statement.
 * 2) The   is evaluated. If it returns , step 3 follows. If it returns , the   statement terminates.
 * 3) The code block is executed.
 * 4) The   is executed. Usually, it increments or decrements a variable that is part of the.
 * 5) The loop repeats at step 2.

An example: Show the series of even numbers multiplied by itself (power 2); show the sum over the numbers from 0 to 10.

Optional syntax parts
The, the  , and the   are optional. If you omit one or more of them, your script shall perform other useful statements to control the loop. Some examples:

Nesting
loops can be nested. You can use a second (or 'inner') loop within the block of the first (or 'outer') loop.

This nesting of loops is also possible in all the below constructs.

continue / break
Sometimes only parts or the block shall run. This can be realized by one or more  statements. If it's appropriate, such conditional statements can be shortened by the keyword. If  is reached, the rest of the block is skipped, and the above step 4   is executed.

This example is very simple. It skips the lower part of the block for the case where  equals to 5. Of course, it can be expressed differently. A more realistic example would be a loop over the result of a database search which skips parts of a complex handling of rows with a specific status.

The  keyword is similar but more rigid than the   keyword. It skips not only the rest of the block but also terminates the complete loop.

A realistic scenario is a loop over the result of a database search where the connection to the database is broken in the middle of the loop.

You can use  and   in all forms of the here-discussed variants of loops.

do {} while
The syntax of the statement is:. It is executed based on the following rules:
 * 1) The block is executed. Because this is the very first step, the block is executed at least 1 time. This is helpful if you want to be sure that something happens under all circumstances.
 * 2) The   is evaluated. If it returns , step 1 is invoked again. If it returns , the loop terminates. Please notice that there is no specific part where you can manipulate a variable that is checked in the condition. This must be done somewhere in the block among the other statements.

while {}
The syntax of  is very similar to the previous. The only difference is that the condition is checked before and not after the block.

for (x in Object) {}
This language construct is intended to iterate over the properties of an object. Its syntax is:. The variable receives the key of all properties - one after the next - of the object. For each of them, the block is executed once.

Arrays are specialized objects. Hence it is possible to use the  on arrays. The keys for arrays are integers starting with 0 - and that is precisely what is extracted from the array.

Arrays also accept non-numeric keys, e.g.,. The  loop handles such non-numeric keys - in opposite to the below   loop, and in opposite to the traditional   loop at the top of this page.

See also: MDN: for..in

for (x of Array) {}
This language construct is intended to iterate over an array. Its syntax is:. The variable receives all values - one after the next - of the array. For each of them, the block is executed once.

This definition sounds similar to the above definition of the. But there are significant differences:
 * It returns the values, not the keys resp. index of the array.
 * It works only on all iterable objects (Array, Map, Set, ...). The data type 'object' is not iterable.
 * It works only on such keys which are numeric. Non-numerical keys resp. index are silently ignored.

See also: MDN: for..of

for..in vs. for..of
The differences between the two language constructs are summarized in an example.

Object.entries method
If you are looking for a loop that processes both keys and values of an object, there is a more straightforward method than the above-shown combination of the  with. The data type Object offers the  method that returns an array. Each element of this array contains an array with two values: the property key and the property value. In other words: the return value of the  method is a two-dimensional array. And - as usual with arrays - you should use it in combination with.

Hint: The  as well as the following   methods are no 'core' language elements like keywords or the   or   language constructs. They are methods of the Object respectively Array data type.

Array.forEach method
The data type Array offers the method. It loops over the elements of the array, returning one element after the next. The interesting point is that it takes a function as its argument. This makes the difference to the divers  and   loops. Such functions are often called callback function.

The method invocation is very easy:. The - possibly - confusing part is that function calls can be abbreviated in various ways.

The first example shows the function call explicitly. It defines the function myFunction which also takes a single argument. When myFunction is called by forEach, the next array element is inserted as the argument to myFunction.

The following examples show some abbreviations of the function invocation syntax.

It depends on your preference, which syntax you use.

In many cases, the called function performs side effects like logging. To calculate values over all array elements, it is necessary to use the technique of closures. In the following example, the variable  is not defined in the outer context, not in the anonymous function.

All in all, the following rules apply to the  method:
 * The method can be used for iterable objects like Array, Map, Set. The data type Object is not iterable.
 * The method only iterates over such elements which have a numerical key - what is the usual case for arrays.

See also:
 * MDN: forEach
 * MDN: Iterative methods

Exercises

 * ... are available on another page (click here).

title: JavaScript/Loops


text:
JavaScript/Loops/Exercises

Topic: Loops

for (Part 1)
{What is the result?

- Numbers from 3 to 5 - Numbers from 3 to 6 + Runtime error - None of the above
 * type=""}

{What is the result?

- Numbers from 10 to 0 + Even Numbers from 10 to 0 - Odd Numbers from 10 to 0 - Runtime error - None of the above
 * type=""}

{What is the result?

- 5, 8 - 5, 8, 8 - 5, 8, 11 + 5, 8, 8, 11 - Runtime error - None of the above
 * type=""}

{What is the result?

- a, b, c + c, b, a - Runtime error - None of the above
 * type=""}

for (Part 2)
1. Write a script that uses two nested loops and shows the following strings:

2. Write a script that uses two nested loops and shows the following strings, including the apostrophes: (Bonus challenge: Remove the last comma)

3. Write a script that creates a 'quadrat' with edge length 4. It consists of 'x's at one diagonal and dots at the other places. Hint: Create an empty string and - within the loop - append characters to the string. The line break is "\n". Lastly, show the string.
 * Use  loops.
 * In a second step, change only one single statement to create an according 6 x 6 quadrat.

4. Write a script that creates an 'arrow' with two heads: "<======>". The length of the arrow is determined by a variable. Changing this variable will result in an arrow of a different size.

for..in, for..of, entries
1. Write a script that
 * creates an Object with some of your personal characteristics
 * shows all properties (key and value) within a for..in loop
 * shows all properties (key and value) by using the Object.entries method.

2. Write a script that
 * creates an Array with all odd numbers smaller than 10
 * creates a string with all those numbers plus a delimiter using a for..of loop
 * shows the string after the loop

{What is the result?

+ 0, 1, 2 followed by 10, 11, 12 - 10, 11, 12 followed by 0, 1, 2 - Runtime error
 * type=""}

{What is the result?

- 0, 1, 2 + 10, 11, 12 - Runtime error
 * type=""}

forEach
1. Write a script that
 * defines an array
 * use a  construction to fill a second array with the quadratic values (9, 64, ...) of the first array
 * show the second array

title: JavaScript/Loops/Exercises


text: User:Trygve W Nodeland

title: User:Trygve W Nodeland


text:
User talk:179.54.145.169

Watch your language
Please don't create insulting edit summaries, such as this one, or you may get a longer block. 14:58, 30 November 2022 (UTC)

title: User talk:179.54.145.169


text:
Lombard/Prepositions and prepositional locutions

List of prepositions
Prepositions are words used to relate nouns or phrases. The prepositions are listed below (the list is made in the Milanese dialect, but the possible variants in the different dialects are indicated in the tables), their use will be explained in the following paragraphs. {|width="99%" cellspacing="6" cellpadding="6"
 * width="50%" valign="top"|

come

 * width="50%" valign="top"|

entro

 * }

In addition to the prepositions, there are locutions that play the role of prepositions (prepositional locutions), they will be seen in the following paragraphs (in milanese dialect; to know the dialectal variants, please refer to the consultation of Lombard language Wiktionary).

Prepositions to connect sentences
As will be said about the Construction of the sentence there are cases in which the sentences can be connected each other through prepositions, followed by a verb in the infinitive.

We can classify the following cases:
 * sentences with gerundial complement
 * sentences of purpose
 * consecutive sentences
 * sentences of deprivation
 * sentences of necessity or convenience

Another use is the one of the verbs with servile function governed by Preposition, dealt with in the module about servile verbs

Sentences with gerundial complement
For these sentences, see the module about gerundive complements

Sentences of purpose
They are subordinate sentences that specify the purpose for which what is described in the main sentence is done. Can be introduced:
 * by the Preposition "de" if the subordinate clause specifies the specific purpose for which the subject of the main clause is intended.
 * Example:
 * La firlaforla l’è l’arnes de fà i bus in del mur. (dialect: )
 * (The drill is the tool for making holes in the wall)

 * by the preposition "per" in all cases of purpose sentences, the alternative use to the preposition "de" seen above is also possible.
 * Example:
 * A son scapad via per minga fàss ciapà. (dialect: )
 * (I fled to don't get caught)
 * La firlaforla l’è l’arnes per fà i bus in del mur. (dialect: )
 * (The drill is it is the tool for making holes in the wall)

 * by the prepositional locution "cont el fin de" (alternative to per when you want to emphasize that something has been designed by paying attention to the achievement of a certain purpose)
 * Example:
 * La Noeuva Ortografia Lombarda l’è on'ortografia cont el fin de ciapà dent tute I variante locai de la lengua lombarda.
 * The New Lombard orthography is a spelling in order to understand all the local variants of the Lombard language.

Consecutive sentences
They are subordinate sentences that represent the consequence of the action specified in the main sentence It is constructed by inserting adverbs such as "tant", "inscì", "assee" in the main clause and introducing the secondary clause with the Preposition "de":
 * Example:
 * L'è stad tant svelt de finì in cinch minut. (dialect: )
 * (It was quick enough to finish in five minutes)

 * L'hà caminad inscì tant de stracàss (dialect: )
 * (He walked so much that he got tired)

Sentences of deprivation
They are subordinate sentences that represent an action that has not been performed. The secondary clause is introduced by the Preposition "senza":
 * Example:
 * He worked without eating. (dialect: )
 * (Lù l’ha lavorad senza mangià)

Sentences of necessity or convenience
They are subordinate clauses that represent an action that is necessary or convenient to do. The secondary clause is introduced by the Preposition "de": The verb of the main clause is vessegh (vesser + adverbial particle "ghe") or havégh
 * Example:
 * A ghè nagot de' di (dialect: )
 * (There is nothing to say)
 * (A) ghhoo nagot de' fà (dialect: )
 * (I have nothing to do)

....

Prepositions to indicate approximation
To indicate an approximate time in cases where normally, to indicate a precise moment, the preposition "a" is required, the preposition "in su" or "vers" is used instead. (when specifying time (hours), only "vers" can be used.
 * Example
 * Se vedom ai ses ore (See you at six) - [precise time]
 * Se vedom vers i ses ore (See you around six) - [approximate time]
 * Se vedom al calà del sol (See you at sunset) - [precise time]
 * Se vedom in sul calà del sol (See you around sunset) - [approximate time]

Prepositions and prepositional locutions of place
 Note

Argument prepositions
 Note

Origin preposition
The preposition "de" is used and it works as the same preposition used for motion from place (see above). Example:
 * (English) He was born to a Piedmontese father
 * (Lombard) L'è nassud d'on pader piemontes

Prepositions to construct comparatives
"de", "che", come, compagn de, istess de, al pari de; for their use see ►►► "adjective degrees"

Prepositions to build the predicative complement
Usually the predicate complement of the subject is not introduced by Preposition:

 * Examples:
 * El Lessi l'è considerad on geni (Alexios is considered a genius)
 * El Valeri l'è stad elensgiud sindich (Valerio was elected mayor)

However, there are cases where prepositions are used, for example:

→ Preposition "come"
 * Example:
 * L'è stad ciapad come garzon (He was hired as an apprentice)

→ Preposition "de"
 * Example:
 * El fa de testimoni (He acts as a witness)

Prepositions to say the price
Prepositions are not used to indicate the price of an object:

 * Examples:
 * El compiuter el costa cinch-cent euri (The compiuter costs 500 euros)

To say the price something is sold or bought, the preposition "a" is used

 * Example:
 * L'hoo comprad a cinch-cent euri (I bought it for 500 euros)
 * L'hoo vendud a cinch-cent euri (I sold it for 500 euros)

Prepositions to be indicative of approximation
In evaluations, measurements and assumptions in the cases where no preposition is normally required, the input of the preposition "in su'" is equivalent to saying "roughly", "about" or "approximately"
 * Example
 * El pesa in sui sessanta chilogram (It/He weighs about sixty kilograms, It/He weighs approximately sixty kilograms)

Conversely, if you want to indicate an interval, use "infra" / "intra" / "tra " / "fra" .... "e"
 * Example
 * El palazz l'è alt intra (i) trii e (i) quindes meters (The palace is between three and fifteen meters high)

Prepositions of estimation
To indicate the estimated value of something, the preposition "per" is used:

 * Example:
 * Quest anell chì l'è stad stimad per cinch-cent milion (This ring was valued at five hundred millions)

What was said in the previous paragraph applies to approximations and intervals, that is to say the prepositions in su or infra...e must be used.

Prepositions to specify the age
Prepositions are not used to indicate a person's age:

 * Examples:
 * El Lessi el gh'ha quarant'ann (Alexios is forty years old)

To specify the age when something happened we use the preposition "a"

 * Example:
 * Lù l'è andad in spos a vint ann (He got married at the age of twenty)

By the same way, an approximate age can be indicated by preceding the preposition "in su" istead of "a"

Prepositions of manner
Complements of manner are usually expressed through adverbs, sometimes they are also expressed through adverbial locutions which can be made up by:

con + noun
 * Example:
 * Hoo lavorad con impegn (I worked with effort)

de + adjective
 * Example
 * Hoo lavorad de crapon (I worked stubbornly)

however, there are numerous locutions constructed with other prepositions. Examples: sul seri → (1) really; (2) seriously per nom → by name

Prepositions to indicate feelings, moods and conditions
Usually feelings, moods or conditions are expressed by adjectives.

 * Examples:
 * El Lessi l'è feliz (Alezios is happy)

Sometimes you can write "in" + feeling / moods / condition

 * Example:
 * El paes l'è in agitazzion (The village is in turmoil)

Attention: in the cases where in Lombard there are no nouns to describe certain conditions but verbs used as a noun are used instead, the translation by this way with the preposition "in" is not possible, contrarywise you have to use the construction "adree a + verb in the infinitive" (curtailment "'dree a +..."). For example, since there is no noun to say "arrival", the verb "to arrive" (or "to come"), which in Lombard is "rivà" / "ruvà"  is used instead as if it were a noun. "the arrival" is therefore expressed in Lombard by "el rivà" but “arriving” cannot be translated to "in rivà" but must be translated with "'dree a rivà"

 * Example:
 * A gh'è on temporal (che l'è) 'dree a rivà (There is a storm (that is) coming)
 * A gh'è on temporal che l'è 'dree a rivà (There is a storm that is coming)

Prepositions to form phrasal verbs
Some verbs change their meaning when they are followed by a preposition or an adverb. ►►► see ►►► Lombard/Phrasal verbs


text:
Category talk:Pages with non-numeric formatnum arguments

What is this?
this category suddenly showed up in a ton of pages. What's it about? We don't have a Template:Formatnum page. 15:36, 30 November 2022 (UTC)


text:
User talk:Darklilac

Welcome
Welcome to Wikibooks, Darklilac!

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(Would you like to provide feedback on this message?) Thanks for your contributions. 15:57, 30 November 2022 (UTC)

You are now a reviewer
Thanks for your contributions. You have recently been promoted to reviewer, meaning you can:
 * Review edits made by others
 * Use rollback
 * Move pages without leaving a redirect

20:17, 30 January 2023 (UTC)

title: User talk:Darklilac


text:
User talk:209.174.200.178

Nov 2022
Xeverything11 (discuss • contribs) 16:21, 30 November 2022 (UTC)

title: User talk:209.174.200.178


text:
User:Pagers/EditCounterOptIn.js

EditCounterOptIn.js;

title: User:Pagers/EditCounterOptIn.js


text:
Fractals/software

=Fractal software=
 * Mandelbrot by Adrian Rabenseifner, web app
 * almondbread by Eamonn O'Brien-Strain
 * AlmondBread for DOS 2002
 * fractint
 * Spider by Yuval Fisher
 * Mandelbrot Set Explorer by David Eck
 * David Eck's MANDELZOOM at Muency (additions and bugs by Robert Munafo) Successive Refinement version
 * Mandelbrot Set Explorer by David Eck (with changes by Robert Munafo -- 20230505 row-by-row version)
 * MandelRust Rust version of David Eck program (The in-browser calculations are implemented in Rust and deployed in the browser via WebAssembly. For high precision calculations, this is about 5-7 times faster than the Javascript version. The backend server is implemented entirely in Rust using Actix-web. It can be up to 15 times faster than the original Javascript version.)
 * Fragmentarium - GLSL
 * Kalles Fraktaler
 * Mandelbulber ( m3p file holds only the parameters, while .m3i holds also the raw image )
 * Mandel - software for real and complex dynamics by Wolf Jung
 * Mandel Machine
 * gnofract
 * Programs by Claude Heiland-Allen
 * fraktaler-3 - fast deep escape time fractals
 * mandelbrot-book and mandelbrot-book-images
 * mandelbrot-perturbator
 * mightymandel - GLSL
 * mandelbrot in emscripten
 * JS]
 * gmandel - A Mandelbrot Set explorer implemented in Haskell using GTK/OpenGL/libqd, git repo
 * emndl - exponential strip visualisation of the Mandelbrot set
 * zoomasm:
 * program for making video. Zoom videos are a genre of 2D fractal animation. The rendering of the final video can be accelerated by computing exponentially spaced rings around the zoom center, before reprojecting to a sequence of flat images. Some fractal software supports rendering EXR keyframes in exponential map form, which zoomasm can assemble into a zoom video. zoomasm works from EXR, including raw iteration data, and colouring algorithms can be written in OpenGL shader source code fragments.
 * Zoomasm is a zoom video assembler for turning exponential map EXR keyframe sequences into movies. It has a timeline system in which you can set zoom depth at specific times, for example to synchronize with a soundtrack.
 * zoomasm expects a sequence of exponential map strip keyframes as input, not flat frames
 * Some fractal software supports rendering EXR keyframes in exponential map form, which zoomasm can assemble into a zoom video. zoomasm works from EXR, including raw iteration data, and colouring algorithms can be written in OpenGL shader source code fragments.
 * Libraries by Claude Heiland-Allen
 * exrtact various tools to manipulate EXR images compare with OpenExr
 * kf-extras programs for manipulating output from Kalles Fraktaler 2
 * mandelbrot-symbolics - symbolic algorithms related to the Mandelbrot set
 * mandelbrot-numerics - numerical algorithms related to the Mandelbrot set
 * mandelbrot-graphics - CPU-based visualisation of the Mandelbrot set
 * mandelbrot-text - 	parsing and pretty printing related to the Mandelbrot set
 * ruff = relatively useful fractal functions ( in Haskell)
 * UltraFractal
 * M Sargent programs
 * Xaos
 * Shadertoy - GLSL
 * Dynamics - program by Helena E. Nusse and James Yorke
 * The Computer Language Benchmarks Game : mandelbrot
 * lt = a Mac OS X application for researchers in complex dynamical systems.
 * Programs by Curtis McMullen
 * programs by Gert Buschmann
 * RatioField
 * Ratio
 * Fractalzoomer - Java progam by Chris Kalonakis ( with src code)
 * Programs by Dmitry Khmelev
 * DsTool is a computer program for the interactive investigation of dynamical system
 * pyDsToo/
 * matcont - is a Matlab software project for the numerical continuation and bifurcation study of continuous and discrete parameterized dynamical systems
 * Linas' Art Gallery
 * original pages
 * new github repo
 * - fork with new c code
 * kandid "s a java-based genetic art program from 2002 that features several kinds of algorithms including an Iterated Function System Affine Transformation; Voronoi Diagram; Cellular Automata and a bunch of other things. By far my favorite is the iIFS Affine Transformation in Grayscale mode.  It can operate in color modes but the results are always awful."  Tim Hodkinson: Kandid beats Apophysis, Chaotica and JWildfire with millions of colors tied behind its back!!!
 * Dr. Don Spickler - Fractal Generator
 * wolfram language guide: Iterated Maps And Fractals
 * James Gleick's CHAOS: The Software, version by Rudy Rucker in C with code
 * fractalstream-1.0 and home page
 * Polynomial Julia Sets online visualisation with formula parser by Mark McClure
 * Fractalshades by Geoffroy Billotey
 * fractalnow - Fast, advanced, multi-platform fractal generator based on Pthread, GMP, MPFR, MPC and Qt libraries
 * nanobrot by flutomax

Imagina

 * github repo
 * mandelbrot-reference-compression
 * imagina in FF
 * wine ./Imagina.exe
 * unzip ./Imagina.zip
 * .im is a binary file format that can include a compressed reference
 * fractalforums.org: renderdisplay-method-circle-from-center-out-how-does-it-work: Imagina uses a successive refinement technique. It uses this circular rendering on each successive refinement step. In Imagina the image is continuously updated. It's implemented in class StandardPixelManager in PixelManager.h/.cpp, mainly in three functions: Init, GetCoordinate, and WriteResults.
 * Imagina tries to synchronize the approximation steps with minibrot periods, because most of times, it's possible to move forward one minibrot period each time.

Precision
 * floatexp with single precision
 * FloatExp with double precision

Controls

 * Left mouse button
 * Drag - Pan view
 * Double click - Find nearby feature and open Feature Finder dialog
 * Mouse scroll wheel - Zoom
 * A - Increase color density
 * S - Decrease color density
 * D - Increase iteration limit
 * F - Decrease iteration limit
 * E - Cycle color forward
 * R - Cycle color backward

Nanoscope by pauldelbrot
Extra range is needed on a few specific iterations, if zooming past e300 and doing flybys past minibrots below e300.

Nanoscope stores a similar array to KF, 3x double with re, im, and a mag value used for glitch detection. It also stores a pointer that is either null or points to a wide-exponent copy of those three values. If the double precision values underflow (denorm or zero) these get set for that iteration during reference orbit computation. Otherwise the pointer is null. During iteration, if the pointer is not null the next iteration is done using 52-bit mantissa wide-exponent calculations (significantly slower, but for only one iteration).

The circumstances that trigger this are instances like this. Say there's a period-73174 mini at about e380. If the zoom goes very close to that mini, then for images near and deeper than that mini, every 73174th reference orbit iteration is within 1e-380 of zero or so, so it underflows in a double. So wide exponent calculations must be done on those iterations, and those reference orbit entries must be stored with a wide exponent.

For every other iteration below e300, Nanoscope does the calculations with rescaled values that don't need a wide exponent. The rescaling is changed every 500 or so iterations -- this works because until a point is on the verge of escape, its orbit dynamics are dominated by the effects of repelling points in the Julia set nearby, and that typically means its magnitude doubles each iteration. The exponent width of doubles is 11 bits, so from about -1000 to about 1000, representing powers of 2 (not 10), so easily accommodates 500 doublings with plenty of margin for error. Re-rescaling is also done after every iteration that needed a wide-exponent reference point, because the orbit has jumped much closer to 0 again on such iterations.

On "final approach" an escape-bound critical orbit moves faster, with the magnitude squaring each iteration, but by the time this happens the unscaled magnitude is above the e-300 threshold and Nanoscope has switched to bog-standard perturbation calculations without any rescaling or other sneaky tricks. And escape is usually within the next 500 iterations anyway.

NanoMB

 * NanoMB program by knightly
 * nanomb64_generic.exe
 * nanomb64_i7.exe
 * knighty's super series approximation perturbation algorithms

time ./nanomb64_i7.exe --kfr ./test_x1.kfr --maxiters 250000 --period 2489 --width 500 --height 500 --orderM 4 --orderN 4 --output_ppm s.ppm --output_kfb s.kfb --force_type 'floatexp' Period is 2489 nanomb.exe --kfr test_x1.kfr --period 2449 --width 500 --height 500 --orderM 4 --orderN 4 --output_ppm s.ppm --force_type floatexp

SuperMB

 * SuperMB
 * superMB is actually not super at all. It is just a modification of the code Claude posted in the superfractalthing thread. I use it for experimenting. It now have a rudimentary GUI. I've attached below the source code +dependencies

Knighty's SMB which I think is still a bit faster than KF though being more of a testbed than a usable renderer puts the glitches in distinct sets (G1,.., Gn) with same iteration number where glitch was detected. Next references will then be 1 random pixel from each of the G1,..,Gn and is used only to recalculate the pixels in each set G. Secondary glitches simply generate another set G and you just put then in some queue or stack and keep going at it till no more G sets left. When dealing with glitched pixels you can use the same series expansion as a starting point. ( Gerrit)

on GitHub

 * https://github.com/wpwoodjr/MandelRust
 * https://github.com/rodrigosetti/sdl-mandelbrot
 * https://github.com/rust-fractal/rust-fractal-core/tree/master
 * https://github.com/bernds/GAPFixFractal
 * https://github.com/JMaio/mandelbrot-maps
 * https://github.com/Toxe/mandelbrot-sfml-imgui
 * https://github.com/Toxe/mandelbrot-comparison
 * https://github.com/josecelano/c-mandelbrot-arbitrary-precision
 * https://github.com/angeluriot/2D_fractals_generator
 * https://github.com/angeluriot/Graphics_skeleton

=Hubs=
 * openhub: projects tagged fractal
 * sourceforge Search Results for "fractals"
 * fractalforums.org downloads
 * github topics fractals

title: Fractals/software


text:
Fractals/other

Other ( not made by iteration) fractal types
 * Real-world fractals
 * Lyapunov fractal
 * L-Systems
 * Midpoint displacement algorithm, plasma fractals
 * Diamond-square algorithm
 * a limit set of a Kleinian group
 * Apollonian fractals
 * Fractal mountains
 * IFS
 * Flame fractals/
 * cellular automata
 * Strange attractors
 * fractal-clusters or groups of circles

title: Fractals/other


text:
Fractals/Programming computer graphic

'''"Just keep in mind that what is obvious for you won't be necessarily obvious for the reader." ''' :— (cKleinhuis )

''' The images we see on the TV screen, the raster display of a computer, or in newspapers are in fact digital images. '''
 * Formula parser
 * Computer graphic techniques
 * image, texture
 * Quality : How to make 2D static images (computer graphic, non-photographic digital images), escpecially fractal images for display ?
 * color
 * color gradient
 * color workflow
 * coloring algorithms
 * general coloring algorithms
 * Coloring algorithms for drawing fractals
 * printing tips
 * image noise, glitches
 * graphic file, data file and parameter files
 * Dimension
 * 2D
 * plane: description
 * Size and resolution of the image
 * Scanning, sampling and decomposition
 * coordinate: computing
 * grid, mesh, ruler, ...
 * Image processing - pipeline of 2D graphic
 * Plane transformations, mappings
 * zoom and deep zoom (perturbation)
 * plane inversion
 * unrolling (a closed curve )
 * Conformal maps
 * Conformal maps applied to pictures
 * Moebius transformation
 * Exponential and Mercator map
 * Maping component to the unit disk ( Riemann map ):
 * Multiplier map and internal ray
 * on the parameter plane
 * Boettcher map
 * on the dynamic plane : Boettcher map, complex potential and external ray
 * on the parameter plane : parameter ray = field lines
 * curves
 * optimisation
 * 2D algorithms
 * 3D
 * 4D
 * AI
 * openai codex
 * alphacode from deepmind
 * Documentation: Program is as good as it's documentation !

title: Fractals/Programming computer graphic


text:
Fractals/Mathematics for computer graphic

"It can be argued that the mathematics behind these images is even prettier than the pictures themselves." Robert L. Devaney

"We choose to do mathematics, not because it is easy, but because it is hard." user "Haskell Curry " You don't need to be a mathematician to appreciate the impressive beauty of fractals, and many times intuition and curiosity are two of the more important ingredients that drive mathematical discovery. Víctor José García Garrido

"whereas mathemathical idea is a timless thing, few things are more ephemeral then computer hardware and software" Tristan Needham in Visual Complex Analysis Mathematics for computer graphic
 * Numbers
 * by base
 * binary number
 * decimal
 * sequences
 * Period
 * Continued fraction
 * Function, map, iterated function
 * angle doubling map
 * rotating map
 * Complex quadratic map
 * rational map
 * Derivative
 * computations
 * Numerical methods, precision, error
 * Finding roots of equation
 * Newton method
 * Durand-Kerner method
 * Finding function from sequence, curve fitting, model fitting
 * Symbolic methods
 * Kneading sequences
 * Group theory
 * Binary adding group
 * Basilica group
 * Kleinian group
 * Vector field
 * Polynomial vector field in one complex variable
 * Line integral convolution ( LIC) global visualisation of vector field
 * From discrete dynamical systems to continuous dynamical systems
 * dynamical system
 * discrete map
 * difference equation
 * differential equation
 * Computational topology
 * topology of point cloud data ( PCD)
 * from PCD to simplicial complexes
 * surface topology: Normal curves and surfaces, Paths in the plane
 * Topological graph theory, Computation of Contour Trees and Topology of Level Sets
 * distance fields: SDF
 * noise
 * Morse theory relates critical points of a function on a manifold (geometry) to the topology of the manifold
 * Computational Geometry has immediate applications in many other research areas, including computer graphics, mesh generation, geographic information systems, VLSI design, and robotics
 * Specific problems
 * convex hulls
 * Voronoi diagrams
 * line segment intersection
 * polygon triangulation
 * geometric range searching
 * low-dimensional linear programming
 * geometric shortest paths
 * visibility
 * parts
 * Discrete geometry ( it includes Digital geometry = computer graphics and image analysis, Geometry processing = mesh processing )
 * computational conformal geometry
 * Discrete Differential Geometry
 * Hyperbolic geometry
 * software
 * cgal The Computational Geometry Algorithms Library


text:
LMIs in Control/Stability Analysis/Discrete Time/Transient Impulse Response Bound

The System
Consider the single-input multi-output discrete-time LTI system with state-space realization $$\bold x_{k+1} = \bold A_d \bold x_k + \bold B_d u_k$$, $$\bold y_{k} = \bold C_d \bold x_k$$

The Data
$$\bold A_d \in\mathbb R^{n \times n}$$, $$\bold B_d \in\mathbb R^{n \times 1}$$, and $$\bold C_d \in\mathbb R^{p \times n}$$, and it is assumed that $$\bold A_d$$ is invertible. Let $$\bold z_k = \bold C_d A ^{k-1} _d B_d $$. be the unit impulse response of the system. The Euclidian Norm of the impulse response satisfies the following LMI.

The LMI
$$\left \vert \left \vert z_k \right \Vert \right \vert _2 \leq \gamma, \forall k \in \mathbb{Z}_{\geq 0}$$

if there exist $$\bold P \in\mathbb S^n $$ and $$\gamma \in\mathbb R_{>0}$$  where  $$\bold P > 0 $$, such that

$$\begin{bmatrix} \bold P & \bold C_d^T \\
 * & \gamma \bold 1 \end{bmatrix} \geq 0. $$

$$\begin{bmatrix} \bold P & \bold P A^{-1} _d B_d \\
 * & \gamma \end{bmatrix} \geq 0. $$

and $$ A^T _d P A_d - P \leq 0. $$

Implementation
This can be implemented in any LMI parser such as YALMIP which can implement a solver like Mosek to return a solution.

Conclusion
By using this LMI the transient state bound can be analyzed for a given autonomous LTI system.

Related Links

 * LMIs in Control/Stability Analysis/Discrete Time/Transient Bound for Discrete-Time Non-Autonomous LTI Systems


text:
User talk:190.104.112.152

--Xania   talk 05:22, 1 December 2022 (UTC)

title: User talk:190.104.112.152


text:
Fractals/unroll

Unrolling is an example of plane transformation

=name=
 * wrap and unwrap
 * rolling and unrolling
 * a curve
 * a surface
 * fold and unfold
 * Moebius mapping

=Examples=

circle

 * unrolling the circumference of a unit circle o see how long it is
 * "Unrolling these circles fills a triangle with base 2 π r and height r (where r is the radius of the filled disk). Such a triangle has area π r². This does not serve as a complete proof for why this is the area of a circle, but can give you some intuition for why it should be." Matthen

Image magic:

convert sun.jpg +distort DePolar 0 result.jpg

ellipse

 * Rolling ellipses of different dimensions to measure their perimeters

cardioid
To unroll the cardioid do:
 * cardioid to circle transforamtion
 * unroll the circle

history

 * 1988 : Heinz-Otto Peitgen, Dietmar Saupe, Yuval Fisher, & 5 more in book "The Science of Fractal Images" : "A region along the cardioid is continuously blown up and stretched out, so that the respective segment of the cardioid becomes a line segment. ... Our blow-up factor is chosen accordingly to the result that all disks in Figure 4.22 have the same size."
 * Linas Vepstas 2000
 * Claude Heiland-Allen 2013

algorithm
This image is made using algorithm described by Claude Heiland-Allen

The main idea here is choose 3 points on the base image (P0, P1, Pinf) which define a circle, and map them respectively to 0., 1., inf. ( Geoffroy Billotey)

Figure 4.22 on pages 204-205 of the book titled : "The Science Of Fractal Images" by Heinz-Otto Peitgen and D. Saupe has description: A region along the cardioid is continuously blown up and stretched out, so that the respective segment of the cardioid becomes a line segment. ... Our blow-up factor is chosen accordingly to the result that all disks in Figure 4.22 have the same size.

transformation from line, thru half of the circle, to half of the cardioid

There are 3 complex planes :
 * k-plane ( where are lines) in Claude Heiland-Allen notation
 * w-plane ( where are circles)
 * c-plane ( for cardioid )

2 steps from k-plane to c-plane:
 * from k plane go to w plane using Moebius transformation fi
 * from w plane go to the c plane using  conformal map gi

$$w = f_i(k) $$

$$c = g_i(w) $$

so :

$$c = g_i( f_i ( k)) $$

Maxima CAS src code
z(%i1) k:x+y*%i; (%o1) %i*y+x (%i2) fi(k):=(-%i-k)/(%i-k); (%o2) fi(k):=−%i−k/%i−k (%i3) gi(w):=w/2-w*w/4; (%o3) gi(w):=w/2−(w*w)/4 (%i4) gfi(k):=gi(fi(k)); (%o4) gfi(k):=gi(fi(k)) (%i5) c:gfi(k)$ How to compute c from k without using CAS : (%i6) ratsimp(realpart(c)); (%o6) (y^4−4*y^3+(2*x^2+2)*y^2+(4−4*x^2)*y+x^4+6*x^2−3)/(4*y^4−16*y^3+(8*x^2+24)*y^2+(−16*x^2−16)*y+4*x^4+8*x^2+4) (%i7) ratsimp(imagpart(c)); (%o7) −(2*x*y−2*x)/(y^4−4*y^3+(2*x^2+6)*y^2+(−4*x^2−4)*y+x^4+2*x^2+1)

Check the gfi function with some known values : (%i8) gfi(0); (%o8) −3/4 (%i12) gfi(%i/3); (%o12) −2

Compare with

 * shadertoy : The trees are breathing by jld
 * shadertoy : Mandelstrip by jid
 * Mandelbrot Set - Convergent Evolution of P/Q Limbs in Seahorse Valley by izaytsev0
 * elephants (demo 2 page 10) ? There is just a rotation and rescaling on a small region instead of the non-linear transformation." See program Mandel by Wolf Jung demo 2 page 10
 * Mandelbrot Buds and Branches by Timothy Chase
 * Fractalshades examples: Moebius mapping

=See also=
 * Loop unrolling in wikipedia
 * slow mating of quadratic julia sets by Claude

=References=

title: Fractals/unroll


text:
User:Bkoopma/vector.css

pre {padding:0; border: none; margin:0; line-height: 1.5em; } .code .input ol {list-style: none; font-size: 1.2em; margin-left: 0;} .code .input ol li div:before {content: "\003E \0020";} table.subfigures div.thumbinner, table.subfigures tr td, table.subfigures {border: 0;}

title: User:Bkoopma/vector.css


text:
User:Arlo Barnes

now playing: l%C3%A1adan

see also: /sandbox

title: User:Arlo Barnes


text:
User:Arlo Barnes/drinking water

(suggestions for book title welcomed at the talk page)

 * /regulation
 * /sourcewater & (geo)hydrology
 * /chemistry & microbiology
 * /pumps and motors
 * /leaks
 * /logging/monitoring/mapping/inventory
 * /metering

see also: drinking water (consumer perspective)

title: User:Arlo Barnes/drinking water


text:
Using Chrome/Installation

Chrome can be downloaded from this page. Pressing the large blue button will download Chrome.

Android
Most Android phones and tablets have Chrome pre-installed. If you don't have one, install Chrome on Google Play Store.

iOS & iPadOS
You can install Chrome on the App Store on iPhone and iPad.

title: Using Chrome/Installation


title: File:FBWGL3.png


text:
Fireboy and Watergirl in the Forest Temple/Level 3

Level 3 is the third level of the game. It is unlocked after completing level 2, and completing level 3 unlocks level 4.

This concept also introduces you to a new concept - fans. If the player is above a fan, it will push him/her up. This specific level doesn’t require collaboration between Fireboy and Watergirl, so if playing solo, you might find it easier to first get one to the door, and then the second.


text:
Using Chrome/Browsing with Tabs

Chrome has been designed to be useable by any user immediately--with no learning curve. However, to truly "rediscover the web", you should become comfortable with Chrome's advanced features. One of these is the use of tabs. Chrome uses "tabs" to show multiple web pages in the same window. Several other web browsers, such as Firefox and Microsoft Edge, also use tabs.

Tabs are featured above the address bar, in a file folder-like layout. Tabs allow users to have one Chrome window in the taskbar, with multiple web pages open within that window. The number of tabs that can be opened at any one time is unlimited, though the tab bar can only hold around 20 tabs comfortably.

title: Using Chrome/Browsing with Tabs


title: File:FBWGL4.png


text:
Fireboy and Watergirl in the Forest Temple/Level 4

Level 4 is the fourth level of the game, and is unlocked after completing level 3. After completing level 4, many branches are unlocked. Levels 5, 8, 14, 24, and 30 are unlocked and you can play them in any order you like.


text:
Category:User rki

Users in this category indicate they have knowledge of language ရခိုင်.

title: Category:User rki


text: User:YaThaWinTha

title: User:YaThaWinTha


title: File:FBWGL5.png


text:
User talk:80.39.134.110

Xeverything11 (discuss • contribs) 09:30, 1 December 2022 (UTC)

title: User talk:80.39.134.110


text: Category:Book:Salut, ionatano!

title: Category:Book:Salut, ionatano!


text:
User:Designermadsen/books/programming/java

= Java Algorithms =


text:
User:Designermadsen/pages

= User Pages = by User:Designermadsen

Subjects:

 * Programming
 * 1) C#
 * 2) Java
 * 3) Python
 * 4) Bash
 * 5) PHP

 * Virtualisation

title: User:Designermadsen/pages