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User talk:Muhammad jassarat siddiqui

Malaria

What is Malaria? Malaria is a dangerous and sometimes fatal disease caused by a parasite that typically infects a species of mosquito that feeds on people. Malaria patients generally have high fevers, shivering chills, and flu-like symptoms.

Causes: Only infected insect bites or blood transfusions from infected donors can result in the transmission of malaria. During pregnancy, mothers might pass malaria to their unborn children.

The Plasmodium parasite is spread by mosquitoes by biting an already infected human or animal. Following these alterations, the parasite can infect the next organism that the mosquito bites. When a mosquito bites you again, it multiplies in the liver and undergoes a new transformation in preparation for infection. Red blood cells are invaded once it enters circulation. The diseased red blood cells eventually explode. As a result, the parasites spread throughout the body and result in malaria symptoms.

Malaria Transmission Cycle: Uninfected mosquito: When a mosquito bites a person with malaria, it contracts the disease.

Parasite transmission: The next time this mosquito bites you, it might give you malaria parasites.

In the liver: Once inside your body, the parasites go to your liver, where certain varieties can lay dormant for up to a year.

Into the bloodstream: Once they reach maturity, the parasites leave the liver and attack your red blood cells. People often start to exhibit signs of malaria around this time.

On to the next person: At this stage of the malaria cycle, if an uninfected mosquito bites you, it will contract your malaria parasites and pass them on to everyone else it bites.

Symptoms: Malaria symptoms and signs can include:

Fever Chills A general uneasy sensation Headache Nausea and diarrheic Diarrhea Continent pain Joint or muscle aches Fatigue Quickly breathing Quick heartbeat Cough Typically, a few weeks after being bitten by an infected insect, malaria signs and symptoms appear. Some malaria parasite strains, however, can slumber in your bloodstream for up to a year. Malaria sufferers can have recurrent "attacks." Typically, an episode begins with chills and shivering, then a high fever, followed by perspiration and a return to normal body temperature.

Prevention: Avoid mosquito bites if you reside in or are visiting a region where malaria is prevalent. Most mosquito activity occurs between the dark and sunrise. To avoid getting bitten by mosquitoes, you need

Cover your skin: Put on long sleeves and pants. Put your shirt in the sleeve and your pant legs in the socks.

Apply insect repellant to skin: On any exposed skin, use an insect repellent that has been approved by the Environmental Protection Agency. DEET, picaridin, IR3535, oil of lemon eucalyptus (OLE), para-menthane-3,8-diol (PMD), and 2-undecanoate are a few examples of these repellents. Avoid using a spray on your face. Avoid giving OLE or PMD-containing products to kids under the age of 3.

Apply repellant to clothes: It's okay to apply permethrin-containing sprays on garments.

Sleep with a mosquito net: Insecticide-treated bed nets, such as permethrin-treated ones, are particularly effective at reducing mosquito bites while you sleep.

Preventive Medicine: If you're going to a place where malaria is frequent, talk to your doctor about whether you need to take medications before, during, and after your trip to help protect you against malaria parasites.

The majority of the time, the medications used to treat malaria are also used to prevent it. The medication you take will depend on where you are going, how long you will be there, and your personal health.

Diagnosis: To diagnose malaria, your doctor will most likely evaluate your medical history and recent travel, perform a physical exam, and request blood tests. Blood testing may reveal: To determine if you have malaria, the blood must contain the parasite present. Your symptoms are being caused by what kind of malaria parasite? If a parasite that is causing your infection is resistant to some medications Whether the illness is resulting in any severe side effects Depending on the blood test, results may be available in less than 15 minutes or may take several days to complete. Depending on your symptoms, your doctor may request additional diagnostic tests to rule out any consequences.

Treatment: Malaria is treated with medications that destroy the parasite. The medicines used and the length of therapy will differ based on: Exactly what kind of malaria parasite do you have The severity of your symptoms Your age Whether you're pregnant or not Medications: The most often used antimalarial medications are:

Phosphate of chloroquine. For every parasite that is susceptible to the medicine, chloroquine is the favored therapy. However, chloroquine is no longer an effective therapy for parasites in many regions of the world. Treatments are based on a combination of artemisinin. ACT is a combination of two or more medications that function in distinct ways against the malaria parasite. This is the standard therapy for chloroquine-resistant malaria. Examples include artesunate-mefloquine and artemether-lumefantrine (Coartem). Other commonly used antimalarial medications include: Atovaquone-proguanil (Malarone) (Malarone). Quinine sulfate (Qualaquin) in combination with doxycycline (Oracea, Vibramycin, others). Phosphate of primaquine. Most asked questions: Malaria may affect everyone?

Visitors to regions where malaria is endemic run the risk of contracting the disease. Pregnant women, people living with HIV/AIDS, and small children who live in malaria zones are among those who are at risk of developing severe and complex malaria.

How is malaria transmitted?

Certain Anopheles mosquito species can spread malaria to people. There are four major types of parasites. Plasmodium vivax and plasmodium falciparum both produce vivax and quartan (or malaria) malaria, respectively. In South Africa, Plasmodium falciparum predominates, with Plasmodium vivax infections being extremely rare. Although they are not locally transmitted, Plasmodium ovale and Plasmodium malaria have been found in returning passengers.

Do animals get malaria?

Some animals, such as birds, rodents, and reptiles, can get malarial species unrelated to those described above in humans. Although some malaria species, such as P. knowlesi, can infect both apes and humans, regular human malaria does not often afflict humans.

What symptoms and indicators are present in malaria?

Malaria can incubate for as little as 7 days, but in patients who are non-immune and have not had chemoprophylaxis, it often takes 10 to 21 days. Patients who have taken particular antibiotics for other reasons or as prophylactic may experience more extended incubation periods. The non-specific first signs of malaria include a sudden development of fever and symptoms that resemble the flu. Adults frequently have headaches, rigors—cold shivering and sweating—and myalgia. Later symptoms might include lassitude, exhaustion, stomach pain, diarrhea, appetite loss, nausea and vomiting, sore throat, and cough. Malaria can manifest in young children as a fever, lethargicness, poor appetite, vomiting, diarrhea, or cough.

How is malaria diagnosed?

Even if chemoprophylaxis has been administered, every patient with a fever who has visited or resides in a region where malaria is endemic should have their diagnosis of malaria reviewed. Malaria is confirmed by checking blood samples for parasites using a blood smear (microscopy) or a quick malaria test. Repeat testing should be done until a malaria diagnosis is made or symptoms go away since a negative blood test or fast malaria test does not rule out the existence of the disease.

How is malaria treated? For severe malaria, intravenous quinine (after an initial loading dosage of 20 mg/kg over four hours in 5% dextrose) is an option for parenteral artesunate. On the "Diseases A-Z" tab of the NICD website at nicd.ac.za, you may find instructions for treating malaria.

Mosquito avoidance: By staying home between nightfall and dawn and by donning long-sleeved, preferably light-colored clothes, mosquito contact can be considerably decreased. Long pants and socks are advised since mosquitoes like to bite below the waist and especially below the knees. On exposed skin, insect repellents can be applied. You may use mosquito coils and vaporization mats indoors. Particularly in regions where malaria is prevalent, windows and doors can be covered with mosquito screens. Air conditioners and ceiling fans both work well to disrupt mosquito breeding. Insecticide-infused bed nets are effective at reducing mosquito bites.

Chemoprophylaxis: Visitors to the malaria-endemic regions of South Africa and the neighboring nations are encouraged to use the recommended chemoprophylaxis and to follow precautions to avoid mosquito bites. Mefloquine, doxycycline, or atovaquone-proguanil are among the chemoprophylactic regimens now advised. For further information on prophylaxis dose and duration, consult the most recent recommendations.

Summary: Malaria symptoms and signs can appear a few weeks after being bitten by an infected insect. Malaria patients can have recurrent "attacks." Typically, an episode begins with chills and shivering, then a high fever, followed by perspiration and a return to normal body temperature. Insecticide-treated bed nets, such as permethrin-treated ones, are the best protection against malaria. Malaria is treated with medications that destroy the parasite. The medication you take will depend on where you are going, how long you will be there, and your personal health. Chloroquine is no longer an effective therapy for parasites in many regions of the world. There are four major types of parasites. Malaria can incubate for as little as 7 days, but in patients who are non-immune and have not had chemoprophylaxis, it often takes 10 to 21 days. The non-specific first signs of malaria include a sudden development of fever and symptoms that resemble the flu. Malaria is confirmed by checking blood samples for parasites using a blood smear (microscopy) or a quick malaria test. Most tourists to malaria-endemic regions can avoid getting the disease by using appropriate drug and non-drug preventative methods. For severe malaria, intravenous quinine (after an initial loading dosage of 20 mg/kg over four hours in 5% dextrose) is an alternative to parenteral artesunate. Long pants and socks are advised since mosquitoes like to bite below the waist and especially below the knees.

title: User talk:Muhammad jassarat siddiqui


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Talk:Themes in Literature/Isolation and Community/Octavia E. Butler

Another version to merge with the published one
Octavia Butler is an African American woman who is the first black woman to write about science fiction, a genre usually ruled by white men. The National Women's History Museum states; Butler was born in California in the 1940s, to a single mother. She spent her life in segregation and watching her mother suffer to keep their family fed. Later on in life, Butler encountered a black classmate who says they wished they could kill their black ancestors. Butler, shocked at her classmate, decided to create one of her most known books, Kindred. Butler is moved to write this book because she can not believe that her classmate does not understand the sacrifices and the horror her community had to face during the time of slavery. Dr. X (discuss • contribs) 21:36, 16 December 2022 (UTC)

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


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User:Money-lover-12345

Hello there!

not too sure how wikibooks works.

cool stuff about me:
 * i live in vancouver, canada. this means i use pst (utc-8)
 * i don't really care about pronouns, but i do prefer they/them
 * as you can tell from babel boxes, i speak english natively but i can understand a bit of french

i really want to get the B3D:N2P book back on track again but it's going to be hard. feel free to discuss with me if you have any ideas for improvements or big overhauls

Discussion • Contributions • Sandbox

Contact:
 * Email:  (slow response)
 * Discord ID:  (potentially faster response)

title: User:Money-lover-12345


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User:Money-lover-12345/sandbox

this is a reference page for my sandboxes in case i ever need more than one

list:
 * Sandbox1
 * Sandbox2

title: User:Money-lover-12345/sandbox


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Talk:Blender 3D: Noob to Pro/Unit 1: Knowing Before Making

Blender versions and their Python requirements.
Since Blender releases come with Python packaged nowadays, should we still keep a table of Python version requirements? We can't keep this table updated forever + I don't think anyone's going to use the super old Blender versions (as in <2.7)

Money-lover-12345 (discuss • contribs) 00:23, 17 December 2022 (UTC)


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Themes in Literature/Belonging and Exile/Sights for Sore Eyes

J. M. Coetzee’s Waiting for the Barbarians wastes little time in announcing vision and blindness as predominant themes. In the novel’s opening lines, Colonel Joll, representative of the ambiguously named Empire’s even more ambiguously named Third Bureau, has arrived in a small boarder town. Coetzee’s first-person narrator, referred to simply as the Magistrate, immediately questions the colonel’s eyewear: “Is he blind?” Joll is wearing dark sunglasses; nobody in the Magistrate’s far-flung, frontier town has ever seen anything like them. In the first lines of chapter two, we are introduced to a young ‘barbarian’ girl who is also presumed blind. Her vision has been irreparably damaged from torture, but she has not lost her sight completely. Later, after an eye-opening trip into the desert, a blinding storm, and a mirage or two, Coetzee’s Magistrate finds himself contemplating the gaze of a second authoritarian figure from deep within the Empire, Officer Mandel. Mandel doesn’t wear tinted glasses like Joll; instead, his eyes are, as the Magistrate observes, “as clear as if there were crystal lenses slipped over his eyeballs”. The described differences of these three individual’s sights allegorically align with the Magistrate’s changing perception of the Empire throughout the novel. Coetzee, using specific literal and non-literal language, forces his readers to contemplate sight while simultaneously asking them to see a perhaps unseeable truth. To discover what truths Coetzee wants his readers to see, it becomes necessary to begin with what his readers cannot see.

Waiting for the Barbarians is laden with ambiguity. As readers we are given very little information. The setting is a nameless frontier border town, the last outpost between an enigmatic Empire and unknowable barbarians. Limited names are provided. The only hints we have as to when the story takes place are the existence of sunglasses and the absence of electricity. Coetzee’s carefully crafted uncertainty likely points to the enduring existence of empires; all civilizations crumble, only to be replaced by something new. As such, the events of Waiting for the Barbarians could have taken place anywhere at any time. But perhaps this hazy setting is reference to the secrecy within Coetzee’s own empire. In his essay, “Into the Dark Chamber,” Coetzee touches on things that were hidden away from the public eye during South African Apartheid. Prisons and police headquarters could not be photographed, cameras were banned from capturing images of burning townships, and starving people were kept out of sight. He notes: “Let there be roadblocks, let there be curfews, let there be laws against vagrancy, begging, squatting, and let offenders be locked away so that no one has to see them…how much more bearable the newscasts have become!” For much of human history empires have forced their agendas not only on their subjects, but also on their opponents, whomever is deemed “other”. We see what they want us to see, read what they want us to read, think how they want us to think. By being selective with what he shows his readers, Coetzee is, in a way, taking control back from empires everywhere. Through ambiguity, Coetzee shows us only what he wants us to see, and in doing so we are presented with a question: What can we do “when the choice is no longer limited to either looking on in horrified fascination as the blows fall or turning one’s eyes away?” Perhaps the answer lies at the end of our Magistrate’s slow journey into cognizance.

By no fault of his own, Coetzee’s Magistrate begins the story blind to the true evils of the Empire. He has grown old and fat, content with his quiet life. He looks up at the stars shining brightly in the night sky and remarks: “Truly we are here on the roof of the world." The thinking here goes beyond a beautiful starry night. Life within the Empire is ascetically pleasing; summer is winding down, the trees are full of fruit, there has been plenty of game to hunt, the soldiers under his command sleep peacefully. The Magistrate knows the nature of Joll’s visit, but he chooses to reflect on the positives that come from serving the all-powerful Empire, the light that shines in the darkness. The Magistrate’s own ignorance is perhaps hinted at during the questioning of Joll’s eye health. Both he and Joll represent authority within the Empire; it’s only the Magistrate who sees himself differently. The young boy held captive in the town’s granary cannot distinguish between the two: “He stares over my shoulder, not at the guard, but at Colonel Joll beside him.” The boy looks from the Magistrate to Joll, but only sees the Empire. The setting of all of this is important. The granary, Joll’s tourture chamber, is the same dark, secluded place our Magistrate turned into his love nest during the early years of his appointment. He attributes his conquests of restless wives and sherbet-drunk young women to his sexual prowess. Coetzee’s choice of the granary as a setting suggests otherwise. The Magistrate sees himself as an individual; he can separate himself from the Empire. To the community, however, he and the Empire are one in the same. Even when he takes off his uniform in a dark room, the Empire shines brightly through him. He is, upon Joll’s arrival, blind to this fact. Ironically a half-blind barbarian girl helps opens his eyes.

Before returning to the Capital, Joll ventures into the desert to find more barbarians. Among the detainees is a young woman, about twenty years old. Her vision has been damaged from the colonel’s questioning; her ankles broken. The Magistrate sees her begging in town after he forced the rest of Joll’s prisoners return to the desert and brings the barbarian girl into his protection under the guise of eliminating vagrancy (how South African of him). The Magistrate’s relationship with this barbarian “other” is strange. At times he is attracted to her sexually, but he is hesitant, and in his ambivalence, he refuses her advances. He, like Joll, wants information. He wants to understand her, her culture. He wants to know what Joll did to her. The Magistrate wants to decipher her in the same way he wants to decipher the wooden tiles unearthed in the ruins outside the city walls. Initially she is quiet in his presence, having little trust of authority. She had already lost her father, the ability to walk, and much of her vision at the hands of an overly inquisitive member of the Empire. The Magistrate, unsatisfied with her silence, tries to read her physically through almost ritualistic nightly body rubs. These massages resemble a blind person reading braille, once again forcing doubt of the Magistrate’s sight and perception. The barbarian girl isn’t fully blind; she can see peripherally. The men of the Empire appear the same in her damaged eyes. This realization is a terrifying eureka moment for the Magistrate: “With a shift of horror I behold the answer that has been waiting for me in the image of a face masked by two black glassy insect eyes from which there comes no reciprocal gaze but only my double image cast back at me” (italics added). The Magistrate unearths a real perception; one he finds horrifying. He and Joll are, in many ways, the same. It is only after realizing this truth that he can distance himself from the Empire.

Free from the blinders of empirical complacency, the Magistrate now understands what the Empire is capable of. He decides to return the barbarian girl safely home to her nomadic people beyond the city gates. The journey into the desert becomes an almost vision quest for all involved. Coetzee alludes to sight along the way making use of powerfully evocative language. At the start of the trip, the Magistrate struggles to find his bearings: “Standing on a dune-top, shielding my eyes, staring ahead, I can see nothing but swirling sand." This desert blindness early on the trip reinforces the Magistrate’s inability to see at the start of the novel. The further the party travels away from the Empire, the better the Magistrate’s understanding. Ten days into the trek the party first glimpses the perceived barbarians, or so they think. The Magistrate wonders aloud: “Are they reflections of us, is this a trick of the light?” He is so close to a full understanding. The ‘barbarians’ are not barbarians. They are just people, just like the people of the Empire. The Empire is the light. A light that manipulates perception. A light that at times glares so savagely from the surface of the world that one must shield their eyes.

The Magistrate’s newfound understanding is reflected in the crystal, clear gaze of newly arrived Officer Mandel. Back in the border town, the Magistrate is arrested for conspiring with the enemy—an enemy created by the Empire. This creation becomes literal when Joll brings back another group of people living outside the realm of the Empire. Joll uses a piece of charcoal to write the word “Enemy” on the backs of a dozen prisoners wired together through their flesh. Joll invites townspeople to beat these prisoners until the word enemy is washed with blood from their backs. In one foul swoop Joll labels this group of “other” as the enemy and motivates the town to take part in these tribal acts of violence. It’s too much for the Magistrate. He stands up for the prisoners and is in turn beaten.

Empires excel in the labelling of the “other.” It is part of the control exhibited by empires the world over. The Magistrate’s self-awareness gained from venturing outside the limits of empire is not something easily done. As readers we are deeply engrained ourselves. We are truly incapable of reading this novel without looking through the lens of empire. This is one of the main focuses (unfocused as it may be) of Coetzee’s masterpiece. He begs us to look outside of empire, knowing fully well, that we cannot. It stems from a lack of agency. Agency, as defined by Bill Ashcroft in Postcolonial Studies: Key Concepts, “refers to the ability to act or perform an action…it hinges on the question of whether individuals can freely and autonomously initiate action, or whether the things they do are in some sense determined by the ways in which their identity has been constructed." We cannot act outside of empire. By and large we are all confined by empirical parameters: calendars, time, boarders, language, culture. Theses parameters might differ, but the empires that define them are largely the same. How can one take off empire-tinted glasses? The answer is that we can’t; not without being swallowed up by the empire itself. We flutter about, like moths, drawn to the light of our doom. Coetzee’s Magistrate attempts to shed his “spectacles of cruelty,” only to be labelled a barbarian himself by those still blinded.

Perhaps a glimmer of hope lies within the novel’s final pages. The personified barbarity of empire has withdrawn back to its lair within the confines of the capital, and our broken and bruised moth of a Magistrate searches for something, anything to put hope into. He sees a group of children playing in the snow in the empty village square and watches as they pick out the final touches for their snowman: a nose, ears, a mouth, and eyes. Future generations have the capability to pick out a new perception of things. It won’t be as simple as building a snowman, but in this powerful lasting image Coetzee suggests change is possible. We will never be able to see without the lenses of empire; like the Magistrate we will “leave the scene feeling stupid,” but there is always hope for the future.

--Michael Ferrin


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Themes in Literature/Belonging and Exile/The Barbarian in a Civilized Society

J.M Coetzee’s Waiting for the Barbarians tells the story of a colonist Empire’s effort to maintain its grand narrative of the coming “barbarian” invasion and the man of conscience who questions the Empire he serves. To maintain the narrative, Empire or civilization labels the nomads as “barbarians,” torturing and neglecting them and spreading rumors or creating propaganda. Yet the man of conscience, the Magistrate or M - as I’d call him for short - sees the “barbarians” as the nomads, peaceful and “living in fear of everyone, skulking in the reeds, what can they possibly know of a great barbarian enterprise against the Empire?” How does the Empire determine the “barbarian” from the civilized? Through the lens of the Magistrate, we learn how the Empire uses the “barbarian” to keep control of its subjects.

At the start of the novel, Colonel Joll and the Magistrate, imperial officers of the Empire, begin questioning a boy and a man who are described as “prisoners.” But in M’s civilized society prisoners are rare because “there is not much crime here and the penalty is usually a fine,” so the only prisoners they are capable of having are the ones they call “barbarians,” the nomads who live in the Empire’s borderlands off the settlement in the story. In post-colonial theory, the two terms - “barbarian” and civilized - are a pair, a binary pair, a signified to a signifier, civilization to “barbarian.” To further understand the relationship between the terms, Maria Boletsi explains in her essay “Barbaric Encounters: Rethinking Barbarism in C.P. Cavefy’s and J.M. Coetzee’s Waiting for the Barbarians '' that “barbarian” and civilized form an interdependent relationship that “feeds the superiority of the civilized… Simultaneously, the definition suggests that the civilized has an unwillingness to understand the other’s language and thus to make the encounter with the other a communicative occasion.” Boletsi argues that in order for the civilized society to be recognized, they outcast the uncivilized, identify them, and are willfully ignorant of the other to not taint the civilized way of life. Within the context of the story, the relationship formed between the civilized and the “barbarian” comes from the Colonel’s search for truth about the barbarian uprising and M’s search for understanding the “barbarian” experience, with the communicative occasion being the torture of the “barbarians.”

While not actively participating in torture as the Colonel does, the Magistrate experiences it second-hand when he addresses the boy at the beginning of the novel and when he no longer hears the cries of the baby when the “barbarians” are imprisoned in the barracks, but he does experience a type of torture first-hand, as the interrogator, when he takes care of and examines the “barbarian” girl. When M addresses the boy after a session of interrogations, “have you had anything to eat?,” he does so with decency and sympathy, defining his position on the civilization - “barbarian” relationship. When he no longer hears the baby cry, a feeling of frustration comes to him that is a consequence of Colonel Joll’s presence and actions, “I curse Colonel Joll for all the trouble he has brought me, and for the shame too.” The Magistrate’s position is again defined. It is not until he houses the “barbarian” girl that he realizes he might as well have been as bad as the Colonel he curses so much, “I behave in some ways like a lover - I undress her, I bathe her, I stroke her, I sleep beside her - but I might equally well tie her to a chair and beat her, it would be no less intimate.” Here is when his position becomes less defined and the definition of “barbarian” is slightly altered according to whoever behaves like one instead of the definitive distinction between the civilized and the “barbarian.”

To have more insight about M’s position in the civilization - “barbarian” relationship, author J.M. Coetzee shares knowledge on the torture chamber in his article “Into the Dark Chamber: The Novelist and South Africa.” Coetzee explains that the “torture room provide[s] a metaphor, bare and extreme, for relations between authoritarianism and its victims… with the purpose, if not of destroying him, then at least of destroying the kernel of resistance within him.” The resistance of the “barbarian” girl is present when he asks her about her torture and when she does not have sex with him. I argue that her resistance comes down when they finally have sex because she says to M, “yes, there were other men. I did not have a choice. That was how it had to be.” Her resistance was there even before him, as it was with the other men, but since her choice was never present, it is fair to assume that she suspected the same behavior of the other men in M, since he is an imperial officer. Even the civilized can act barbaric.

To maintain and preserve a civilized way of life, defensive strategies are to be put in place, and a threat has to be imminent. Because the Magistrate does not believe in the barbarian threat (Coetzee 9), the threat is believed - by him and us - to be conjured up, gossip that comes from a source of civilization, the capital. Rumors of danger are spread and framed in a way that brings urgency and whatever means are necessary to address the danger. In their article, “The Empire as the Embodiment of Modern Intellect: a Critical Reading of Coetzee’s Waiting for the Barbarians through Levinas”, Mahdi Teimouri cites Judith Butler’s Frames of war, an exploration of modern war and portrayal of state violence, saying “any representation presupposes certain degree of framing which regulates one’s emotional and intellectual response to an event or situation.” Teimouri argues that framing the situation is equally important as the situation at hand in order to bring out the proper and desired reaction from the target audience. After Colonel Joll leaves the settlement, the Magistrate is confronted with and appalled by prisoners that have been detained “because they were hiding” (Coetzee 20). So they are deemed prisoners for hiding, and will be treated horribly because of the same reason, but the reason does not matter, for the only thing that matters is that they are “barbarians” and they are prisoners. It is because of this framing, and the knowledge from living on the settlement and encouraging commerce with the nomads, that M does not blindly believe the stories the Empire spreads about the “barbarians”.

The man of conscience, by the end of the novel, reaches an impasse. He cannot change the ways of the Empire alone and he cannot run the settlement as he genuinely wishes. The only thing he has power over are his actions to the treatment of the “barbarians”, while everyone else in civilization continues to believe the stories of the “barbarians”. The woman M sleeps with at the end of the novel says to him, “I am terrified to think what is going to become of us… I don’t know what to do any more. I can only think of the children” (176). He then reassures her that no harm will come to her.

Waiting for the Barbarians provides colonial context to the “civilization” - “barbarian” definitions and provides an understanding of how they are used in civilized society. By looking into the positions of the Magistrate and Colonel Joll, J.M. Coetzee shares how the Empire controls and maintains power over its subjects.

--Joel Pazmino


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Themes in Literature/Belonging and Exile/Loss Grants Freedom

Waiting for the Barbarians by J.M.Coetzee is a beautifully sculpted novel that touches on topics like colonization and its effects on the colonized. The main character that we follow throughout the story is the Magistrate, who slowly begins to see that the government he has served faithfully for many years, The Empire, arent the benevolent leaders they want their citizens to view them as. In order to come to this realization, he must see through a blind girl’s eyes, find freedom while behind bars, and lose his position to attain true power. Coetzee begs the question, why does the Magistrate’s worldview begin to change only after he is forced to see himself through the eyes of a blind girl and loses everything? Perhaps purging himself of the comforts provided by The Empire causes his rose-colored glasses to shatter, and allows him to truly see the world for the first time.

Imagine being taken from your home, having to be tortured, and being blinded by your oppressors who are convinced you pose a threat for just existing. This is the harsh reality that the barbarian girl in the novel faces. However, it is through her blindness that she helps the Magistrate truly open his own eyes and see the world around him for the first time. He is obsessed with her blindness, often waving his hand in her face and asking her if she can see. It is during his time with her that he begins to realize his role not just in her torture but in The Empire’s colonization process. He states at one point, “I behave in some ways like a lover I undress her, I bathe her, ― I stroke her, I sleep beside her but I might equally well tie ― her to a chair and beat her, it would be no less intimate.” From this point in the Magistrate’s mind, we see him slowly realizing that despite him not physically torturing her he is also complicit in her pain as the viciously cruel Colonel Joll, who was the cause of her blindness, to begin with. He struggles to accept this truth shown to him by the barbarian girl, which we see when he says,

“I shake my head in a fury of disbelief. No! No! No! I cry to myself...There is nothing to link me with torturers, people who sit waiting like beetles in dark cellars. How can I believe that a bed is anything but a bed, a woman's body anything but a site of joy? I must assert my distance from Colonel Joll! I will not suffer for his crimes!”

At the start, the Magistrate’s main concern is to distance himself from the heinous crimes committed in the name of the Empire, yet as the novel progresses, and through the self-reflection caused by the presence of the barbarian girl and her lack of sight, the Magistrate goes from trying to push away the guilt and blame, to accepting it and trying to change.

The idea of being tossed in a jail cell would normally send shivers down any “sane” individual’s back. Yet when confronted with this, The Magistrate has a completely different reaction. He says:

“There is a spring in my walk as I am marched away to confinement between my two guards. "I hope you will allow me to wash," I say, but they ignore me. Never mind. I am aware of the source of my elation: my alliance with the guardians of the Empire is over, I have set myself in opposition, the bond is broken, and I am a free man. Who would not smile? But what a dangerous joy! It should not be so easy to attain salvation.”

This passage shows how far the Magistrate has come, from being fearful of showing the smallest of sympathies for the Barbarians to being a staunch supporter of theirs. To the Magistrate, going to jail means that he no longer has to pretend to agree with what The Empire is doing. He is free to speak out against their tyranny, free to tear down the facade they have tried to feed their people, free to call them what they really are: conquerors, murderers, and torturers, searching for an enemy that does not exist. He himself doubts the danger the barbarians pose when he says, “Of this unrest, I myself saw nothing. In private I observed that once in every generation, without fail, there is an episode of hysteria about the barbarians...Show me a barbarian army and I will believe.” All stories about the horrors of the Barbarians are heard from the Empire. How unusual that the tales and gossip come from the city, and not from the desert where the supposed Barbarians live.

Now that the Magistrate has successfully broken away from the mindset of the Empire, the final piece of the puzzle is to lose what The Empire has given to him, the source of his power and the final link in the shackles of his imprisonment. Losing his role as “The Magistrate” means losing his authority, and his tie to the Empire as their servant, complicit in their destruction. To anyone looking at this from the surface, it may seem like a dire loss, yet digging deeper we begin to realize that this is what allows the Magistrate to gain control of his life, as well as give him power that no one can surpass. We see this in the exchange between the Magistrate and Colonel Joll after he returns from his expedition to find and hunt the Barbarians, “I have a lesson for him that I have long meditated. I mouth the words and watch him read them on my lips: "The crime that is latent in us we must inflict on ourselves," I say. I nod and nod, driving the message home. "Not on others," I say: I repeat the words, pointing at my chest, pointing at his.”

Joll is the kind of man who is constantly hurting others to feel like he is in control. Unlike the Magistrate, who at one point has the love of the people, Joll must get his power through fear and violence. The meaning behind the words the Magistrate says to him is simple: the hurt we feel deep in ourselves should be dealt with by ourselves, not through inflicting it on others, for if we do, karma will most certainly come back a thousandfold. Joll learns this the hard way after coming back from his journey with virtually nothing left to his name. His torture of innocents and his crimes against other humans come back to haunt him in the form of losing most his men. By finding nothing in the desert, he returns empty-handed and to a man like Joll: it is a loss worth than death. Meanwhile, the Magistrate, who has no position, and no control, has gained more by, as cheesy as this sounds, treating others with basic decency and respect, no matter where they come from.

Loss is what gains the Magistrate his freedom, his sight, and his power. It is a hefty price to pay, but it is what allows him to sever his ties and servitude to the Empire. By taking responsibility for his actions and his involvement in the mistreatment of the fisherpeople and the Barbarians, he grows as a person. Coetzee does an incredible job of writing a main character that in many ways can represent the reader themselves. The lack of a concrete setting, place, or time period permits us to fit the story to our own current events, and in the current state of the world, we may all find that a bit of the Magistrate is in each of us. While we may not be at risk of losing our jobs, or living on a frontier, we must all ask ourselves this: are we willing to lose our rose-colored glasses and be confronted with the cold, harsh uncomfortable truth of ways that we’ve been complicit in allowing the world to reach the point it has? Or will we continue to live blindly, oblivious to the pain and suffering around us?

--Alessandra Ventura


text:
Themes in Literature/Belonging and Exile/Waiting for the Barbarians A Guide to Understanding Barbarians

Waiting for the Barbarians is a novel written by J.M Coetzee. Under the strict regulations of the dominant culture of The Empire, people known as the barbarians must follow the laws and abide by the people who make up The Empire. The Barbarians are often seen as a lower class of people. In comparison The Empire is much more high class of people whose distinct way of life suggests a greater degree of “civilization”  than the barbarians. According to Bill Ashcroft’s Key Concepts the meaning of colonialism is, “employed to create the idea of the inferiority of the colonial subject." The barbarians are the subjects while The Empire imposes its ideology and proves those subjects to be inferior.  In Waiting for the Barbarians the real barbarians are not the inferior race of people but the The Empire. It is the Empire because its leaders impose torture on the barbarians while they themselves do nothing to Empire. The conspiracy in the novel that the Barbarians are such bad people is often disguised because The Empire are making most of the judgments and create most of the conspiracies against the Barbarians.

In the novel, the barbarians are seen as people who cause disruption and The Empire believes it must impose order and protect itself from danger, however, with news being released from the capital it is hard to decipher what is really true and what is really false. The novel’s description of the barbarians stems from the capital. The magistrate states of the account,“ last year stories began to reach us from the capital of unrest among the barbarians…The barbarian tribes were arming the rumor went; the Empire should take precautionary measures.” The novel describes the horrible way the Empire plays the victim. The magistrate identifies that it is a rumor that comes from the Capital. Barbarians may not even exist yet the capital describes them as tribal people who are going against the Empire. The news they receive is most likely propaganda. There is no real evidence that so called barbarian tribes want war. The distinction between the two groups of people is constructed to show that the Empire must remain powerful. They must seem powerful in order to continue implementing the laws and regulating the society.

There is no relation or proof that barbarians are actually in the novel itself. We never see this deception. In fact, the Magistrate often questions the word barbarians. He doesn’t believe that these people are really barbarians. The Magistrate says, “we speak of the barbarians…Are you sure they were barbarians?” The novel often talks about tribal people. He questions whether these people are even real barbarians because the lack of communication the Empire has with the people is fantasy, rumor and evident in these lines. We often see that this concept of barbarians is often a mix up between reality. If the people are not barbarians, then they must be normal people living in this place as the Magistrate.

However, we see this concept of the barbarian arises when the Magistrate is with the barbarian girl. She is a barbarian and we can see that there is a difference between gender roles in the novel. Most importantly we see that being a barbarian girl is significant to the Magistrate. She was the one who initiates sex. The Magistrate states, “ I feel her hand groping under my clothes, her tongue licking my ear…With a heave I am upon her she is warm, swollen, ready for me.” The Magistrate notices details of the Barbarian girl. She is the one he loves the most in the novel. Her attitude towards him is open even though she is a prisoner of the Empire. The girl is passionate towards him in this scene. There are no rules between the Barbarian girl and the Magistrate. It is almost as if there love for each other unites both people. One example of torture the Empire inflicts on the barbarians is in the novel the barbarian girl has scars on her face. The Magistrate notices these scars and asks the girl if they have done this to her and she replies yes. The Magistrate says, “It has been growing more and more clear to me that until the marks on this girl’s body are deciphered and understood I cannot let go of her.” The significance of the quote is that the Magistrate is the only person that is sympathetic towards the barbarian girl; who has been inflicted with torture.

Maria Boletsi’s article Barbaric Encounters: Rethinking Barbarism in C.R Cavafy’s and J.M Coetzee’s Waiting for the Barbarians explains the meaning of the word barbarian. “The term ‘barbarian’ is used to designate members of the underclass of the newly urbanized European peasants, but it is also employed for other marginal figures.” Barbarians throughout history were never thought of as important people. Lunatics actually describes the Empire because they are so fascinated with the barbarians themselves that they become angry and crazy in believing in them. Boletsi also explains how the term sets up opposition: “reading them today cannot bypass their striking pertinence to the contemporary world in which strict oppositional thinking in terms of ‘us’ and ‘them,’ ‘civilization’ and ‘barbarism’ is staging a comeback in political rhetoric and everyday discourse” (Boletsi 94). If civilization has to include barbarians then they must be of some significance in Waiting for the Barbarians. Civilization has been using the term “us” and “them” and the distinction as we see in the novel, is a thin line.

Post-Colonial Studies: The Key Concepts gives a definition of race that, “intersects in important ways with the cultural implications of colonial domination." It shows that race often separates people. As long there is race in society, the dominant race rules the cultural norms and the lower race often has to submit to the dominant culture. In other words the Magistrate is dominant but when it comes to love the Barbarian girl is the most dominant character.  In Waiting for the Barbarians race is often challenged as we see that the Magistrate can be with the Barbarian girl and she is allowed to be with him. So race identifies both individuals because they are two people with different backgrounds yet their society and culture has brought them together because of love.

The article, Into the Dark Chamber: The Ovelist and South Africa, gives an insightful definition of torture. According to Coetzee, “in the torture room unlimited force is exerted upon the physical being of an individual…destroying the kernel of resistance within him.” ( 61). When much of the torture is being done by the Empire. Their acts of crime hurts not only the barbarians but the Magistrate as well. While physical pain is being done to the Barbarian girl, the Magistrate  feels emotional pain. Torture not only causes physical pain but also impacts both the Empire and the so called barbarians. Most of all, the one under the most emotional pain is the Magistrate because he observes the indecency of the Empire. While he is not the one to be held responsible for the actions of the Empire, he still notices that he is trapped because he has feelings for the barbarian girl.

The so called barbarians and the people of the Empire create a great deal of conflict. While there is no proof of an actual fight between the two races of people, the Empire still manages to inflict their power over the barbarians by physical force.What causes the most pain to the Magistrate is not the physical abuse but emotional abuse. The Magistrate is tortured by the emotional shame the Empire has caused him. The Magistrate says, “I wanted to live outside the history that Empire imposes on its subjects…I never wished it for the barbarians that they should have the history of Empire laid upon them. How can I believe that that is cause for shame?” It shows how much the Magistrate hates the Empire for inflicting so much pain onto these people who are innocent people. He feels ashamed of the Empire. It is possible that the Empire is just a symbol of the barbarians because without the barbarians there would be no Empire.

So called Barbarians are discussed throughout of the novel. They are often talked about aside from The Empire. Is is just faith or a coincidence that the Magistrate has feelings for the Barbarian girl. She in many ways represents what it means to be a Barbarian as colonial powers define them. Likewise the Magistrate represents what it  means to be under the law of the Empire. While Barbarians were never seen as civilized people throughout history, Waiting for the Barbarians, they are an important group of people whose story is one of endurance, pain, and love.

Waiting for the Barbarians is a novel that depicts the essence of what it means to be the Magistrate. The book deals with a lot of interesting concepts of barbarians. The significance of the Barbarian girl is the love between her and the Magistrate. The Empire symbolizes order, law, and colonialism. The Empire’s downfall is not the lack of structure but too much structure. In the end of the book we can understand the Magistrate’s oblivious outlook.

--Ashley Ramjattan


text:
Themes in Literature/Belonging and Exile/Edwidge Danticat’s “1937”

In a world where most history books are written by men, it’s hard to find women as strong characters in literature, especially in stories based in the Caribbean. In Danticat’s “1937,” years After surviving the horrible massacre ordered by Dominican dictator Rafael Leonidas Trujillo Molina. Josephine’s mother gets accused of witchcraft and gets imprisoned, while her daughter can’t do anything more than visit her and hold the family heirloom (a Madonna doll) until the day her mother dies. Nevertheless, despite the atrocities, I believe Danticat does an amazing job representing women as superhuman, mythical creatures who bond in their resilience and power and frighten men.

As a Haitian American writer, Danticat wasn’t an outsider to Haiti’s political and social situation; Her parents fled Haiti, scaping the atrocious dictatorship of François Duvalier when she was two years old. The impact of Haiti’s historical context is deeply portrayed in all her narratives and beautifully represented by the courage and diversity of her characters. In “1937,” Josephine’s mother wasn’t the only woman imprisoned by allegations about their secret power, in a time when people were constantly fighting over voodoo and religion, it wasn’t uncommon for people (especially men in power) to adopt myths that served their purposes in controlling women: “All of these women were here for the same reason. They were said to have been seen at night rising from the ground like birds on fire.” When Josephine’s mother was in jail, she was often bathed in cold water to prevent her “wings” from growing. Regardless of the inhuman conditions she faced, Josephine’s mother tried to be strong. She continued to make small conversations and assured her daughter that she was fine when it was a blatant lie. However, magic wasn’t the only motive for these women to be oppressed. The fear men have for smart and powerful women has existed since the earth’s beginning. By cutting their wings, the men forced the women to remain under a system based on stereotypes and patriarchy. These kinds of women couldn’t be left free, they were not allowed to use their “powers” or more like “abilities” simply because men were afraid of being seduced, enchanted, or manipulated as Eva did with Adan in the Bible.

In “1937”, Danticat took the time to represent women in a different light. All the women in the story are fearless, almost superhumans. She uses mythology and symbolism to show these characteristics as the story unfolds. One of the mythological associations I found is in the figure of the Phoenix and its reflection in Josephine’s mother. Specifically, in the description of her getting out of the Massacre River, we are told, “she glowed red when she came out, blood clinging to her skin, which at that moment looked as though it were in flames." Despite the traumatic and horrific experience, her character is represented as this wonderful creature. The Phoenix is an animal that is well known in Greek and Egyptian mythology for being reborn from its ashes after its predecessor dies or bursts into flames. Therefore, being immortal. This animal symbolizes new beginnings and stages of life, which was what Josephine’s mother did when coming out of the river. There, she was being reborn and starting a new chapter in her life while carrying a whole new life inside of her at the same time.

Unfortunately, these groups of women were being accused and killed for something scientifically impossible. However, Danticat still tries to give them another light in the dark situation, and we can read this after Josephine’s mother died, “Let her flight be joyful, (…) and mine and yours too.” This simple but beautiful sentence can be associated with hope and the existence of an afterlife. It also reminded me of the myth of Pandora’s box: after all the calamities came out, hope was the last thing in the box. After all the atrocities these women confronted, they still have hope in their hearts for a better (or maybe) different future. After Reading the story, it is easy to believe that Danticat went through all those atrocities herself, just because of how vivid her descriptions are. However, this vivid realism is simply how she writes. In another of her works, “Create Dangerously: The immigrant artist at work,” She explains she was obsessed with writing “the things that have always haunted and obsessed those [writers] who came before me.” I believe “1937” is a wonderful example of this statement. The immersive experience while reading the story proves that the author is in personal contact with the historical context and the culture.

In the end, “1937” Danticat invites us to admire, even envy the strength of these women and how they intelligently find a way to survive and keep their traditions. These women are not only the main characters but also the key cultural elements representing power, union, and resilience in a beautiful form. The relevance of these stories is in how detailed the descriptions are, the sincerity of the dialogue, and how everything reflects Haiti’s history and mythology through the role of a group of oppressed yet powerful mythical women.

--Perla Cuevas de Leon


text:
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text:
User:Nieschal1/sandbox

= From The Ashes Rose the Women = Symbolism and metaphors are the vital attributes of Danticat’s works, and we can see their impact in the story “1937”. While reflecting upon the horrors the Haitian women faced during the time of Ton Ton Macoute, she uses mythical symbols to associate the powers the women hold against the atrocities. Despite intense suffering and constant abuse, the women of Haiti had something beyond the tyrants’ reach: Hope. “1937” revolves around the notion of hope that the women had and uses mythical stories and metaphors to put light on how they faced injustice and tried to battle them to preserve their memory and remember history. Danticat plays along with this infamy but portrays the women as angels that were able to endure the atrocities against them. Mythical beliefs were the reason for these women’s banishment and death, and Danticat uses these same myths to give them power. The reality intertwines with fiction in “1937,” where the women’s endurance is connected to the power of a mythical being.

The opening paragraph of “1937” mentions the most important symbolism of the story: Madonna. The crying of the idol passed down through generations resembles the pain of everyone that held it at some point when the narrator says, “When I saw the tear I thought, surely, that my mother had died” (Danticat 29). The tears of Madonna represent the tears of women themselves, shed one drop at a time, saving them for every time a woman suffers. The word “Madonna” for a statue is also an intriguing aspect. “Ma Donna” in Italian means “My lady” and is often referred to Virgin Mary. By implying that Madonna’s tears mean the death of the narrator’s mother, Danticat is hinting that it’s a message from God that her mother is in extreme pain, if not dead yet.

Further into the story, when the narrator (Josephine) asks her mother if she flew, the mother’s response shows the power the women hold. The mother replies, “All the women who came with us to the river, they could go to the moon and back if that is what they wanted.” (43). The metaphorical wings the women possessed are the wings of hope, using which Danticat implies that it was hope that was never lost, and it is what’s keeping them alive for the next day, and hopefully would be passed down to her daughter after she’s gone. The representation of wings is a tacit implication of retaliation against the crime. The mother’s response that it is upon women to fly also shows endurance. To fly to the moon and back as their wish is the power they hold against the horror implicated upon them. Although they were forced to run from their homes, their hope helped them fly away, preserving their memories and pain amidst the chaos that suppressed their freedom.

Madonna and the wings can be linked to the religious connection, and with the rituals the women perform, this connection is even more vital. Towards the end of the story, Josephine remembers when her mother says to the river, “Here is my child, Josephine. We were saved from the tomb of this river when she was still in my womb” (35). Associating the river with the tomb, the mother is signifying that they gained a new life after coming out of the water, which is an indirect analogy to the resurrection of Jesus. The river also serves as the holy water on which they were baptized the day they jumped out of it, making it both the tomb and a birthplace. So, they visit the river every year to thank it for the new life that, although started with blood, provided them the wings enabling them to fly. Or perhaps the river acts as a fire that burned them down, and they rose from the ashes like phoenixes: in a completely new body, but their memories preserved.

Danticat uses the myths and beliefs to describe the strength of the women who were outcasted in the same belief that they possess the supernatural ability to fly. By using this irony in the story, she provides the readers with the knowledge of history in such a manner that it is easier to understand and empathize with the women of the time. Furthermore, she instills that although the women were innocent and helpless, they were not powerless. On the contrary, they fought with every strength they possessed and were able to pass the trauma and their memories to the younger generation in the hope that someday their children would “fly” over the injustice they faced.

Work Cited

Danticat, Edwidge, "Children of the Sea," in ''Krik? Krak!,'' Soho Press, 1991.

title: User:Nieschal1/sandbox


text: User talk:EqJjgOa8rVvsRmZL

title: User talk:EqJjgOa8rVvsRmZL


title: User:EqJjgOa8rVvsRmZL


title: User:EqJjgOa8rVvsRmZL/sandbox


text: Talk:IB/Group 3/History/Route 2/Causes, Practices, and Effects of Wars/The Chinese Civil War (1927-37 and 1946-49)/Summary


text:
User:Nervelita

My name is Elita. Pronouns He/She/They.

English Wikipedia: https://en.wikipedia.org/wiki/User:Nervelita

English Wiktionary: https://en.wiktionary.org/wiki/User:Nervelita

About me

 * Before using this account, I edited here a few times using User: 2601:58B:4380:9C90:6DC1:E004:B199:B8EA

title: User:Nervelita


text:
Template talk:B3D:N2P/VTT1

Improve usage instructions
I have contributed very little to the wiki so I don't know whether the usage instructions I provided are accurate or not. They need to be reviewed/edited so they are accurate and relevant.

I added usage instructions since
 * 1) This template seems to be used a lot
 * 2) It seems this was supposed to get usage instructions a while ago ("instructions coming soon" has been on the page since 2007)

Money-lover-12345 (discuss • contribs) 21:24, 17 December 2022 (UTC)

title: Template talk:B3D:N2P/VTT1


text:
User talk:Money-lover-12345

hello
welcome to wikibook

Money-lover-12345 (discuss • contribs) 22:36, 17 December 2022 (UTC)

 * thanks
 * Money-lover-12345 (discuss • contribs) 22:36, 17 December 2022 (UTC)

title: User talk:Money-lover-12345


text:
Lombard/How to convert Milanese dialect, written in the Milanese orthography, into the New Lombard Orthography

2. Something else to add
►A. Add "e" to the end of the feminine plural of nouns and adjectives that end in "a" in the singular
 * Example:
 * In Milanese orthography: Singolare: "cagna" → plural: "cagn"
 * In New Lombard Orthography: Singolare: "cagna" → plural: "cagne" (see also regular plural of nouns)

►B. Add er to the verbs of the third conjugation in the infinitive mood
 * Example:
 * In Milanese orthography: "mètt"
 * In New Lombard Orthography: "meter"

►C. Add "h" ahead of all the voices of the verb ‘’havé’’ (avè in Milanese orthography – to have)

►D. Do not put '"h" ahead of the voicese of the verb ‘’vesser‘’(vèss in Milanese orthography – to be)

►E. Insert an intravocalic "v" between "o" and "a" or between "a" e "o" or between "u" and "i", when it is present in the same word in any of the other Lombard dialects (many times just look if the same word contains a ‘’’v’’’ in Italian)
 * Example:
 * in Milanese orthography: Gioann
 * In New Lombard Orthography: Giovann (Italian: Giovanni)

►F. Add "l" at the end of singular nouns ending in "oeu"
 * Example:
 * In Milanese orthography: "fieou"
 * In New Lombard Orthography: "fioeul"

►G. Add "i" at the end of plural nouns ending in "oeu"
 * Example:
 * In Milanese orthography: "fieou"
 * In New Lombard Orthography: "fioeui"

►H. leave the accent written in the infinitive verbs in reflexive form
 * Example:
 * In Milanese orthography: "vardà" → reflexive form "vardass"
 * In New Lombard Orthography: "vardà" → reflexive form "vardàss"

►I. for some words ending in a long vowel, for etymological reasons a final consonant must be added which is different from the cases indicated in the table, there is no precise rule, however these are very rare cases.
 * Example:
 * In Milanese orthography: "boeu", "cuu"
 * In New Lombard Orthography: "boeuv", "cul"

►L.  As for the articulated prepositions with "in": if you use the older Milanese spelling you must transform "ind el", "ind i" into "in del" "in di".


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Cookbook:Erythritol

Erythritol is a sugar-like-substance that in principle can be swapped in for sucrose to dial down the sweetness of a recipe moderately while avoiding certain other effects of leaving out some or all sugar. However, this is not generally possible in practice because it is practically always sold "topped up" to the sweetness level of table sugar through the addition of lo han guo or stevia extract.

It is also similarly usable for cranking up the "cooling effect" of sugar up to severalfold in particular cases while avoiding the dramatic side effects of sorbitol.

Erythritol is distinctly expensive as a sugar substitute due to being produced by a particular yeast and not through the same process as most sugar-alcohols.

title: Cookbook:Erythritol


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. d4/4...exd4/5. O-O/5...Nxe4/6. Nc3/6...dxc3/7. Bxf7

= Nakhmanson Gambit =

7. Bxf7+
Black is in check and must capture the bishop with 7...Kxf7, which allows  White to play 8.Qd5 recovering the piece.

The attempt to evade the fork with 7…Ke7?? doesn't work; White plays 8. Qd5! anyway to defend the bishop, and the threats of Re1 and Bg5 are crushing.


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. d4/4...exd4/5. O-O/5...Nxe4/6. Nc3/6...dxc3/7. Bxf7/7...Kxf7

= Nakhmanson Gambit =

7...Kxf7
The tactical point behind sacrificing the bishop on f7 is that White now has  8. Qd5+, regaining the piece (or one of the pieces, at  least).


text:
User:Ottodaniol.

Ordinary level secondary studies

title: User:Ottodaniol.


text:
Mathematical Proof/Relations

Introduction
Intuitively, relation associates pairs of objects based on some rules and properties. That is, relation suggests some kinds of relationship or connection between two objects. Take marriage as an example. In the marriage registry, there is a record in which the names of husbands are associated with the names of their corresponding wives, to keep track of the marriages. The entries in the record can be interpreted as $$(a,b)$$, where $$a$$ is the husband, while $$b$$ is the wife.

Expressing it mathematically, let $$M$$ and $$W$$ be the set of all men and women respectively. Then, the $$M\times W=\{(a,b):a\in M\text{ and }b\in W\}$$ consists of  pairs of people (first and second coordinate is a man and woman respectively). After that, we know that the record in the marriage registry, $$R$$, is a subset of $$M\times W$$. If a man and a woman form an ordered pair in $$R$$, say $$(m,w)$$, then it means they are married. Then, it is natural to say that $$m$$ is $$w$$. In other words, if we find that $$(m,w)\in R$$, then it means that they are related. Also, knowing what $$R$$ exactly is (we have the record from the marriage registry) is the same as knowing all the husband and wife relationship.

Thus, it is natural to define the set $$R$$ as a. Let us formally define below.

Reflexive, symmetric and transitive relations
After introducing the terminologies related to relations, we will study three properties for a relation defined a set.

Equivalence relations and equivalence classes
After studying the three properties that a relation on a set can possess, let us focus on those relations that possess properties.

Suppose $$R$$ is an equivalence relation on a set $$A$$. Intuitively, for elements that are related by $$R$$, they are quite "closely related". Thus, when we consider the set consisting elements that are related to a given element of set A, the elements inside the set are "closely related", so the set, in some sense, forms a "group" of elements that are "relatives". It then appears that we can classify the elements of set $$A$$ into different such "groups", according to an equivalence relation. As we will see, this is roughly the case. Hence, such "group" is quite important. Now, let us formally define what the "group" is:

{{colored example| Let $$A=\{1,2,3,4\}$$, and let a relation defined on $$A$$ be $$R=\{(1,1),(2,2),(3,3),(4,4),(1,2),(1,3),(2,1),(3,1),(2,3),(3,2)\}.$$ This relation $$R$$ can be shown to be an equivalence relation. The equivalence classes are given by $$[1]=\{1,2,3\},[2]=\{1,2,3\},[3]=\{1,2,3\},[4]=\{4\}.$$ Since $$[1]=[2]=[3]$$, there are only two {{colored em|distinct}} equivalence classes. Graphically, the situation looks like: ^       ^  |        | [1]=[2]    [4] =[3] {{colored exercise| Construct an equivalence relation $$R$$ on $$A$$ such that the equivalence classes are given by $$[1]=\{1,2\},[2]=\{1,2\},[3]=\{3,4\},[4]=\{3,4\}.$$ {{hide|Solution| $$R=\{(1,1),(2,2),(3,3),(4,4),(1,2),(2,1),(3,4),(4,3)$$. Graphically, the situation looks like: ^       ^  |        | [1]=[2]  [3]=[4] }} }} }}
 * 2  3  /  |
 * 1   /  4 |
 * 2  3  /  |
 * 1   /  4 |
 * 1   /  4 |
 * 2 | 3    |
 * 1 \    4 |
 * 2 | 3    |
 * 1 \    4 |
 * 1 \    4 |

Properties of equivalence classes
In this section, we will discuss some properties of equivalence classes. In particular, we will address these two questions: The answer to question 1 is given by the following theorem.
 * 1) When are two equivalence classes equal?
 * 2) Can two different equivalence classes contain a common element?

Now, let us consider the question 2. The answer to question 2 is, indeed, "No". The following corollary justifies this answer:

Now we have reached a key point in studying equivalence relations (and it is probably the major reason for studying equivalence relations at all): using equivalence relation on a set to construct a partition of that set, and vice versa. Before discussing it, let us define of a set:

We can observe from the previous examples that equivalence relation of a set can be used to give a partition of that set. The following theorem suggests that, in general, an equivalence relation on a set $$A$$ can be used to give a partition of that set.

The following theorem suggests the converse of the above theorem is also true. To be more precise, we can use a partition of a set to construct an equivalence relation on that set. Before introducing the theorem, let us make some intuitive guesses on how to construct the equivalence relation in this way. First, from the previous theorem, roughly speaking, using an equivalence relation on a set, we can create several "groups" of elements in different classes, in which the elements are "relatives".

Now, given a partition of a set, it means we have several "groups" of elements. Such "grouping" intuitively indicates the elements inside the group are "relatives" in some sense. So, intuitively, a relation that relates the "relatives" seems to make the relation quite "close", and hence an equivalence relation.

The following theorem formalizes this intuition:

title: Mathematical Proof/Relations


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Fractals/quality

Images with high image quality are instantly pleasing to the eye.

If you are interested in high-quality rendering, you might wonder if the images displayed on your CRT, LCD, film, or paper will result in light patterns that are similar enough to the "real world" situation so that your eye will perceive them as realistic. You may be surprised to learn that there are several steps in the digital image creation pipeline where things can go awry.

What does image quality mean when talking about 2D static images (computer graphic, non-photographic digital images), especially fractal images?

Factors that affect quality include all elements of the chain:
 * Target, destination, purpose
 * Resolution/size of the image = Fineness of image details
 * Scanning, sampling and plane decomposition
 * Display Aspect ratio
 * Colour
 * Bit depth of the colour( 1, 8, 24 bit colour) = Fineness of colour gradations
 * Type of numbers: integer or real
 * Colour gamut = Vividness of colours
 * Colour space
 * Computer graphics lighting:
 * A wider range of brightness from darkest to lightest = High-dynamic-range lighting rendering (HDR), better contrast (Intensity of image lighting)
 * Brightness and evenness of illumination
 * Transfer function
 * Gamma correction
 * Geometry
 * Scene composition (For 3D images or 2D-pseudo 3D images)
 * Workflow or image processing or pipelinę of 2D graphic
 * Hardware
 * Software
 * Image file type - See file type section
 * Compression (Lossy, lossless). Lossless data compression does not degrade the data. Lossy compression creates coarser images as more details are removed (Poor quality)
 * General file type: Raster or vector

How to make better images
How to make better images

How to create realistic 2D static images (Mostly by Andy Ritger)
 * Higher than standard (SD) pixel resolution (HD, UHD, "4K" and "8K")
 * Higher than standard bit depth per colour channel (Now standard is 8 bit depth): So 10 bit is a new target (See also number type and precision)
 * Wider Colour gamut (WCG): Express a wider range of colours than today (BT.2020 colour gamut)
 * High Dynamic Range (HDR): express a wider range of luminance than today (see AVIF file type)

Tips (By Paul Bourke)
 * Do fractal creation in 16 bit, not 8 bit, integer or floating numbers for each pixel calculation
 * Apply anti-aliasing by Supersampling each final pixel (Render a 30,000 pixel version of the image)
 * Do all Colour external to fractal creation using gradient maps, allows you to make appearance decisions independent to the creation

Tips (By 3DickUlus)
 * "Using 100 samples per pixel, so rendered the full image 100 times with small random jitter (Movement at sub pixel size) and accumulate the result, gives really nice anti-aliasing". 3DickUlus

Tips (By quaz0r)
 * Use normalised floating-point values: Values between 0 and 1
 * Use an image I/O library that can take these values as input and output to any format
 * Average samples together internally in your program, instead of using an external program
 * Poisson-disk sampling (Blue noise) is the best sampling pattern

Check all elements in the chain from the application to the monitor if they are ready:
 * Hardware = Graphic workstation: scanner, graphic card, monitor, memory, disk, printer, projector: Settings and calibration
 * Software: Source and destination = Graphic file type, OS, image editing program, drivers of graphic card
 * Workflow or image processing or pipeline of 2D graphic

What makes image poor quality?

 * Colour banding: Discrete jumps from one colour or tone to the next, instead of a smooth gradient. Note that some fractal colouring algorithms (Representation functions) may create colour banding intentionally, like Level Set Method (LSM). Check also False banding
 * Pixelated image: Pixelisation or mosaic processing is any technique used in editing images or video, whereby an image is blurred by displaying part or all of it at a markedly lower resolution
 * Posterization which shows as an unintended artefacts of colour quantisation
 * Image noise, artefacts, glitches, aliasing

What makes image good quality?

 * Looks good and is instantly pleasing to the eye
 * No signs of poor quality
 * Looks realistic
 * Should highlight features of the data, and not highlight features that are only in the gradient itself = Avoid distorting the data (If it's a scientific visualisation not fractal art)

How to check quality of the image?

 * Visually, if it looks good and is instantly pleasing to the eye
 * Use a zoom function to check for distortion, blemishes

How to set up best viewing conditions ?

 * Photographs on the web are best viewed using a calibrated and profiled monitor and a color-managed browser.
 * Monitor’s Viewing Angle. Generally, all monitors will show an optimum image when you're sitting near the center of the panel.
 * ninedegreesbelow : viewing-photographs-on-the-web
 * dolby Color-Grading-Mastering-suite-setup
 * benq : behind-monitor-lighting
 * netflix studios : Color-Critical-Display-Calibration-Guidelines
 * flanders scientific : tech-resources
 * cinemaquestinc: About the "Ideal Viewing Environment"

web-browser-color-management-test

 * cameratico : web-browser-color-management-guide By Fábio Pili Updated Jul 15, 2019
 * cameratico : web-browser-color-management-test
 * ICC browser test
 * How to setup proper color management in your web browser by Greg Benz April 27, 2021
 * benq : web-browsers-color-management
 * eizo : management/color-management-summary

How to make quality print of a fractal image
Printing tips

How To Get My Monitor To Match My Printer ?

Resolution and size
Visual rating of the image resolution quality
 * Good: Pixels are not visible without zoom
 * Poor: Pixels are visible without zoom (Pixelated)

Resolution: Image resolution (Measured in pixels per inch, PPI ) describes the detail an image holds. The term applies to raster digital images, film images and other types of images. Higher resolution means more image detail. (By Becky J. Ritchie)

See also:
 * Scanning, sampling and plane decomposition

Measures of resolution:
 * DPI: Dots per inch. Used in printing and scanning and refers to the dots of ink on one line across one inch. It is a measure of spatial printing or scanner dot density. In particular the number of individual dots that can be placed in a line within the span of 1 inch (2.54 cm). Similarly, dots per centimetre (D/cm or DPcm) refers to the number of individual dots that can be placed within a line of 1 centimetre (0.394 in).
 * PPI: Pixels per inch. Describes display resolution. Used for display (web, monitors and video production). A pixel is a dot on a video screen
 * LPI: Lines per inch. Used for half-tones and is the measurement of how close together the lines are in the grid

How to compute PPI
 * ppi-calculator
 * omnicalculator
 * kings pixel-density-calculator

Difference between size and resolution
 * Image size (in pixels = horizontal resolution x vertical resolution) shows how much information is in the image
 * Image resolution is related to printing or display

Examples:
 * The final printed or displayed size needed is 300 dpi @ 5”x7”. Means the image should be 1500x2100 or larger
 * The final printed or displayed size needed is 300 dpi @ 8”x10”. Means the image should be 2400x3000 or larger

The quality of a printed image depends on two things:
 * The capabilities of the printer (DPI)
 * The original image resolution (Size)

The quality of a displayed image depends on:
 * The capabilities of the monitor (PPI)
 * Zoom factor
 * The original image resolution (Size)

Resolution types
 * Spatial (Size of smallest object that is recognisable in mm), maybe also divided into horizontal and vertical
 * Contrast (Minimal contrast between what is recognisable)
 * Temporal (Minimal time in ms, for moving, not static, images)

Compression
Data compression
 * Lossy compression
 * Lossless compression

Bit depth
RGB cube: 3, 6, 9, 15 and 18 bit:

Greyscale: 2, 3, 4, 6 and 8 bit:

What bit depth per colour channel (Precision and number type) should I use?
 * So how many bits do you really need?
 * How many bits do you need for sharing on the Internet? 8-bits
 * How many bits do you need for scanning? When a look at the transparency shows that I'm going to have problems with the shadows then I import 48 bit RAW images, since I want to maximize the advantage
 * How many bits do you need for printing? 8-bits is fine for the final output, but use 16 if your printer supports it
 * How does colour space impact bit depth? Colour space (Gamut) is related to bit depth.
 * How many bits should you use for image processing? Use 32-bits for processing an HDR file
 * What precision should you choose in GIMP for editing? Choosing 32-bit floating point precision allows you to take full advantage of GEGL's 32-bit floating point processing. 64-bit precision is made available mostly to accommodate importing and exporting very high bit precision images for scientific editing
 * How many bits can you can see? A 10-bit gradient is OK for display (No visually detected banding)
 * Why use more bits than what you can see? To avoid numerical errors producing visual errors in the image during image editing (Image processing)

Tips to get 10 bit colour depth working on all elements in the chain from the application to the monitor needed to support it (By Ted Lansing). This includes:
 * Hardware
 * Video card
 * Video connection
 * Monitor
 * Software
 * Application
 * Operating system
 * Video card driver

More description

Target destination
Technical destination of the image:
 * For display (RGB)
 * Quality display (Full size image without compression or with lossless compression)
 * Preview (Small image with reduced size, maximum compression even if the quality is reduced)
 * For printing (CMYK)
 * For archiving (Full size image without compression or with lossless compression, with all colour space versions): EXR, TIFF

Application of the image
 * Artistic (Free art): Fancy visualisation, image should be interesting and pleasing to the eye
 * Design (Applied art)
 * Scientific (Scientific visualisation)
 * Colour gradient should highlight features of the data and should not highlight features that are only in the gradient itself
 * Colour gradient should be perceptually uniform. Uniformity: Perceived differences in colour must accurately reflect numerical data differences
 * Metric: Enable users to accurately read absolute values in data = Value reading tasks
 * Form: Gradient should enable users to correctly perceive the shape = Pattern perception
 * Order: ColourMaps must preserve the order in data
 * Separation: Different data must be perceived differently
 * Colour-vision-deficiency (CVD) friendly = Accessible to those with colour blindness
 * Printer friendly
 * Photocopy safe

Black

 * Black (0,0,0,100) is not black; it is a dark gray. The reason it's gray, rather than black, is that the ink is partially absorbed by the paper …" and therefore the grayness of the key-black is relative to the properties of the paper: newspaper sucks a lot while glossy coated paper might not.
 * "built black" or "rich black." This is usually something like 60/60/40/100, or 40/30/30/100

White

 * White point

Graphic workstation
Software
 * Imaging system
 * Colour Management System

HDR processing ( HDRI)
 * rendering graphic (HDRR)
 * HDR tone mapping
 * HDR encoding
 * display graphic

What do I need for HDR on PC? Monitor with
 * A high maximum brightness, ideally 1000cd/m2, but at least 600cd/m2+ if not
 * At least 90% coverage of the DCI-P3 colour gamut
 * A 10-bit panel

Hardware
Recommendation (By Matt Smith) for what you need to achieve great HDR on a PC
 * A monitor that's DisplayHDR 1000 certified or a quality HDR television.
 * A video card from the AMD RX 400, Nvidia GTX 900 series, or Intel integrated graphics found in Intel 7th-gen Core, or newer
 * An HDMI 2.0a, DisplayPort 1.4, or Thunderbolt 4 connection, or newer
 * HEVC High Efficiency Video Coding
 * HDR content, such as an HDR-compatible game or streaming service or HDR image (Photo or digital graphic)

Graphic workstation:
 * Input devices: Scanner, camera
 * Processing devices: Graphic card, memory
 * Storing devices: Hard drive (HD), USB
 * Output devices: monitor, projector, printer, film recorders
 * Workstation vs gaming graphics card (By Akshat Verma)

Scanner:
 * Canon: Colour 48-bit in/24-bit out, greyscale 16-bit in/8-bit out
 * "I scanned this transparency on my Imacon Photo scanner in 48 bit mode because I wanted to gather as much data to work with as possible. Once I finished adjusting Curves and Colour Balance I then converted to 24 bit for printing and web display". (By Michael Reichmann)

Monitor 3 levels of monitor brightness:
 * A low brightness if they have a peak brightness below 300 nits
 * A standard brightness if they have a peak brightness between 300 and 350 nits (SDR)
 * A high brightness if they have a peak brightness above 350 nits (HDR)
 * Note that humans can detect brightness levels as low as 0.000001 nits and as high as 100,000,000 nits

 * How to calibrate your monitor
 * Wikihow: How to Calibrate Your Monitor (By Jack Lloyd, August 12, 2022
 * NineDegreesBelow: Monitor profile calibrate confuse (By Elle Stone)

 * What is the reason for calibration?
 * If the screen and the printer are calibrated, the green in the leaf, and the photo, and the print will look the same.

Calibration targets:
 * white point
 * neutrality of greys
 * predictability and consistency of tone response

 * How to test your display (Monitor, projector) for HDR support:
 * Test images (By Greg Benz)

Monitor requirements
 * BT.2100 colour gamut
 * Hybrid Log-Gamma (HLG) transfer function - For Broadcast TV
 * Perceptual quantizer (PQ) transfer function - For Internet Streaming and Movies:
 * VESA_DisplayHDR standards
 * high resolution and pixel density

Ports and cables
 * HDMI Specification HDMI 2.1a supports video resolutions and refresh rates including 8K 60 and 4K 120, and resolutions up to 10K. Dynamic HDR formats are also supported, and bandwidth capability is increased up to 48Gbps
 * DisplayPort
 * Mini DisplayPort
 * USB-C
 * Serial digital interface ( SDI)
 * optcore: introduction-to-sdi

Examples:

ASUS ProArt
 * Mouse: ProArt Mouse MD300 : Up to 4200 dpi sensor resolution and Up to 1000 Hz polling rate
 * Monitor: ASUS ProArt display PA32UCX-PK 4K HDR IPS Mini LED: World’s 1st HDR 1600 nits & 120 Hz monitor (3000 USD)
 * 32ʺ 4K 120 Hz monitor with true 10-bit colour
 * 1600 nits peak and 1000 nits sustained brightness
 * Delta E < 1 Colour accuracy / Hardware calibration
 * Dolby Vision®, HDR10 and HLG support
 * X-rite i1 Display Pro included
 * Motherboard: ProArt B660-Creator D4 (200 USD)

Apple 32-inch Pro Display XDR with Retina 6K Display - Standard Glass
 * 32-inch LCD display with Retina 6K resolution (6016 by 3384 pixels)
 * Pro Stand and VESA Mount Adapter sold separately
 * Extreme Dynamic Range (XDR)
 * Brightness: 1000 nits sustained, 1600 nits peak
 * Contrast ratio: 1,000,000:1
 * P3 wide color gamut, 10-bit color depth

Software
Colour Management System (CMS):
 * A device-independent colour space
 * ICC profiles for each device (i.e. printer, scanner, monitor, digital camera, etc.): Input and output profiles
 * A Colour Matching Module (CMM)
 * Colour workflow

Examples:
 * Linux_color_management
 * Little CMS - OPEN SOURCE small-footprint CMS, with special focus on accuracy and speed.
 * Apple’s color management system is called ColorSync
 * Microsoft’s is called Image Color Management

OS Settings
 * microsoft: hdr-settings-in-windows
 * Linux HDR

Web browser
 * chrome flags: Force color profile
 * brave://flags/

Libraries
 * Image I/O library that can take these values as input and output to any format. This can include different bit depths, HDR and different colour spaces
 * OpenImageIO = Reading, writing and processing images in a wide variety of file formats, using a format-agnostic API
 * Image processing
 * ImageJ: Data types: 8-bit greyscale or indexed colour, 16-bit unsigned integer, 32-bit floating-point and RGB colour

Image processing programs:
 * GIMP

RAW file editors
 * RawTherapee
 * Rawstudio
 * DigiKam
 * Darktable
 * Filmulator
 * Photivo
 * LightZone
 * Shotwell
 * UFRaw

Number precision and type in GIMP:
 * Integer precision options
 * 8-bit integer
 * 16-bit integer
 * 32-bit integer
 * Floating point precision options
 * 16-bit floating point
 * 32-bit floating point

Image file type - High dynamic range file formats - 32‑bpc HDR images
 * AVIF is a file format developed by Alliance for Open Media. It's an open standard which already enjoys fairly broad support in major web browsers for standard images. AVIF offers numerous advantages over JPG
 * PNG has 1, 2, 4, 8 and 16-bit greyscale support and 8 and 16-bit-per-sample (That is, 24 and 48-bit) Truecolour support
 * 16-bit integer ProPhotoRGB PNG: Saturated colours
 * PFM file - floating point image format for HDR images
 * EXR (OpenEXR): 16-bit OpenEXR files can be considered a good colour precision/file size compromise for the general case OpenEXR has support for color depth using: 16-bit floating-point (half), 32-bit floating-point and 32-bit unsigned integer
 * TIFF
 * RGBE image format or Radiance HDR is an image format invented by Gregory Ward Larson for the Radiance rendering system. It stores pixels as one byte each for RGB (Red, green and blue) values with a one byte shared exponent. Thus it stores four bytes per pixel

Final note
Now most of the hardware/software is using 8-bit color channels, some monitors / TV have 10 -bit

Abbreviations
IPT components:
 * HDR = High Dynamic Range
 * ICC = The International Color Consortium
 * IPT
 * IPT color appearance model
 * Image Processing Transform
 * CMS
 * Color management system, a system for computers to control the representation of colors
 * CMS = Color Matching System = industry standards in the classification of spot color systems = tools to build, share, and save smart color palettes
 * PMS = the Pantone Matching System,
 * CMM = Color Matching Module
 * CRI = Color Rendering Intent
 * RIP = Raster Image Processing
 * OBA = Optical Brightening Agent
 * CMYK
 * GCR = Grey component replacement
 * UCR = Under color removal
 * Rich black
 * The I ("intensity") component is a luma component that represents the brightness of the video
 * CT : blue-yellow (named from protanopia) chroma components
 * P : red-green (named from protanopia) chroma components

Formal International Standards Bodies

 * CIE - International Commision on Illumination
 * Division 1 : Vision and Colour
 * Division 2 : Measurement of Light and Radiation
 * Division 8 : Imaging
 * IEC - International Electrotechnical Commission
 * TC100/PT61966 - Color Management
 * ISO - International Standards Organization
 * TC6 - Paper, board and pulps
 * TC36 - Cinematography
 * TC42 - Photography
 * PMAI - US Technical Advisory Group
 * PIMA
 * TC130 - Graphic Arts
 * NPES - US Technical Advisory Group
 * ITU - International Telecommunications Union
 * ITU-R - Radiocommunication Sector
 * ITU-T - Telecommunication Standardization Sector
 * SG16 - Study Group 16 - Multimedia services and systems
 * JTC1 - IEC/ISO Joint Technical Committee 1
 * SC24 - Computer Graphics and Image Processing
 * SC28 - Office Equipment
 * SC29 - JPEG, MPEG, etc.

Industry Consortia & Associations

 * AIC - International Colour Association
 * ANSI - American National Standards Institute
 * APCL - Association of Professional Color Labs
 * ASTM - American Society for Testing and Materials
 * ATSC - Advanced Television Systems Committee
 * CGATS - Committee for Graphic Arts Technologies Standards
 * DIG - Digital Imaging Group (Home of FlashPix and IIP)
 * EBU - European Broadcasting Union
 * EIA - Electronic Industries Association
 * FOGRA - Forschungsgesellschaft Druck (German graphic arts research institute)
 * GATF - Graphic Arts Technical Foundation
 * ICC - International Color Consortium
 * ISCC - Inter-Society Color Council
 * IETF - The Internet Engineering Task Force
 * IFRA - The International Association for Newspaper and Media Technology
 * JEIDA - Japan Electronic Industry Development Association
 * JBMA
 * MITI
 * NIST - National Institute of Standards and Technology
 * NPES - The Association for Suppliers of Printing and Publishing Technologies
 * NTA - The National Technology Alliance
 * NIDL - The National Information Display Laboratory
 * PIMA (US TAG for ISO TC42)
 * PIRA - The Information and Publishing Group
 * SIGGRAPH - ACM Special Interest Group on Computer Graphics
 * SMPTE - Society of Motion Picture and Television Engineers
 * SWOP - Specifications Web Offset Publications
 * TWAIN - Technology (or Toolkit) Without An Interesting Name
 * UGRA - Verein zur Förderung wissenschaftlicher Untersuchungen in der grafischen Industrie
 * VESA - Video Electronics Standards Association
 * VRML - Virtual Reality Meta Language Consortium
 * W3C - World Wide Web Consortium

Links

 * Quality and description
 * Commons:Valued_images
 * Featured pictures
 * Commons:Valued_images
 * General guidelines towards quality (By Arnaud Cheritat)
 * Linux color management in wikipedia
 * Comparison_of_color_models_in_computer_graphics
 * The SSIM Index for Image Quality Assessment

title: Fractals/quality